{"title":"Digital animation Books","description":"","products":[{"product_id":"learn-adobe-after-effects-cc-for-visual-effects-and-motion-graphics-9780135426036","title":"Learn Adobe After Effects CC for Visual Effects","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp style=\"margin:0px;\"\u003e\u003cb\u003eJoe Dockery\u003c\/b\u003e has taught for 27 years in the Snoqualmie Valley School District (WA) and currently leads the Digital Media Academy at Mount Si High School. His work has earned him numerous teaching awards from Washington State, the International Society for Technology in Education, and other groups. Joe is an Adobe Education Leader (AEL) and is ACA certified.\u003c\/p\u003e \u003cp style=\"margin:0px;\"\u003e\u003cb\u003eConrad Chavez\u003c\/b\u003e (book author) is an author and photographer with over two decades of experience with Adobe digital media workflows. During his time at Adobe Systems Inc., Conrad helped write the user guide for Adobe After Effects. He is the author or co-author of several titles in the Real World Adobe Photoshop and Adobe Classroom in a Book series, and he writes articles for websites such as CreativePro.com and Peachpit.com. Visit his web site at conradchavez.com.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cul\u003e\n\u003cli\u003eChapter 1: Introducing Adobe After Effects \u003c\/li\u003e\n\u003cli\u003eChapter 2: Understanding Basic Transformations \u003c\/li\u003e\n\u003cli\u003eChapter 3: Saving Time with Animation Presets \u003c\/li\u003e\n\u003cli\u003eChapter 4: Trimming, Tracking, and Time Remapping \u003c\/li\u003e\n\u003cli\u003eChapter 5: Compositing by Keying and Masking \u003c\/li\u003e\n\u003cli\u003eChapter 6: Creating Puppet Animations and 3D Layers \u003c\/li\u003e\n\u003cli\u003eChapter 7: Working in the Visual Effects Industry\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Pearson Education (US)","offers":[{"title":"Default Title","offer_id":48732340617559,"sku":"9780135426036","price":47.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780135426036.jpg?v=1719996480"},{"product_id":"dream-worlds-production-design-for-animation-9780240520933","title":"Dream Worlds Production Design for Animation","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eA truly unique visual delight offering insight into the development of animation classics like Bambi, Beauty and the Beast, The Lion King, Lilo and Stitch as well as a tantalizing examination of unfinished Disney projects.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eDream Worlds will be the definitive work on art direction and production design. Bacher covers decades of memorable animated films. There is really no other book like this out there.\u003cbr\u003eNancy Beiman: Animator, Director, Character Designer, Author \u0026amp; Professor\u003cbr\u003e\u003cbr\u003eI have been lucky to have known Hans Bacher and learned from his genius for over 30 years. \u003cbr\u003eWhen it comes to color, composition and design, Hans is in a class by himself. Look through the pages of 'Dream Worlds' and be inspired by Hans' high standards and his art. It is a feast for the eyes.\u003cbr\u003eAndreas Deja, Supervising Animator, Walt Disney Studios \u003cbr\u003e\u003cbr\u003eHans Bacher is a rare person - a top of the tree professional artist, production designer, animator, archivist, and generous teacher. Richard Williams, author of 'The Animator's Survival Kit'\u003cbr\u003e\u003cbr\u003e\"Dream Worlds is a must have for its visuals alone - I can only describe them as gorgeous.\" .. World Animation Journal\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eForeword by Don Hahn, Producer of Beauty and the Beast and The Lion King\u003cbr\u003eIntroduction\u003cbr\u003eFilm Analysis\u003cbr\u003eBeauty and the Beast\u003cbr\u003eVisual Development and Research\u003cbr\u003eAladdin\u003cbr\u003eInspiration\u003cbr\u003eCamera Rules\u003cbr\u003eThe Lion King\u003cbr\u003eComposition\u003cbr\u003eHercules\u003cbr\u003eStaging and Formats\u003cbr\u003eMulan\u003cbr\u003eRhythm and Syle Variety\u003cbr\u003eLilo and Stitch\u003cbr\u003eValue and Color\u003cbr\u003eBrother Bear\u003cbr\u003eUnfinished Disney Projects\u003cbr\u003eOwn Projects\u003cbr\u003eThe Masters - Bambi\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48732962947415,"sku":"9780240520933","price":41.64,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240520933.jpg?v=1719999086"},{"product_id":"digital-painting-techniques-9780240521749","title":"Digital Painting Techniques","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eDiscover the tips, tricks and techniques that really work for concept artists, matte painters and animators. Compiled by the team at 3dtotal.com, Digital Painting Techniques, Volume 1 offers  digital inspiration with hands-on insight and techniques from professional digital artists. More than just a gallery book - within Digital Painting Techniques each artist has written a breakdown overview, with supporting imagery of how they made their piece of work.  Beginner and intermediate digital artists will be inspired by the gallery style collection of the finest examples of digital painting from world renowned digital artists. Start your mentorship into the world of digital painting today with some of the greatest digital artists in the world and delve into professional digital painting techiques, such as speed painting, custom brush creation and matte painting. Develop your digital painting skills beyond the variety of free online digital painting tutorials and apply the most up to date t\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003e\"[O]ffers a range of digital inspirations and techniques from some 25 professional artists. More than just a gallery of images, this features step-by-step techniques that beginners through intermediate users can easily follow, inspired by world computer graphics artists. Photography, computer and arts collections alike will relish this.\"---\u003c\/em\u003e\u003cstrong\u003eBookWatch\u003c\/strong\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eSpeed Painting; Custom Brushes; Matte Painting; Creatures; Humans; Environments; Sci-Fi \/ Fantasy; Complete Projects; Gallery\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48732963045719,"sku":"9780240521749","price":39.94,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240521749.jpg?v=1719999086"},{"product_id":"elemental-magic-volume-ii-9780240814797","title":"Elemental Magic Volume II","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eDesign beautiful, professional-level animated effects with these detailed step-by-step tutorials from former Disney animator and animated effects expert Joseph Gilland. Filled with beautiful, full-color artwork, \u003cem\u003eElemental Magic, Volume II\u003c\/em\u003e, breaks down the animated effect process from beginning to end-including booming explosions, gusting winds, magical incantations, and raging fires. He also breaks down the process of effects clean-up, as well as timing and frame rates. The companion website includes real-time footage of the author lecturing as he animates the drawings from the book. In these videos, he elucidates the entire process from blank page to final animation. See it all come to life like never before. Throughout the book, Joseph refers to and includes examples from his own professional work from feature films such as \u003cem\u003eLilo \u0026amp; Stitch\u003c\/em\u003e and \u003cem\u003eTarzan\u003c\/em\u003e.