Title
by Don Hahn, Walt Stanchfield
Drawn to Life: 20 Golden Years of Disney Master Classes Volume 1
- Cover
- Halftitle
- Title
- Copyright
- Dedication
- 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
THE WALT STANCHFIELD LECTURES: VOLUME ONE
DRAWN TO LIFE
20 GOLDEN YEARS OF DISNEY MASTER CLASSES
Walt Stanchfield
Edited by Don Hahn
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