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The Animator's Eye: Composition and Design for Better Animation, by Francis Glebas
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First published in 2011. Routledge is an imprint of Taylor & Francis, an informa company.
- Sales Rank: #1111910 in eBooks
- Published on: 2013-04-26
- Released on: 2013-04-26
- Format: Kindle eBook
About the Author
Francis Glebas worked as a story artist for Disney Feature Animation on Aladdin, Lion King, Pocahontas, Hunchback of Notre Dame, Dinosaur, Treasure Planet and Hercules. He also directed Pomp and Circumstance starring Donald Duck in Fantasia 2000 and Piglet's BIG Movie. Francis is also an award-winning independent live action movie maker with almost 40 years' experience. He currently teaches storyboarding at Gnomon School of Visual Effects. Francis also works as a creative consultant, having worked with the Irish Government, Korean Government, General Motors, Los Alamos Labs, Walt Disney Imagineering and other film studios.
Most helpful customer reviews
8 of 8 people found the following review helpful.
Love the flipbook + companion CD!
By Kodan
First of all, the book is a lot bigger than I thought. It just sticks out on my bookshelf lol, but I'm fine with it because I really love the flipbook section; it's really cute :P. Anyway, this is a great animation book for anyone interested to learn more about animation. I have this book and the Character Animation Crash Course by Eric Goldberg, and I find both books very helpful. Goldberg's book teaches something Glebas doesn't teach (more technical), and Glebas teaches something Goldberg doesn't. But I have to say I learned more from the Animator's eyes because the author covers stuff like storyboarding, adding color and sound which no other animation books cover. If you already have the animator's survival kit, you don't really need character animation crash course because they are more or less the same. The Animator's Eye is different though, you will totally learn something new from it. I would highly recommend this book to anyone who wants to further his or her knowledge about animation.
6 of 6 people found the following review helpful.
The book I've been waiting for
By bdbkirby
I worked in the industry back when before moving into a teaching career. I know the animation principles that any new animator must learn so I know what to look for in a text book. Over the years the text books I've assigned for the college animation courses I have taught have come and gone. A common problem is a lack of depth into the more intricate working of development and didactic graphics. There also is, quite often, a one size fits all approach to explanations of animation principles and methods.
The principles of animation are our tools. We use them to build our animations so once we have knowledge of a animation principle (such as squash & stretch) we can build anything we'd like with them or use them in a personal and more expressive way than others may choose to do.
Francis understands this. Francis book provides the necessary information new animators need to launch their learning experience without the "do it like this" verbiage. Francis gives the reader information on the tools with user friendly graphics that leaves the personal and particular "how to" decisions in the hands of the developing animation student. At last!
It's an excellent fun read, packed full of gotta have information on the universal principles of animation.Additionally he also has information on layout, planning and the classic components of camera, composition and design necessary in building an animation.That's quite a package.
The principles he shares are used in all forms of animation...2 and 3D, stop-motion and digital. We all use them so the information in this book has universal appeal and application.
It is the book I've been waiting for. It will be the assigned text in all of my animation courses from here on.
5 of 5 people found the following review helpful.
Covers It All
By Peter J Wydeven
First off, you have to love the flip-book on the edge of the pages of The Animator's Eye. It works just like film but breaks it down. This book, the author Francis Glebas and his characters Iggy and Scared Bunny are a lot of fun, but don't let that fool you, this book is filled with a mass of serious information. When it comes right down to it, animation in the form of storytelling covers a huge amount of stuff just to get it get it done - and even more to make it "moving" and fun. This book gets "it". Even though a person could dig into any these areas for more info, the author gets what is takes to get started in animation and covers what is helpful to advance a career.
I'm coming from a background of drawing illustration skills that transitioned to graphic arts on a computer. I also have interests in photography and video. Not being wholly advanced in the animation world, I can only guess what level of experience would find interest in this book. Yet, given the range of information from drawing, to movement, to gestures, to color, to storytelling, to sound, to lip sync, to organization, to structure, to production, just to mention some of what Glebas covers, I think even the very advanced animator would find something to improve upon. For the beginner this should be a must. This book takes me back to some my earliest drawing classes and reinforces some of their very best principles in a more compelling and informative way, like the use of balance and weight to give life to mere lines. The author shows you how to create three dimensional characters with the illusion of life-like movement so as to avoid what he refers to as "zombies".
I like the way he builds from simple basics to get a character and story across. I love the emotional wheel. Art classes have gotten me used to the color wheel (which the author also takes great advantage of in the book) but I never thought to use a wheel for emotions, expressions, and gestures. Simple is better. I really like his use of post-it notes to produce a very simple but moving and easily edited story board. That makes so much organizational and productive sense. Like the author, I have always thought that tracing was a very valid method for learning the way others draw (which was sometimes frowned upon). He touches on helpful software to match your character with the appropriate color, sound, and environment that givs life and emotion to enhance and drive the animators vision. Glebas gives lots of helpful ideas to make animation work better and the process work more easily.
The accompanying DVD shows the finished animation along with the earlier working versions to give you some idea of what to look for and how to progress. One of my favorite things on the DVD is where the author makes a video of himself to show exaggerated emotions and lip movement to use for references for drawing believable character expressions and speech.
The Animator's Eye covers a lot of material, all with practical means to get professional results that will capture your audience's attention and sweep them off into a truly "believable" fantasy world just like Disney does.
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