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePRAISE FOR ELEMENTAL MAGIC, VOLUME I:\u003c\/p\u003e\u003cp\u003e\"Gilland's fascinating new book [is] a revelation of the amazing blend of the art and craft behind of classical effects animation.\"-\u003cstrong\u003eDon Hahn\u003c\/strong\u003e, Academy Award-nominated producer of Beauty and the Beast and The Lion King\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThe Elements; The Wave; The Splash; Lighting a Fire; Blowing it Up; The Magic Touch\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48732963111255,"sku":"9780240814797","price":42.29,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240814797.jpg?v=1719999087"},{"product_id":"3ds-max-modeling-for-games-9780240815824","title":"3ds Max Modeling for Games","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eWith 18 years under his belt in the game industry, a key contributor to the MotorStorm series, and the creator of the 3ds Max in Minutes video series (at FocalPress.com), Andrew Gahan delivers the expert techniques in 3ds Max Modeling for Games, 2\u003csup\u003end\u003c\/sup\u003e edition.  This updated edition is packed with new tutorials that will enhance your modeling skills and pump up your portfolio with high-quality work in no time.  Along with Anthony O''Donnell and a team of experts, Gahan covers all of the fundamental game modeling techniques, including character and environment modeling, mapping, and texturing. Finally, a bonus section in 3ds Max Modeling for Games offers readers insights and tips on how to get their careers started in the game industry.\u003c\/p\u003e\u003cp\u003e \u003c\/p\u003e\u003cul\u003e\u003cul\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eNew, expanded tutorials take readers of all abilities through full character and environment modeling from beginning to end\u003c\/li\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eCompanion website (3d-for-games.com) offers a robust, s\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"This book is a must-have resource for anyone wanting to learn how to make game art in 3ds Max. It has great support on the forums which is a testament to the author's enthusiasm for the subject. My students would be lost without it. If you want to understand how to really make 3d art for games then this is the book you need\"--David Wilson, programme leader, BA (Hons) Computer Games Modelling and Animation, University of Derby, UK\u003c\/p\u003e\n\u003cp\u003e\"This is a great book covering most aspects of modeling for games including the basics of 3D, Ambient Occlusion, Normal Maps, Character, Vehicle, Scene Creation and much, much more. It covers everything you need to get you started for your career in games\"--Andy Manns, lead artist, THQ\u003c\/p\u003e\n\u003cp\u003e\"An extremely comprehensive book covering all the basic theory and techniques with 3ds Max, currently used within the best game development studios in the industry\"--Alex Perkins, art director, Sony Computer Entertainment Europe.\u003c\/p\u003e\n\u003cp\u003e\"For a beginner, getting to grip with 3ds Max is a daunting prospect, but this book picks on the relevant features and aims to get you producing usable 3D game art quickly and efficiently. It gives you a great understanding of what goes into make good 3D video-game art and will give you the vocabulary needed to talk with confidence about in-game models.\"--Don Whiteford, creative director THQ Digital UK Ltd.\u003c\/p\u003e\n\u003cp\u003e\"This book is one of the most comprehensive, straight-forward, and easy to follow guides for modeling precise and efficient 3D game assets and environments. Andrew Gahan has heard everything every educator has said about what a textbook needs to do to meet the broad stroke of students' needs and abilities in learning how to master 3D modeling with 3ds Max. With simple understanding and imagination, this text can be used to transform modeling for games into modeling for animation or modeling for simulation.\"--Tim Harrington, national assistant dean, Game and Simulation Programming, DeVry University\u003c\/p\u003e\n\u003cp\u003e\"Author of this book covers what you need to complete each tutorial; it designed to get you up to speed as quickly as possible producing great artwork and is not designed to teach you how to use all aspects of 3ds Max.\"--\u003cstrong\u003eWonderpedia.wetpaint.com\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction to 3ds Max. Creating, Unwrapping, and Texturing Simple Models. Creating Complex Objects from Primitives. Vegetation and Alpha Maps. Low-Poly Vehicle. Creating LODs. Normal Maps. Gallery. Creating a 3D Environment. High-and Low-Poly Characters. Portfolio and Interview.\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/ul\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48732963144023,"sku":"9780240815824","price":41.59,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240815824.jpg?v=1719999087"},{"product_id":"the-animators-eye-9780240817248","title":"The Animators Eye","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eFirst published in 2011. Enhance your animated features and shorts with this polished guide to channeling your vision and imagination from a former Disney animator and director. Learn how to become a strong visual storyteller through better use of color, volume, shape, shadow, and light - as well as discover how to tap into your imagination and refine your own personal vision. Francis Glebas, the director of Piglet's Big Day, guides you through the animation design process in a way that only years of expertise can provide. Discover how to create unique worlds and compelling characters as well as the difference between real-world and cartoon physics as Francis breaks down animated scenes to show you how and why to layout your animation.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eChapter 1: Introduction\u003c\/p\u003e\u003cp\u003eChapter 2: Mad Science or Magic?\u003c\/p\u003e\u003cp\u003eChapter 3: That Reminds Me of a Story\u003c\/p\u003e\u003cp\u003eChapter 4: Why Do We Animate?\u003c\/p\u003e\u003cp\u003eChapter 5: Seeing Shapes Drawing Lines\u003c\/p\u003e\u003cp\u003eChapter 6: The Laws of Animation\u003c\/p\u003e\u003cp\u003eChapter 7: It's Alive! Animating Inner Life\u003c\/p\u003e\u003cp\u003eChapter 8: Creating Worlds\u003c\/p\u003e\u003cp\u003eChapter 9: Putting It Together in Post\u003c\/p\u003e\u003cp\u003eChapter 10: The Evolution of the Animator's Eye\u003c\/p\u003e\u003cp\u003eChapter 11: Production: Now We're Cooking!