Why this book? -- Drawing in time -- Time to draw -- It's all in the timing and the spacing -- Lesson 1 -- Advancing backwards to 1940. History of the chart and inbetween -- Extremes and breakdowns -- Keys -- Three ways to animate -- Testing, testing, testing -- The X-sheet -- Came the dawn -- The best numbering system -- The great ones and twos battles -- The top and bottom pegs battle -- More on spacing. Classic inbetween mistakes -- Watch your arcs -- Getting more movement within the mass -- The elongated inbetween -- The major beginner's mistake -- The 'ruff' approach -- How much do we leave to the assistant? -- Take the long short cut -- Walks. Getting the weight -- Set the tempo -- The passing position or breakdown -- Two ways to plan a walk -- The double bounce -- Loosening it up -- Digging deeper into walks -- There's nothing like trying it -- The heel -- Foot action -- Normal walk space -- Weight shift -- The belt line -- Arm movements -- Counteraction -- The recipe -- Sneaks -- The tip toe sneak -- Runs, jumps and skips. The 4 drawing formula run -- The 3 drawing run -- The 2 drawing run -- The recipe -- Run, jump, skip and leap -- Skips -- Jumps -- Weight on a jump -- Flexibility. The breakdown -- Simple overlap -- Overlapping action -- Simple counteraction -- Breaking joints to give flexibility -- Flexibility in the face -- Overlapping action in the face -- Instant read: profiles for readability -- Weight. Pressure and weight -- How much effort do we have to expend? -- Dancing -- Rules of thumb on synchronising action -- Anticipation. Surprise anticipations -- Invisible anticipations -- Takes and accents. A hard accent bounces back -- A soft accent continues -- Timing, staggers, wave and whip. Stagger timings -- The side to side vibration formula -Whip action -- Wave action -- Dialogue. Phrasing -- Picture and sound sync -- Accents -- Attitude -- The secret -- Acting. Change of expression -- Look for the contrast -- An acting point -- Body language -- Symmetry or 'twinning' -- Steal it! -- Eyes -- Animal action. Live action reference -- Basic animal walk pattern -- Directing. The brief -- The leica reel -- Separate the characters -- Best foot forward -- Casting animators -- Making changes -- 'Say! Say!' -- Voice recording -- Hook ups -- Research -- Editing -- Believe in your material -- Review. The procedure -- The ingredients -- The enlarged edition. 'Lesson one' on flexibility -- Delaying parts and progressing the action -- Put it where you can see it -- A Hollywood hop -- Contrast and change -- Phrasing dialogue -- Using live action for reference -- Animal flexibility -- Action on a running dog -- How does a horse really walk? -- Horse trotting -- Horse galloping -- Birds -- A challenging assignment in 'realism' and weight -- The moving hold -- The great 'realism' debate -- The solution -- Yes, but ... -- Conclusion so far -- My conclusion -- Life drawing for animation -- Acknowledgements.
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