Index
3–point perspective, from freehand drawing, 252f
Abbey, Edwin Austin, 147
Accent cut, for scene, 75f
Allegory of Painting, 8
Amateur storytelling, 33
Angle, 121
Animation
Animation cel, 289f
Around the Color Wheel Shadowing chart, 170f
Art, 25
Art Deco, 147
Artistic creativity, 200
Artistry versus routine convention, 196f
Art Nouveau color schemes, 166–167
analysis of, 166f
Atlantis, development notes for, 212f, 213f
Auerbach-Levy, William, 85
Babbitt, Art, 256
Backgrounds
Barton, Ralph, 85
Beauty, three qualities for, 146–147
Birren, Faber
color analysis of, 161f
Blick, 122
Booth, Franklin, 85
Brangwyn, Frank, 147
Brunelleschi, Umberto, 85
Brush strokes and lines, 190f
Business, 9
Camera, placement of, 33
Caricature, 10–11, 24f, 25, 79, 81–107, 216–217, 241f
of cartoonists, 107f
color in, 93
emotional heightening, 10
geometry chart, 88f
gesture distortion, 10
heightening, 91
light for, 93
mermaid sketches, 92f
organic and geometric, 10
perspective in, 10
promotional piece, 101f, 102f, 103f, 104f
proportion, 10
warm up on, 82f
Cartoon composition. See Composition
Cartoon concepts. See Concept art
Cartoonists, caricature of, 107f
Cartoons
Catastasis, 91
Character drawing
cartoon stocky characters, 99f
costume, 96f
facial and eye expression, 100f
sides and fronts, 94f
women, 98f
Charting the hue, value, temperature and intensity of color, 162
Charts painted, on heavy folded paper, 233f
Chiaroscuro, 147
Circular composition. See Composition
Clichés, 266
Around the Color Wheel Shadowing chart, 170f
Art Nouveau color schemes, 166–167
analysis of, 166f
backgrounds, thematic color for, 168f
caricature, 93
color/changing value, neutralizing, 162–167
composition, 16–21, 156f, 169f
Edgar Payne, advice from, 160–161
effect of light and atmosphere on, 169f
Faber Birren, color analysis of, 161f
folk art, 172f
hue, value, temperature and intensity of charting, 162
ideas, 158
inspiration, 172f
intensity, temperature, value chroma, 157f
picture plane, 165f
richer color, making, 171f
samples for charts, 240f
tone and, relationship of, 163f
tracing paper overlay, use of, 170f
vibrating colors, 164f
Color sketches, 218
Color temperature, diagram of, 243f
Complementary colors, visual reminder of, 241f
Composition, 12f, 13–21, 109, 202, 218
based on teachings of Edgar Payne, 119f
examples, 118f
movement, organization and notan, 116f
objectives, 111f
for psychological effect, 115f
tension, 114f
texture, 16
thumbnail studies of, 110f
types of, 112f
Concept art, 289f
beginning with thumbnail sketches, 208f
Walt Disney’s The Hunchback of Notre Dame, 210f, 211f
Walt Disney’s The Little Mermaid, 297f
Controlled lights with full darks, 141f
Cornwell, Dean, 147
Costume, 9
Covarrubias Duclaud, José Miguel, 85
Crawford, Will, 85
Creative process, 200
Creativity, 200
Crosshatching, 23
Cullen, Gordon, 124
Dark colors, 158
Dark Shade tone, key dark at, 140f
Decorations, 16, 16f, 120, 123
Development art
Development sketches, 207f
Dialogue cuts, for scene, 74f
Dollying camera, for scene, 72f
in composition, 113f
Dramatic conflict, 44
Effect of haze, creation of, 144
Effect versus detail, 120
Efficiency, role of, 5
Emmett, Rowland, 85
Entertainment, 267
Excitement montage, for scene, 75f
Expressionist color, 158
Extreme drawing, 263
Farm and woods backgrounds, for animation, 209
Favorite systems within a system, 45f
Figure/ground versus compound notan, 146–152
Film composition. See Composition
Film perspectives, for scene, 58f, 59f
Films
Film viewpoint, for scene, 8, 57f
Fine artist, 4
Finish, 121
Flat wash, 220
Flowcharts, 222f
Freehand drawing, deriving 3-point perspective from, 252f
Frisket, 220
Frost, A. B., 86
Fumetti, 38
Geometric caricature, 10
Geometric constructions and ratios, 250f, 251f
Geometry chart
for caricature, 88f
Gestalt, visual reminder of, 241f
Glazing and toned paper, 193f
Golden Rectangle, 13
Grant, Vernon, 86
Graphic arts, 146
Graying, 162
Hard Light, 236
Harlequin, 236
Hawthorne, Nathaniel, 283f
Heavy folded paper, charts painted on, 233f
Held John, Jr., 86
High-value colors, 158
Holtan, Gene, 86
Home value, 162f
Hue, value, temperature and intensity of color charting, 162
Hurter, Albert, 86
Illustration
In-betweening, 261
Inciting incident, 7
Ink, Maskoid, watercolor and gouache techniques, 189f
Insurance advertising campaign, 285f
Interiors, for scene, 60f
Jokes, 267
Kley, Heinrich, 86
Klimt, Gustav, 147
Levine, David, 86
Levine, Jack, 86
Leyendecker, Joseph, 86
Life drawings, 277f
Lift technique, 220
Light, 9
Lighting
