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Full Description
Drawn to Life is a two-volume collection of the legendary lectures of long-time Disney animator Walt Stanchfield. For over 20 years, Walt mentored a new generation of animators at the Walt Disney Studios and influenced such talented artists such as Tim Burton, Brad Bird, Glen Keane, and Andreas Deja. His writing and drawings have become must-have lessons for fine artists, film professionals, animators, and students looking for inspiration and essential training in drawing and the art of animation.
Written by Walt Stanchfield (1919-2000), who began work for the Walt Disney Studios in the 1950s. His work can be seen in films such as Sleeping Beauty, The Jungle Book, 101 Dalmatians, and Peter Pan.
Edited by Disney Legend and Oscar®-nominated producer Don Hahn, whose credits include the classic Beauty and the Beast, The Lion King, and Hunchback of Notre Dame.
Contents
Foreword. Acknowledgements. 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. 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. 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. 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. 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? 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? Afterword/Bonus Material. Credits — Volume I.