\u003c\/p\u003e\u003cp\u003eChapter 12: Who Let These Two in Here? The Evolution of Ig and Bunny\u003c\/p\u003e\u003cp\u003eChapter 13: Conclusion: How I Got Eye\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48732963209559,"sku":"9780240817248","price":33.29,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240817248.jpg?v=1719999089"},{"product_id":"character-mentor-9780240820712","title":"Character Mentor","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eYou've researched your character extensively, tailored her to your audience, sketched hundreds of versions, and now you lean back content as you gaze at your final character model sheet. But now what? Whether you want to use her in an animated film, television show, video game, web comic, or children's book, you're going to have to make her perform. How a character looks and is costumed starts to tell her story, but her body language reveals even more. \u003cem\u003eCharacter Mentor \u003c\/em\u003eshows you how to pose your character, create emotion through facial expressions, and stage your character to create drama. Author Tom Bancroft addresses each topic with clear, concise prose, and then shows you what he really means through commenting on and redrawing artwork from a variety of student apprentices. His assignments allow you to join in and bring your drawing to the next level with concrete techniques, as well as more theoretical analysis. \u003cem\u003eCharacter Mentor\u003c\/em\u003e is an apprenticeship in a book. \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"You've researched your character extensively, tailored her to your audience, sketched hundreds of versions, and now you lean back content as you gaze at your final character model sheet. But now what? Whether you want to use her in an animated film, television show, video game, web comic, or children's book, you're going to have to make her perform. How a character looks and is costumed starts to tell her story, but her body language reveals even more. Character Mentor shows you how to pose your character, create emotion through facial expressions, and stage your character to create drama. Author Tom Bancroft addresses each topic with clear, concise prose, and then shows you what he really means through commenting on and redrawing artwork from a variety of student 'apprentices.' His assignments allow you to join in and bring your drawing to the next level with concrete techniques, as well as more theoretical analysis. Character Mentor is an apprenticeship in a book.\"\u003cstrong\u003e--CartoonBrew.com\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\"If, like me, you are always looking to push yourself as a character artist I cannot recommend this book enough... Each chapter is a lesson on a specific topic, ranging from Posing to Shape-based composition. At the end of a chapter [Tom] sets you homework followed by examples of completed tasks by fellow students. Tom himself has gone over each example, annotating and thoroughly explaining each one in order for you to see how to bring your own work up to scratch...The best thing about this book for me, however, is that it doesn’t end. You can never be truly finished with it as the teachings within are always relevant...it’s like having a teacher on your shelf that will never be too busy to help you out and will always give you good advice.\"\u003cstrong\u003e--Robin Liebschner, Skwigly.com\u003c\/strong\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eChapter 1: Now What: Drawing basics for Posing and Expressions (Assignment #1: Character design: Elroy and Kirby); Chapter 2: The Face: Breaking down the elements of expression (Assignment #2: Drawing \"Emma\" with different expressions ); Chapter 3: Posing your character: what are you trying to communicate? (Assignment #3: Drawing \"Tommy\" in three, distinct poses); Chapter 4: Acting: Characters acting and reacting the way you want them to (Assignment #4: Thumbnail sketch a series of poses of \"Tommy\" to best describe a specific action); Chapter 5: Staging your scene: Using the elements of your scene to create a composition (Assignment #5: Illustrate the same scene from two different points-of-view); Chapter 6: Leading the eye: Prioritizing by design (Assignment #6: Illustrating a specific scene, using the designs provided); Chapter 7: Putting it in action: creating an illustration from start to finish\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48732963307863,"sku":"9780240820712","price":40.49,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240820712.jpg?v=1791454911"},{"product_id":"sketching-for-animation-9781350087095","title":"Sketching for Animation","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eDrawing and sketching are central to the art of animation and can be crucial tools in designing and developing original stories, characters and layouts. \u003ci\u003eSketching for Animation\u003c\/i\u003e offers a wealth of examples, exercises and tips from an army of professional animators to help you develop  essential sketching, technical drawing and ideation techniques.\u003cbr\u003e\u003cbr\u003eWith interviews and in-depth case studies from some of today''s leading animators, including Bill Plympton, Glen Keane, Tori Davis and John Canemaker, this is a unique guide to turning your sketchbook - the world''s cheapest, most portable pre-visualisation tool - into your own personal animation armory.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eFrom novice to master in one volume! The depth and breadth of subjects are invaluable to an animator! * Kathryn McKelvey, University of Northumbria, UK *\u003cbr\u003eIt covers everything in animation you need to know by connecting it to your sketchbook. * Mario Menjivar, The School of Visual Arts, USA *\u003cbr\u003eA great primer on how to get the most out of sketching as it relates to animation. * Ben Ridgway, San Francisco State University, USA *\u003cbr\u003eThe book fulfills many functions: whilst it serves as a drawing\/painting instruction book and includes exercises in many key techniques; it also inspires through its use of carefully chosen examples. Yet in demonstrating the application of these basic fine-art principles to animation it effortlessly crosses the boundary between disciplines that are too often kept apart. * Kathy Nicholls, University of Falmouth, UK *\u003cbr\u003eThis is the most complete and rich text on the market. An essential book to understand advanced as well as basic techniques. * Pulvirenti Luca Orazio, Accademia di Belle Arti di Palermo, Italy *\u003cbr\u003eThis is an excellent and vital resource to demonstrate the importance of drawing and using a sketchbook as a crucial tool for all animators whether they work digitally or traditionally. It is beautifully and richly illustrated, using a wide range of examples from both the author and other professional animators. It also has helpful exercises to undertake as well as offering inspiration from its vast range of illustrated examples. A beautiful and informative book. * Roslind Allen, University of Sunderland, UK *\u003cbr\u003eThis is an exceptional book on drawing. It covers a vast range of techniques and ideas in a clear and concise way with fantastic illustrated examples. Always carefully placing these within the context of animation production, Peter Parr has created a book that without a doubt will become a key text. -- Tim Holleyman, Senior Lecturer in Animation\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction Part One: Drawing and Sketching Techniques 1. Using Simple Shapes  2. Put it in Perspective 3. Drawing Figures and Animals  4. Drawing the ‘scapes: land, town and sea 5. Capturing Movement   Part Two: Design and Development 6. Developing Ideas  7. Character Development  8. Layout and Background Design   Glossary  Bibliography  Index","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":48738586591575,"sku":"9781350087095","price":34.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781350087095.jpg?v=1720049563"},{"product_id":"the-moving-image-workshop-9781472572004","title":"The Moving Image Workshop","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eHeather D. Freeman is Associate Professor of Digital Media at the University of North Carolina at Charlotte, US.