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Drawn to Life: 20 Golden Years of Disney Master Classes Volume 1

Book Description

Walt Stanchfield (1919-2000) began work for Walt Disney Studios in the 1950s. His work can be seen in films like Sleeping Beauty, 101 Dalmatians, and Peter Pan.

Perhaps Stanchfield's biggest legacy was the knowledge he imparted to a new and upcoming generation of filmmakers. For a decade starting in the late 1980s, almost 800 pages of information passed from Walt's pen to his students. His style of teaching and the comprehensive content of his classes became legendary and were in part responsible for bringing up a new generation of animators and a new golden age in animation. His weekly writings, that form the content of this book, were the inspiration for Disney animators like Brad Bird, Tim Burton, Glen Keane, John Musker, Ron Clements and John Lasseter. His writings on character animation and a life spent drawing have never previously been published.

Table of Contents

  1. Cover
  2. Halftitle
  3. Title
  4. Copyright
  5. Dedication
  6. Contents
  7. Foreword
  8. Acknowledgements
  9. Basics
    1. 1. Enthusiasm
    2. 2. 2 Principles of Animation
    3. 3. Consider Anatomy Alone
    4. 4. Anatomy Continued
    5. 5. Consider Weight
    6. 6. Squash and Stretch — I
    7. 7. Squash and Stretch — II
    8. 8. Stretch and Squash — III
    9. 9. Line and Silhouette
    10. 10. Basic Shapes versus Details
    11. 11. Using Basic Shapes as Aid in Difficult Drawings
    12. 12. Simplify Where Possible
    13. 13. Straights and Curves
    14. 14. Overlap, Follow-through, and Drag
    15. 15. Eyes
    16. 16. Avoiding Tangent Lines
    17. 17. Some Simple Rules of Perspective
    18. 18. Some Ways to Create Space and Depth
    19. 19. Some Principles of Drawing
    20. 20. Great Performance or Just a Drawing?
    21. 21. Drawing Calories
    22. 22. Sketching
    23. 23. Animation and Sketching
    24. 24. Simplicity for the Sake of Clarity
    25. 25. Construction Observations Useful in Animation
    26. 26. The Opposing Force
  10. Gesture
    1. 27. Anatomy vs. Gesture
    2. 28. Mental and Physical Preparation
    3. 29. Dividing the Body into Units
    4. 30. Dimensional Drawing
    5. 31. The Value of an Action/Gesture Analysis Study
    6. 32. Using a Simple (But Logical) Approach to Drapery
    7. 33. Drapery — Its Role in Drawing
    8. 34. The Seriousness of Head Sketching/A New Phrase: “Body Syntax”
    9. 35. The Head in Gesture
    10. 36. From the Living Model to the Living Gesture
    11. 37. A Little More on Heads
    12. 38. Feeling the Pose
    13. 39. The Pose Is an Extreme
    14. 40. Pose and Mood
    15. 41. Pose and Mood Plus Timing and Phrasing and Texture
    16. 42. Symbols for Poses
    17. 43. Positive and Negative
    18. 44. Silhouette
    19. 45. P.S. The Metaphysical Side
    20. 46. Draw Verbs Not Nouns
    21. 47. Osmosis
    22. 48. Drawing and Caricature
  11. Seeing
    1. 49. What Not to See
    2. 50. A Bit of Introspection
    3. 51. It Ain’t Easy
    4. 52. A Good First Impression
    5. 53. Stick to the Theme
    6. 54. Sometimes I Wonder Why I Spend the Lonely Hours…
    7. 55. Cleanup — General
    8. 56. Cleanup
    9. 57. Inbetweening
    10. 58. Problems with Drawing in Line
    11. 59. Superficial Appearance vs. Creative Portrayal
    12. 60. Creative Energy
    13. 61. More Meanderings
    14. 62. Those Who Cannot Begin Do Not Finish
    15. 63. Body Language
    16. 64. Note Taking and Sketching
    17. 65. Using the Rules of Perspective
    18. 66. Applying the Rules of Perspective
    19. 67. Copy the Model…Who Me?
    20. 68. Talk to Your Audience — Through Drawing
    21. 69. Getting at the Root of the Problem
    22. 70. Doodling vs. Drawing
    23. 71. Purpose in Drawing
    24. 72. When Acting (Drawing) is an Art
  12. Analysis
    1. 73. Action Analysis Class I
    2. 74. Action Analysis Class II
    3. 75. Using Cylinders
    4. 76. Action Analysis — Hands and Feet
    5. 77. Angles, Angles, Angles
    6. 78. Using Angles
    7. 79. Angles and Tension
    8. 80. Applying Angles and Tension in Our Drawings
    9. 81. Tennis, Angles, and Essences
    10. 82. More on the Same
    11. 83. More on “Essence” Drawing
    12. 84. Driving Force Behind the Action
    13. 85. A Drawing Style Appropriate for Animation
    14. 86. A Drawing Style for Animation, Part II
    15. 87. Learn to Cheat
    16. 88. One Picture Worth A Thousand Words?
    17. 89. Double Vision
    18. 90. Lazy Lines
    19. 91. Spot It for Yourself
    20. 92. Do You Promise to Draw the Action, The Whole Action, and Nothing But the Action?
    21. 93. The Pose — A One-Drawing Story
    22. 94. My Eye Is in Love
    23. 95. Become the Director
    24. 96. Hone Up or Bone Up
    25. 97. The Illustrated Handout
  13. Creativity
    1. 98. Drawing on the Artist Within
    2. 99. Fine Tuning the Gesture
    3. 100. For a Better Gesture, Adverbs
    4. 101. Omni — on Creativity
    5. 102. Metamorphosis
    6. 103. Mime
    7. 104. True Gesture Drawing
    8. 105. A Second Chance to Make a First Impression
    9. 106. A Good Sketch Is Like a Good Joke
    10. 107. Opposition
    11. 108. Elastic Band Tension
    12. 109. Get Out of the Way
    13. 110. Play-Acting
    14. 111. A Storytelling Drawing
    15. 112. Drawing Techniques
    16. 113. Step Into It
    17. 114. It Could Be That….
    18. 115. A First Impression — Your Intended Goal
    19. 116. Gallery of Class Drawings
    20. 117. Think First….
    21. 118. Piles of Nuts
    22. 119. A Meaningful Assembly
    23. 120. The Time has Come, The Walrus Said…
    24. 121. Clarity
    25. 122. Action or Reaction?
  14. Thinking
    1. 123. Be Transformed
    2. 124. Be Relentless
    3. 125. Adjust Your Crystal
    4. 126. A Love for Drawing
    5. 127. A New Slant on Drawing
    6. 128. Think Gesture
    7. 129. Precious Instruments
    8. 130. Gesture Drawing, Enthusiasm, and Stuff Like That
    9. 131. Shape — A Multi-Form Drawing Tool
    10. 132. Deciphering and Defining Gestures
    11. 133. The Decisive Moment
    12. 134. Relationship of Character to Prop
    13. 135. Drawing
    14. 136. Words That Help in Drawing
    15. 137. A Simple Approach to Drawing
    16. 138. Vocalizing
    17. 139. Abstracting the Essence
    18. 140. Common vs. Uncommon Gestures
    19. 141. A Thinking Person’s Art
    20. 142. Lines, Lines, Lines
    21. 143. Feel, as Well as See, the Gesture
    22. 144. Savvy Sayin’s
    23. 145. The Inner Force
    24. 146. The Power of “mmm”
    25. 147. Gestural Symbolism
    26. 148. Some Left Over Thoughts
    27. 149. The Right Way?
  15. Credits