Drawn to life : 20 golden years of Disney master classes

Cover
DRAWN TO LIFE: 20 GOLDEN YEARS OF DISNEY MASTER CLASSES
Copyright
Contents
Foreword
Acknowledgements
1 Basics
	1 Enthusiasm
	2 Principles of Animation
	3 Consider Anatomy Alone
	4 Anatomy Continued
	5 Consider Weight
	6 Squash and Stretch — I
	7 Squash and Stretch — II
	8 Stretch and Squash — III
	9 Line and Silhouette
	10 Basic Shapes versus Details
	11 Using Basic Shapes as Aid in Difficult Drawings
	12 Simplify Where Possible
	13 Straights and Curves
	14 Overlap, Follow-through, and Drag
	15 Eyes
	16 Avoiding Tangent Lines
	17 Some Simple Rules of Perspective
	18 Some Ways to Create Space and Depth
	19 Some Principles of Drawing
	20 Great Performance or Just a Drawing?
	21 Drawing Calories
	22 Sketching
	23 Animation and Sketching
	24 Simplicity for the Sake of Clarity
	25 Construction Observations Useful in Animation
	26 The Opposing Force
2 Gesture
	27 Anatomy vs. Gesture
	28 Mental and Physical Preparation
	29 Dividing the Body Into Units
	30 Dimensional Drawing
	31 The Value of an Action/Gesture Analysis Study
	32 Using a Simple (But Logical) Approach to Drapery
	33 Drapery — Its Role in Drawing
	34 The Seriousness of Head Sketching/A New Phrase: “Body Syntax”
	35 The Head in Gesture
	36 From the Living Model to the Living Gesture
	37 A Little More on Heads
	38 Feeling the Pose
	39 The Pose Is an Extreme
	40 Pose and Mood
	41 Pose and Mood Plus Timing and Phrasing and Texture
	42 Symbols for Poses
	43 Positive and Negative
	44 Silhouette
	45 P.S. The Metaphysical Side
	46 Draw Verbs Not Nouns
	47 Osmosis
	48 Drawing and Caricature
3 Seeing
	49 What Not to See
	50 A Bit of Introspection
	51 It Ain’t Easy
	52 A Good First Impression
	53 Stick to the Theme
	54 Sometimes I Wonder Why I Spend the Lonely Hours…
	55 Cleanup — General
	56 Cleanup
	57 Inbetweening
	58 Problems with Drawing in Line
	59 Superficial Appearance vs. Creative Portrayal
	60 Creative Energy
	61 More Meanderings
	62 Those Who Cannot Begin Do Not Finish
	63 Body Language
	64 Note Taking and Sketching
	65 Using the Rules of Perspective
	66 Applying the Rules of Perspective
	67 Copy the Model…Who Me?
	68 Talk to Your Audience — Through Drawing
	69 Getting at the Root of the Problem
	70 Doodling vs. Drawing
	71 Purpose in Drawing
	72 When Acting (Drawing) is an Art
4 Analysis
	73 Action Analysis Class I
	74 Action Analysis Class II
	75 Using Cylinders
	76 Action Analysis — Hands and Feet
	77 Angles, Angles, Angles
	78 Using Angles
	79 Angles and Tension
	80 Applying Angles and Tension in Our Drawings
	81 Tennis, Angles, and Essences
	82 More on the Same
	83 More on \"Essence\" Drawing
	84 Driving Force Behind the Action
	85 A Drawing Style Appropriate for Animation
	86 A Drawing Style for Animation, Part II
	87 Learn to Cheat
	88 One Picture Worth A Thousand Words?
	89 Double Vision
	90 Lazy Lines
	91 Spot It for Yourself
	92 Do You Promise to Draw the Action, The Whole Action, and Nothing But the Action?
	93 The Pose — A One-Drawing Story
	94 My Eye Is in Love
	95 Become the Director
	96 Hone Up or Bone Up
	97 The Illustrated Handout
5 Creativity
	98 Drawing on the Artist Within
	99 Fine Tuning the Gesture
	100 For a Better Gesture, Adverbs
	101 Omni — on Creativity
	102 Metamorphosis
	103 Mime
	104 True Gesture Drawing
	105 A Second Chance to Make a First Impression
	106 A Good Sketch Is Like a Good Joke
	107 Opposition
	108 Elastic Band Tension
	109 Get Out of the Way
	110 Play-Acting
	111 A Storytelling Drawing
	112 Drawing Techniques
	113 Step Into It
	114 It Could Be That….
	115 A First Impression — Your Intended Goal
	116 Gallery of Class Drawings
	117 Think First….
	118 Piles of Nuts
	119 A Meaningful Assembly
	120 The Time has Come, The Walrus Said …
	121 Clarity
	122 Action or Reaction?
6 Thinking
	123 Be Transformed
	124 Be Relentless
	125 Adjust Your Crystal
	126 A Love for Drawing
	127 A New Slant on Drawing
	128 Think Gesture
	129 Precious Instruments
	130 Gesture Drawing, Enthusiasm, and Stuff Like That
	131 Shape — A Multi-Form Drawing Tool
	132 Deciphering and Defining Gestures
	133 The Decisive Moment
	134 Relationship of Character to Prop
	135 Drawing
	136 Words That Help in Drawing
	137 A Simple Approach to Drawing
	138 Vocalizing
	139 Abstracting the Essence
	140 Common vs. Uncommon Gestures
	141 A Thinking Person’s Art
	142 Lines, Lines, Lines
	143 Feel, as Well as See, the Gesture
	144 Savvy Sayin’s
	145 The Inner Force
	146 The Power of \"mmm\"
	147 Gestural Symbolism
	148 Some Left Over Thoughts
	149 The Right Way?
Credits — Volume I