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe Moving Image Workshop offers a concise, thorough and realistic approach to creating well thought out and engaging animations. The exercises are invaluable and easily adaptable to the classroom and obviously come from the author’s careful study and understanding of prior works in the field as well as her own practice. The chapter on character development and character appeal is inspired and further refines the definition of what is successful in animation. Highly recommended! -- Doreen Maloney, Associate Professor of New Media, Founder, New Media Caucus, School of Art and Visual Studies, University of Kentucky, USA\u003cbr\u003eThis is a very useful and current work. Its application of various projects create a useful bridge between technical practice and creative application. The Moving Image Workshop has been well designed and mapped out, enabling each chapter to be broken down into understandable and relatable sections, and thus supporting the learner, without ever over-burdening them with superfluous detail. Overall an excellent reference book, especially for students about to embark on any moving image based course. * Stephen Hibbert, University of Huddersfield, UK *\u003cbr\u003eAn extensively researched and beautifully illustrated book, which helps to explore the expansive range and various applications of animation while giving a good background into the basic principles as well. The wide variety of exercises as well offers an extended value to this book and would benefit anyone suffering from a creative 'block'! * Ros Allen, University of Sunderland, UK *\u003cbr\u003eThe Moving Image Workshop is beautifully illustrated and structured thematically with loads of project ideas and animation principles to inspire students and teachers of animation. * John Morrison, Edinburgh Napier University, UK *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction 1. Underpinnings: Principles of Animation 2. Brain Games: Pre-planning and Pre-production 3. A Thoughtful Space: Movement and Composition  4. Synthetic Life: Character Design and Movement  5. All Words are Pegs to Hang Ideas On: Text Animation  6. Lightning Bolts and Weathermen: Motion GFX and Visual FX  7. Devious Things: Experiments in Movement  8. Your Name in Lights: Venues for Animation   Conclusion: Art Making for Everyone  Glossary  Bibliography","brand":"Bloomsbury Publishing PLC","offers":[{"title":"Default Title","offer_id":48739470967127,"sku":"9781472572004","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781472572004.jpg?v=1720052343"},{"product_id":"game-feel-9780123743282","title":"Game Feel","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eGame Feel exposes feel as a hidden language in game design that no one has fully articulated yet. The language could be compared to the building blocks of music (time signatures, chord progressions, verse) - no matter the instruments, style or time period - these building blocks come into play. Feel and sensation are similar building blocks where game design is concerned. They create the meta-sensation of involvement with a game. \u003cbr\u003e\u003cbr\u003eThe understanding of how game designers create feel, and affect feel are only partially understood by most in the field and tends to be overlooked as a method or course of study, yet a game's feel is central to a game's success. This book brings the subject of feel to light by consolidating existing theories into a cohesive book. \u003cbr\u003e\u003cbr\u003eThe book covers topics like the role of sound, ancillary indicators, the importance of metaphor, how people perceive things, and a brief history of feel in games.\u003cbr\u003e\u003cbr\u003eThe associated web site contains a playset wi\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eINTRODUCTION PART 1: Deconstruction1. Why Feel, Why Now?This chapter focuses on the impetus behind the book, asking the reader to recall the sensation of controlling a virtual avatar and talking about why feel is so important (and why it is often overlooked.)2. The Grand Scheme of Game DesignThis chapter assigns feel a place in the larger realm of game design, defining its scope and boundaries, talking about how it fits into creating the Ultimate Game Experience of life-enriching flow and empowerment. Using diagrams and research derived from Maslow's Pyramid of Wants and Will Wright's concept of Granularity, feel is identified as one of the atomic units of game construction, one of the most basic building blocks of interactivity. 3. Games that don't Feature Virtual Sensation There are some types of digital games - Civilization, Solitaire, the Sims, and so on - that don't focus on feel or utilize it as one of their core elements, separating them from what will be discussed in the book. An interesting aside is that we are indeed experiencing virtual sensation whenever we use a mouse but that it is so intuitive and familiar that there's really no rational motion translation or skill to build. This brings up an interesting point: much of the pleasure of controlling something purely visual is in the challenge of mastering it, in the obfuscation. In fact, we're wired to receive pleasure for remapping our neural pathways to gain skill and mastery in this way, and it's one of the reasons that overcoming challenges (playing games) is so pleasureable. 4. What is Feel?How do players experience feel? It seems to be mostly subconscious, though there are some artifacts that will be of use to us. Citations here of various forum scrapings and interviews with players looking for feel des\u003c\/p\u003e","brand":"Taylor \u0026 Francis Inc","offers":[{"title":"Default Title","offer_id":48864155894103,"sku":"9780123743282","price":44.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780123743282.jpg?v=1782120928"},{"product_id":"professional-storyboarding-9780240817705","title":"Professional Storyboarding","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eStoryboarding is a very tough business, and a new storyboarder really needs to have their wits about them and have professional savvy to survive in this competitive field. \u003ci\u003eStoryboarding: Rules of Thumb \u003c\/i\u003eoffers highly illustrative examples of basic storyboarding concepts, as well as sound, career-oriented advice for the new artist. This book also features a number of veteran storyboard artists sharing their experiences in the professional world.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eIntroduction; Chapter 1 Overview; Chapter 2 Visual Literacy; Chapter 3 Drawing for Storyboards; Chapter 4 Cinema Language; Chapter 5 Story Structure; Chapter 6 Emotion; Chapter 7 Staging; Chapter 8 Storyboard Types; Chapter 9 Storyboarding; Chapter 10 Advanced Storyboard Techniques; Chapter 11 Portfolios and Promotion; Chapter 12 Finding Work; Chapter 13 Spotlight; Chapter 14 Parting Thoughts;","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48864266551639,"sku":"9780240817705","price":33.29,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240817705.jpg?v=1791379187"},{"product_id":"timing-for-animation-40th-anniversary-edition-9780367527754","title":"Timing for Animation 40th Anniversary Edition","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eTiming for Animation \u003c\/b\u003ehas been one of the pillars of animation since it was first published in 1981. Now this 40th anniversary edition captures the focus of the original and enhances this new edition with fresh images, techniques, and advice from world-renowned animators. Not only does the text explore timing in traditional animation, but also timing in digital works. \u003c\/p\u003e\u003cp\u003eVibrant illustrations and clear directions line the pages to help depict the various methods and procedures to bring your animation to life. Examples include timing for digital production, digital storyboarding in 2D, digital storyboarding in 3D, and the use of After Effects, as well as interactive games, television, animals, and more. Learn how animated scenes should be arranged in relation to each other, how much space should be used, and how long each drawing should be shown for maximum dramatic effect. \u003c\/p\u003e\u003cp\u003eAll you need to breathe life into your animation is at your fingertips with\u003cb\u003e Timing for Anim\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\"\u003cem\u003eTiming for Animation 3rd edition\u003c\/em\u003e is a must-have book for anyone who is serious about creating animation.