Light quality and value steps, 144–145, 145f
Light-Struck, 236
Light tone, key light at, 139f
Light-value colors, 158
Lindsay, Norman, 87
The Little Mermaid, 297f
Local tone, 236
Low Light tone, key light at, 140f
Low-middle values, 158
Master shots, 76
Media expressive works, 146
Mermaid sketches
caricature, 92f
Middle-values, 158
Mid Shade tone, key dark at, 139f
A Midsummer Night’s Dream, 8
Miscellaneous notes, 249
animation
art
clichés, 266
comedy, 267
freehand drawing, deriving 3-point perspective from, 252f
geometric constructions and ratios, 250f, 251f
problems, approaching, 265
Montage, 122
for scene, 75f
Natwick, Grim
drawing by, 263f
Negative shapes, 23, 23f, 239f
visual reminder of, 241f
Negative-space oriented art, 146
Neutral colors, 164
Notan, 15, 15f, 116f, 146–152, 187, 228f, 229f
Opaque accent, 220
Organic caricature, 10
Paint-handling techniques, 21
“The paisley whale,” lessons from, 204–205
Patchwork, 236
Pattern, 201
Pencil line, 220
Pencil rendering, on tracing paper, 219f
Perspective, 10–11, 14, 58f, 59f, 253f, 254f
Phil Kimmelman and Associates, 214f, 215f, 289f
Pictorial composition, 117f
Picture plane
color and, 165f
pietre dure works, 146
Pirate song, 290f
Playboy, 185, 298f, 299f, 300f
Players, 9
Portfolio art, 284f
Preliminary color studies, 218–220
Process, 199
creation, 200
farm and woods backgrounds, for animation, 209
illustrations, notes for, 206–209
order of battle, 203f
step by step through flowchart system for The Traffic Witch, 216–223
Promotional art, 295f
Public Artwork Installation, designs for, 294f
Pyle, Howard, 147
Pyramus and Thisbe, 8
Ranging camera, for scene, 72f
Rectangle, 13
Relationship, importance of, 124
Rembrandt, 147
Remedy paradox, 272
Rendition, 18, 20f, 175, 176f, 177f, 219
additional rendering styles including glazing and toned paper, 193f
artistry versus routine convention, 196f
designs transposed to other renderings, 192f
detail, 194f
edge styles examples, 181f
edge treatment
form rendition, 178f
for story, 34
handling edges methods, 180f
inspiration from other artists, 179f
light and shadow, 195f
notes, 184f
paint handling, 190f
on toned paper, 191f
shape, 23
Reveals, for scene, 73f
Reverse negatives, 13–14, 151f, 152f, 218
Saxon, Charles, 87
accent cut, 75f
dialogue cuts, 74f
dollying camera, 72f
excitement montage, 75f
interiors, 60f
invisible elements, 11
montage, 75f
ranging camera, 72f
reveals, 73f
shots, 76
stylization, 67f
swiveling camera, 71f
tilting and rotating, 71f
truck in, 70f
truck out, 70f
Schiele, Egon, 147
Searle, Ronald, 87
Segar, Elsie, 87
Serial Vision, 124
Set dressing, 8
Shadow charts
ranging in intensity from diffused light to light in darkness, 232f
Shots, for scene, 76
Signature
Silhouette, 15, 15f, 135–137, 135f
Simplicissimus, 87
Simplicity, 120
Soft light, 236
Sorel, Edward, 87
Staccato Animation, 259
camera, placement of, 33
chain of events, 34
chart for, 36f
focus, 35
rendition, 34
systems within systems, 44–46, 46f
themes, 34
verbal, 37
Storytelling. See Story
Straights versus curves, 259
Strip shots, for scene, 68f, 69f
Studio posters and charts, 227
color temperature, diagram of, 243f
composition, of pictorial elements, 230f
lighting and color, samples of, 240f
shadow charts
ranging in intensity from diffused light to light in darkness, 232f
techniques and lighting effects, 234f, 235f
tone and color, advancing/receding contrarium of, 231f
value charts, 233f
watercolors, value chart of, 242f
Stylization, for scene, 67f
Sullivant, T.S., 87
versus illusion, 271
Surprise quality of beauty, 146–147
Swiveling camera, for scene, 71f
Systems within systems, 8, 44–46, 46f
Techniques and lighting effects, 201–202, 234f, 235f
Tenggren, Gustaf, 87
Tenniel, John, 87
Texture
composition, 16
Theater drama, 37
Thematic color, for backgrounds, 168f
Tilting and rotating, for scene, 71f
color
domination of, on color, 138–143
light quality created by value steps, 144–145, 145f
Light tone, 141f
Middle tone, 141f
reversed negative, 151f
treatments, types of, 137f
act, 216
Transitional wash, 220
Transparent and opaque watercolor techniques, 185–193
Transparent watercolor, 220
Truck in, for scene, 70f
Truck out, for scene, 70f
Values, 201
visual reminder of, 241f
Value study, 217
color sketch and drawing for a cartoon, 206f
Vermeer, Jan, 8
Vibrating colors, 164f
Vienna Workshop, 147
Walt Disney’s The Hunchback of Notre Dame, concept art for, 210f, 211f
Watercolor
The Whites of Their Eyes, 280f, 281f
Wiener Werkstätte, 147
Williams, Richard, 256
Wyeth, N.C., 147