Contents

Foreword

Acknowledgements

Basics

1. Enthusiasm

2. 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?

Credits