\"\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003e- Nancy Denney-Phelps, \u003cem\u003eAnimationWorld\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eTiming for Broadcast Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1\u003c\/p\u003e\u003cp\u003eTiming for Full Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2\u003c\/p\u003e\u003cp\u003eTiming in General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2\u003c\/p\u003e\u003cp\u003eWhat Is Good Timing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3\u003c\/p\u003e\u003cp\u003eThe Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5\u003c\/p\u003e\u003cp\u003eTraditional Storyboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6\u003c\/p\u003e\u003cp\u003eDigital Storyboarding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8\u003c\/p\u003e\u003cp\u003e2D Storyboarding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9\u003c\/p\u003e\u003cp\u003e3D Storyboarding—Pre-Visualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9\u003c\/p\u003e\u003cp\u003eAdditional Storyboard Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12\u003c\/p\u003e\u003cp\u003eResponsibility of the Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13\u003c\/p\u003e\u003cp\u003eDirecting for Interactive Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15\u003c\/p\u003e\u003cp\u003eThe Basic Unit of Time in Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16\u003c\/p\u003e\u003cp\u003eTiming for Television, Web-Based Programming\u003c\/p\u003e\u003cp\u003evs. Timing for Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18\u003c\/p\u003e\u003cp\u003eSlugging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19\u003c\/p\u003e\u003cp\u003eBar Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21\u003c\/p\u003e\u003cp\u003eTiming for a Hand-Drawn Film: Exposure Charts\u003c\/p\u003e\u003cp\u003eor Exposure Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23\u003c\/p\u003e\u003cp\u003eTiming for an Overseas Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24\u003c\/p\u003e\u003cp\u003eTiming for a 2D Digital Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25\u003c\/p\u003e\u003cp\u003eTiming for a 3D Digital Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25\u003c\/p\u003e\u003cp\u003eTiming for an Actor-Based Program (Performance\u003c\/p\u003e\u003cp\u003eor Motion Capture) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27\u003c\/p\u003e\u003cp\u003eAnimation and Properties of Matter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29\u003c\/p\u003e\u003cp\u003eMovement and Caricature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31\u003c\/p\u003e\u003cp\u003eCause and Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32\u003c\/p\u003e\u003cp\u003eNewton’s Laws of Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34\u003c\/p\u003e\u003cp\u003eObjects Thrown Through the Air . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36\u003c\/p\u003e\u003cp\u003eTiming of Inanimate Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38\u003c\/p\u003e\u003cp\u003eRotating Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40\u003c\/p\u003e\u003cp\u003eIrregular Inanimate Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40\u003c\/p\u003e\u003cp\u003eAnimate Objects—Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40\u003c\/p\u003e\u003cp\u003eForce Transmitted Through a Flexible Joint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42\u003c\/p\u003e\u003cp\u003eForce Transmitted Through Jointed Limbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44\u003c\/p\u003e\u003cp\u003eSpacing of Drawings—General Remarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46\u003c\/p\u003e\u003cp\u003eSpacing of Drawings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48\u003c\/p\u003e\u003cp\u003eTiming a Slow Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50\u003c\/p\u003e\u003cp\u003eTiming a Fast Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52\u003c\/p\u003e\u003cp\u003eGetting Into and Out of Holds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54\u003c\/p\u003e\u003cp\u003eSingle Frames or Double Frames? Ones or Twos? . . . . . . . . . . . . . . . . . . . . . . . . . . . 56\u003c\/p\u003e\u003cp\u003eHow Long to Hold? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58\u003c\/p\u003e\u003cp\u003eAnticipation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60\u003c\/p\u003e\u003cp\u003eFollow Through . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63\u003c\/p\u003e\u003cp\u003eOverlapping Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65\u003c\/p\u003e\u003cp\u003eTiming an Oscillating Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66\u003c\/p\u003e\u003cp\u003eTiming to Suggest Weight and Force—1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68\u003c\/p\u003e\u003cp\u003eTiming to Suggest Weight and Force—2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70\u003c\/p\u003e\u003cp\u003eTiming to Suggest Weight and Force—3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72\u003c\/p\u003e\u003cp\u003eTiming to Suggest Weight and Force—4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75\u003c\/p\u003e\u003cp\u003eTiming to Suggest Force: Repeat Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76\u003c\/p\u003e\u003cp\u003eCharacter Reactions and “Takes” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78\u003c\/p\u003e\u003cp\u003eTiming to Give a Feeling of Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80\u003c\/p\u003e\u003cp\u003eThe Effects of Friction, Air Resistance, and Wind . . . . . . . . . . . . . . . . . . . . . . . . . . . 82\u003c\/p\u003e\u003cp\u003eTiming Cycles—How Long a Repeat? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84\u003c\/p\u003e\u003cp\u003eA Waving Flag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84\u003c\/p\u003e\u003cp\u003eScenes with Multiple Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86\u003c\/p\u003e\u003cp\u003eDigital Crowds (\u003ci\u003eMassive\u003c\/i\u003e) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87\u003c\/p\u003e\u003cp\u003eEffects Animation: Flames and Smoke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88\u003c\/p\u003e\u003cp\u003eWater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90\u003c\/p\u003e\u003cp\u003eRain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94\u003c\/p\u003e\u003cp\u003eWater Drops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94\u003c\/p\u003e\u003cp\u003eSnow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95\u003c\/p\u003e\u003cp\u003eExplosions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96\u003c\/p\u003e\u003cp\u003e3D Digital Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96\u003c\/p\u003e\u003cp\u003eRepeat Movements of Inanimate Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100\u003c\/p\u003e\u003cp\u003eTiming a Walk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102\u003c\/p\u003e\u003cp\u003eTypes of Walk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104\u003c\/p\u003e\u003cp\u003eSpacing of Drawings in Perspective Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . 