Libro. THE FUNDAMENTALS OF ANIMATION

About The Fundamentals of Animation

Packed with examples from classic and contemporary films, The Fundamentals of Animation presents each stage of the animation production process in an engaging visual style, whilst providing an historical and critical context for four core disciplines: drawn/cel; 2D/3D stop-motion; computer generated; and experimental animation.

With insightful commentary from leading animators, Wells and Moore also introduce you to the many different career paths open to aspiring animators, from storyboard artist or character designer to VFX artist or writer and director. They also provide you with key tips on producing engaging portfolios and show reels.

- Illustrated with over 300 images, including preliminary sketches, frame-by-frame analyses and shots of animators at work.

- Now explores the animated documentary genre and the role of visual effects and gaming in contemporary animation.

- Features more than 20 interviews with a range of international practitioners including Pete Docter, Director, Monsters, Inc. (2001), Up (2009) and Inside Out (2015).

Featured Artists
Sarah Cox, ArthurCox
Lluis Danti, Media Molecule
Pete Docter, Pixar
Paul Driessen
Eric Fogel
Cathal Gaffney, Brown Bag Films
Adam Goddard
Philip Hunt, STUDIO AKA
The Brothers McLeod
Bill Plympton
Ellen Poon, Industrial Light and Magic
Barry Purves
Joanna Quinn
Chris Randall, Second Home Studios
Maureen Selwood
Koji Yamamura

Table of contents

Introduction

Part One: Principles and Processes 
Chapter 1: Ideas Generation
Chapter 2: Research and the Pre-production Process
Chapter 3: Technique
Chapter 4: The Animator as Interpreter
Chapter 5: The Animator as Performer
Chapter 6: The Animator as Editor
Chapter 7: The Animator as Director

Part Two: Applications and Outcomes 
Chapter 8: Drawn and Cel Animation
Chapter 9: 3D Stop-motion Animation
Chapter 10: Animation for Children
Chapter 11: Clay Animation
Chapter 12: Digital Animation
Chapter 13: Alternative Methods
Chapter 14: Animated Documentary

Part Three: Contexts
Chapter 15: Post-production
Chapter 16: Critical Evaluation
Chapter 17: Portfolio
Chapter 18: Collaboration
Chapter 19: Working as an Independent
Chapter 20: Postgraduate Opportunities
Chapter 21: Making an Independent Film
Chapter 22: Screening Opportunities

Bibliography and Webography
Index
Acknowledgements and Picture Credits

Reviews

“The book is terrific. Beyond being a textbook, it strikes me as being a very rich resource for animators and film-makers ... The material is serious yet highly approachable ... The book is a bargain, especially as an academic text.” –  Thomas Castillo, University of Arizona, USA

“Intelligently organized and lavishly illustrated, The Fundamentals of Animation is distinguished from most how-to-animate guides for being multidimensional in approach and multivalent in function ... Wells's book teaches its users not only to do, but to think animation.” –  Victoria Meng, Animation Journal

“This is a great book, particularly for beginners. I particularly liked that it includes contexts that lead students to explore next steps ... The interviews with animators are also helpful, as they provide another voice and perspective. I really like the layout. The stills are a definite strength.” –  Kyja Kristjansson-Nelson, Minnesota State University Moorhead, USA

“Excellent publication ... really well researched, written and designed ... extremely reader friendly.” –  Charles da Costa, Savannah College of Art and Design, USA

“Very impressed. Seems clear and concise. I think my students will find it very useful and informative. Visually pleasing with bite-sized bits of information.” –  Tom Ingham, Cambridge School of Visual and Performing Arts, UK

“A good introductory text to animation. Very useful tips on creating characters and storylines. Practical tutorials to engage students in practice. Well designed. Very readable language.” –  Victor Valbuena, Republic Polytechnic, Singapore

“A superb text covering the animation industry. I particularly appreciated the second half of the text from Chapter 13 covering Alternative Methods.” –  Stephen Hibbert, University of Huddersfield, UK