106\u003c\/p\u003e\u003cp\u003eTiming Animals’ Movements: Horses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108\u003c\/p\u003e\u003cp\u003eTiming Animals’ Movements: Other Quadrupeds . . . . . . . . . . . . . . . . . . . . . . . . . 110\u003c\/p\u003e\u003cp\u003eTiming an Animal’s Gallop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112\u003c\/p\u003e\u003cp\u003eBird Flight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114\u003c\/p\u003e\u003cp\u003eDrybrush (Speed Lines) and Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116\u003c\/p\u003e\u003cp\u003eAccentuating a Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122\u003c\/p\u003e\u003cp\u003eStrobing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124\u003c\/p\u003e\u003cp\u003eFast Run Cycles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126\u003c\/p\u003e\u003cp\u003eCharacterization (Acting) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128\u003c\/p\u003e\u003cp\u003eThe Use of Timing to Suggest Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130\u003c\/p\u003e\u003cp\u003eSynchronizing Animation to Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132\u003c\/p\u003e\u003cp\u003eLip-Sync—1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134\u003c\/p\u003e\u003cp\u003eLip-Sync—2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136\u003c\/p\u003e\u003cp\u003eLip-Sync—3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138\u003c\/p\u003e\u003cp\u003eTiming and Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141\u003c\/p\u003e\u003cp\u003eAnimating for Interactive Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142\u003c\/p\u003e\u003cp\u003eTraditional Camera Movements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144\u003c\/p\u003e\u003cp\u003e3D Camera Moves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146\u003c\/p\u003e\u003cp\u003ePeg Movements in Traditional Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147\u003c\/p\u003e\u003cp\u003ePeg Movements in 3D Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149\u003c\/p\u003e\u003cp\u003eEditing Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158\u003c\/p\u003e\u003cp\u003eEditing for Feature Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159\u003c\/p\u003e\u003cp\u003eEditing for Television Episodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159\u003c\/p\u003e\u003cp\u003eEditing for Children’s Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160\u003c\/p\u003e\u003cp\u003eEditing for Internet Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161\u003c\/p\u003e\u003cp\u003eConclusion . 163\u003c\/p\u003e\u003cp\u003eIndex . 164\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48864505430359,"sku":"9780367527754","price":44.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367527754.jpg?v=1722272235"},{"product_id":"the-art-of-drawing-folds-an-illustrators-guide-to-drawing-the-clothed-figure-9780415793421","title":"The Art of Drawing Folds An Illustrators Guide to","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction \u003c\/p\u003e\u003cp\u003eWhat are Folds? \u003c\/p\u003e\u003cp\u003eThree-dimensional Drawing 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He was grizzled and he was great and proof that there was more than one Walt at the Disney Studio that could inspire a legion of artists.\u003c\/p\u003e\u003cp\u003e— John Musker, Walt Disney Animation Studios\u003c\/p\u003e\u003cp\u003eWalt Stanchfield was one of Disney Animation’s national treasures. His classes and notes have inspired countless animation artists, and his approach to drawing of caricature over reality, feeling over rote accuracy, and communication over photographic reproduction gets to the heart of what great animation is all about. Huzzah to Don Hahn for putting it all together for us!\u003c\/p\u003e\u003cp\u003e— Eric Goldberg, Walt Disney Animation Studios\u003c\/p\u003e\u003cp\u003eDuring the Animation Renaissance of the 1990s, one of the Walt Disney Studio’s best kept secrets was Walt Stanchfield. Once a week after work, this aged but agile figure jumped from drawing board to drawing board, patiently teaching us the principles behind the high baroque style of Walt Disney Animation drawing. Being in a room with Walt made you feel what it must have been like to have been taught by Don Graham. Having one of your life drawings be good enough to be reproduced in one of his little homemade weekly bulletins was akin to getting a Distinguished Service medal! Senior animators vied with trainees for that distinction.\u003c\/p\u003e\u003cp\u003e— Tom Sito, Animator\/Filmmaker\/Author of Drawing The Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson\u003c\/p\u003e\u003cp\u003eThis exciting collection of master classes by the great teacher Walt Stanchfield is destined to become a classic on the order of Kimon Nicolaides ’ exploration of the drawing process. Stanchfield (1919 – 2000) inspired several generations of Disney animators and those of us outside the studio fortunate enough to happen upon dog-eared copies of his conversational notes, which we passed around like Leonardo’s Codex Leicester. Stanchfield beautifully communicates the essence and joy of expressing ideas through the graphic line and accumulating a visual vocabulary. Drawn to Life is a treasure trove of cogent, valuable information for students, teachers and anyone who loves to draw.\u003c\/p\u003e\u003cp\u003e— John Canemaker, NYU professor and Academy Award ® -winning animation filmmaker\u003c\/p\u003e\u003cp\u003eWalt Stanchfield, in his own unique way, taught so many of us about drawing, caricature, motion, acting, and animation. Most important to me was how Walt made you apply what you had observed in his life drawing class to your animation. Disney Animation is based on real life, and in that regard Walt Stanchfield’s philosophy echoed Walt Disney’s: \" We cannot caricature and animate anything convincingly until we study the real thing first. \"\u003c\/p\u003e\u003cp\u003e— Andreas Deja, Walt Disney Animation Studios\u003c\/p\u003e\u003cp\u003eWalt Stanchfield’s renewed emphasis on draftsmanship at the Disney Studios transformed the seemingly moribund art of animation. His students were part of a renaissance with The Little Mermaid and Who Framed Roger Rabbit, a renaissance that continues with films ranging from The Iron Giant to Lilo and Stitch to Wall-E.\u003c\/p\u003e\u003cp\u003e— Charles Solomon, Animation Historian \u003c\/p\u003e\u003cbr\u003e\u003cp\u003eFor nearly thirty years, the artists that passed through the gates of Disney Animation, and even non-artists like myself, were influenced by the craft, skill, wisdom, writings and sketches of Walt Stanchfield.\u003c\/p\u003e\u003cp\u003e— Roy Disney\u003c\/p\u003e\u003cp\u003eWalt was a kind of Mark Twain for us at Disney. He always taught with humor and skill. You learned to see the world through his eyes. I remember him one day encouraging us to leap into our drawings with boldness and confidence, \" Don’t be afraid to make a mistake. We all have 10,000 bad drawings in us so the sooner you get them out the better! \" Sitting in Walt’s class was as much a psychology course as it was a drawing class. One couldn’t help walk away with your mind and soul a little more open than when you entered.\u003c\/p\u003e\u003cp\u003e— Glen Keane, Walt Disney Animation Studios\u003c\/p\u003e\u003cp\u003eWalt Stanchfield’s classes and writings were little distillations of the man: quirky, strongly stated in a genial voice, and brimming with a lifetime of sharp observations about story telling and graphic communication. Whether he drew with a ball point pen or painted with a brush dipped in his coffee cup, he got to the essence of things and was eager to share what he learned with his eager disciples, myself among them. He was grizzled and he was great and proof that there was more than one Walt at the Disney Studio that could inspire a legion of artists.\u003c\/p\u003e\u003cp\u003e— John Musker, Walt Disney Animation Studios\u003c\/p\u003e\u003cp\u003eWalt Stanchfield was one of Disney Animation’s national treasures. His classes and notes have inspired countless animation artists, and his approach to drawing of caricature over reality, feeling over rote accuracy, and communication over photographic reproduction gets to the heart of what great animation is all about. Huzzah to Don Hahn for putting it all together for us!\u003c\/p\u003e\u003cp\u003e— Eric Goldberg, Walt Disney Animation Studios\u003c\/p\u003e\u003cp\u003eDuring the Animation Renaissance of the 1990s, one of the Walt Disney Studio’s best kept secrets was Walt Stanchfield. Once a week after work, this aged but agile figure jumped from drawing board to drawing board, patiently teaching us the principles behind the high baroque style of Walt Disney Animation drawing. Being in a room with Walt made you feel what it must have been like to have been taught by Don Graham. Having one of your life drawings be good enough to be reproduced in one of his little homemade weekly bulletins was akin to getting a Distinguished Service medal! Senior animators vied with trainees for that distinction.\u003c\/p\u003e\u003cp\u003e— Tom Sito, Animator\/Filmmaker\/Author of Drawing The Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson\u003c\/p\u003e\u003cp\u003eThis exciting collection of master classes by the great teacher Walt Stanchfield is destined to become a classic on the order of Kimon Nicolaides ’ exploration of the drawing process. Stanchfield (1919 – 2000) inspired several generations of Disney animators and those of us outside the studio fortunate enough to happen upon dog-eared copies of his conversational notes, which we passed around like Leonardo’s Codex Leicester. Stanchfield beautifully communicates the essence and joy of expressing ideas through the graphic line and accumulating a visual vocabulary. \u003cem\u003eDrawn to Life\u003c\/em\u003e is a treasure trove of cogent, valuable information for students, teachers and anyone who loves to draw.\u003c\/p\u003e\u003cp\u003e— John Canemaker, NYU professor and Academy Award ® -winning animation filmmaker\u003c\/p\u003e\u003cp\u003eWalt Stanchfield, in his own unique way, taught so many of us about drawing, caricature, motion, acting, and animation. Most important to me was how Walt made you apply what you had observed in his life drawing class to your animation. Disney Animation is based on real life, and in that regard Walt Stanchfield’s philosophy echoed Walt Disney’s: \" We cannot caricature and animate anything convincingly until we study the real thing first. \"\u003c\/p\u003e\u003cp\u003e— Andreas Deja, Walt Disney Animation Studios\u003c\/p\u003e\u003cp\u003eWalt Stanchfield’s renewed emphasis on draftsmanship at the Disney Studios transformed the seemingly moribund art of animation. His students were part of a renaissance with The Little Mermaid and Who Framed Roger Rabbit, a renaissance that continues with films ranging from The Iron Giant to Lilo and Stitch to Wall-E.\u003c\/p\u003e\u003cp\u003e— Charles Solomon, Animation Historian \u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eForeword. Acknowledgements. \u003cb\u003eBasics\u003c\/b\u003e. 1. Enthusiasm. 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. \u003cb\u003eGesture\u003c\/b\u003e. 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. \u003cb\u003eSeeing\u003c\/b\u003e. 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. \u003cb\u003eAnalysis\u003c\/b\u003e. 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. \u003cb\u003eCreativity\u003c\/b\u003e. 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? \u003cb\u003eThinking\u003c\/b\u003e. 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? Afterword\/Bonus Material. Credits — Volume I. \u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866293252439,"sku":"9781032104416","price":38.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032104416.jpg?v=1791469072"},{"product_id":"building-science-graphics-9781032106748","title":"Building Science Graphics","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cem\u003e\u003cstrong\u003eBuilding Science Graphics: An illustrated guide to communicating science through diagrams and visualizations\u003c\/strong\u003e\u003c\/em\u003e is a practical guide for anyoneâregardless of previous design experience and preferred drawing toolsâinterested in creating science-centric illustrated explanatory diagrams. Starting with a clear introduction to the concept of information graphics and their role in contemporary science communication, it then outlines a process for creating graphics using evidence-based design strategies. The heart of the book is composed of two step-by-step graphical worksheets, designed to help jump-start any new project. The author website, featuring further resources and links, can be found here: \u003ca href=\"https:\/\/www.buildingsciencegraphics.com\/\"\u003ehttps:\/\/www.buildingsciencegraphics.com\/\u003c\/a\u003e. This is both a textbook and a practical reference for anyone that needs to convey scientific information in an illustrated form for articles, poster presentations, slide shows, \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"This book is a masterclass in the field of scientific visualization. Ms. Christiansen’s approach is insightful, approachable, thorough, and inclusive. There is something here for everyone, from the true novice to those who have been practicing scientific visualization for years. Each page is bursting with useful and interesting content. As an unsurprising bonus, the book’s design is a delight; it is a pleasure to read and peruse the images and layout. I strongly recommend this book for anyone interested in what it takes to create visuals that effectively and beautifully communicate science.\"\u003cbr\u003e\u003ci\u003e\u003cb\u003e-- Jill K Gregory\u003c\/b\u003e, MFA, CMI; President, Association of Medical Illustrators; Associate Director of Instructional Technology, Icahn School of Medicine at Mount Sinai.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"Much like a successful science graphic, \u003ci\u003eBuilding Science Graphics\u003c\/i\u003e delivers compelling information on many different levels. From quick tips to deep dives, Christiansen shares well researched, clear examples, as well as actionable workflows and memorable anecdotes from her career. A great read and valuable resource for designers and researchers alike.\"\u003cbr\u003e\u003cstrong\u003e-- Beth Rakouskas\u003c\/strong\u003e, Creative Director, \u003cem\u003eScience\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"Whenever Jen Christiansen was the art director for an article I was editing, I knew that no matter how imposing the illustrative challenge, she would find a visually stunning way to bring it to glorious, lucid life. In her hands, explanatory illustrations sing out a tale of discovery, one that inspires with the grace and elegance of its comprehension. With this marvellous book, Jen generously shares her approach to beautiful, informative design, and it does something I once wouldn’t have imagined was possible: It makes me appreciate and love her work even more.\"\u003cbr\u003e\u003ci\u003e\u003cb\u003e-- John Rennie\u003c\/b\u003e, Deputy editor, \u003c\/i\u003eQuanta Magazine\u003ci\u003e; Former editor-in-chief, \u003c\/i\u003eScientific American\u003ci\u003e; Adjunct instructor, Arthur L. Carter Journalism Institute, New York University.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"This beautifully illustrated book is like a Swiss Army Knife— all the necessary tools of the trade are there, and they fit together seamlessly. Communicating science visually has unique challenges and considerations, which makes this book a must-read for creators of science visuals. The step-by-step approach is accessible to all levels, from students to researchers to professional artists and designers.\"\u003cbr\u003e\u003cem\u003e\u003cb\u003e-- Kelly Krause\u003c\/b\u003e, Creative Director, \u003c\/em\u003eNature.\u003c\/p\u003e\u003cp\u003e\"This book will help readers and practitioners understand how to apply design principles during the process of developing and producing information graphics for diverse audiences, and offers perspectives about the design processes employed by graphics editors.\"\u003cbr\u003e\u003cb\u003e\u003ci\u003e-- Spencer Barnes\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e, Associate Professor, Hussman School of Journalism and Media, University of North Carolina at Chapel Hill.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"I love this approach—it’s as methodical as good science. Breaking it down into manageable chunks is one thing, turning those chunks into an actual workflow is much more important and that is in here. Trying to find resources that go through a methodical approach to designing information graphics is difficult. Trying to find ones that go beyond basic charts and into in-depth illustrations is even harder.\"\u003cbr\u003e\u003cb\u003e\u003ci\u003e-- Mark E. Johnson\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e, Senior lecturer, Grady College of Journalism and Mass Communication, University of Georgia.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"Working with scientists and researchers myself, one of the many questions I get asked is where and how to start—this book will help to answer some of those questions and concerns. The fact that it is written by Jen Christiansen adds real value. The book is explained in a cohesive and logical way. This will allow the reader to follow the process, as you would for real, building an infographic from scratch—step-by-step.\"\u003cbr\u003e\u003cb\u003e\u003ci\u003e-- Nigel Hawtin\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e,\u003c\/i\u003e \u003ci\u003einformation design consultant; former Graphics Editor, \u003c\/i\u003eNew Scientist.\u003c\/p\u003e\u003cp\u003e\"Jen Christiansen’s book is a compelling resource with helpful visual strategies and suggestions to create effective scientific illustrated explanatory diagrams. The extended step-by-step visual worksheets are must-haves for both expert and non-specialist audiences interested in visually communicating science. Her clarity and level of detail to articulate each step combined with her specialized guidance on how to work with design principles make this book one of its kind.\"\u003cbr\u003e\u003cstrong\u003e--\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003eSheila Pontis\u003c\/strong\u003e, Sense Information Design, and Massachusetts Institute of Technology, USA.\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"The book provides a practical guide targeted at individuals without an explicit art\/design background and tailored towards the need of science communication. I consider this a very worthwhile endeavor and believe that many scientists (including my graduate students and myself) will draw considerable utility from this book.\"\u003cbr\u003e\u003cb\u003e\u003ci\u003e--Stefan Bruckner\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e, Professor of visualization, Department of Informatics of the University of Bergen.\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003e\"\u003c\/i\u003eMeticulously written and intricately designed... \u003ci\u003eBuilding Science Graphics\u003c\/i\u003e will be most valuable in education establishments. It should be on the reading list of every science communication MSc and every communication design BA course.”\u003cbr\u003e-- \u003ci\u003eBook Review, Eye Magazine, 14 December, 2023\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"An excellent resource for scientific illustration students, scientists who want to improve their visual-creation skills, and science communication enthusiasts. It would make an excellent introductory textbook for any visual science communication or illustration course\/program, and it certainly belongs in the library of any sci-artist.\"\u003cbr\u003e\u003ci\u003e-- Book Review, Journal of Natural Science Illustration, Vol. 55, No. 2\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"\u003ci\u003eBuilding Science Graphics \u003c\/i\u003eis a very clear and accessible guide to visual science communication that still honours the complexity of this field.\"\u003cbr\u003e\u003ci\u003e-- Book Review, Journal of Science Communication, 22 (05)\u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\"Many of the ideas and frameworks are applicable to data visualization. I especially recommend this book as a resource to anyone in the field of science communication—it’s a very comprehensive guide with beautiful examples and clear guidance from an author whose expertise clearly comes through along with her deep reflections on design, process, and the field as a whole.\"\u003cbr\u003e\u003ci\u003e-- Book Review, Nightingale Magazine, February 16, 2023\u003c\/i\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003ePart 1. \u003cstrong\u003eUnderpinning.\u003c\/strong\u003e 1. I\u003cstrong\u003entroduction.\u003c\/strong\u003e 2. \u003cstrong\u003eWhat are Science Graphics. \u003c\/strong\u003e3. \u003cstrong\u003eScience Communication Fundamentals. \u003c\/strong\u003e4. \u003cstrong\u003eGraphic Design Fundamentals. \u003c\/strong\u003e5. \u003cstrong\u003ePerception Science. \u003c\/strong\u003e6. \u003cstrong\u003eMaking Sense of Visual Complexity. \u003c\/strong\u003e7. \u003cstrong\u003eOrganization and Emphasis. \u003c\/strong\u003e8. \u003cstrong\u003eColor. \u003c\/strong\u003e9. \u003cstrong\u003eTypography. \u003c\/strong\u003e10. \u003cstrong\u003eVisual Style. \u003c\/strong\u003e11. \u003cstrong\u003eStorytelling Strategies. \u003c\/strong\u003e12. \u003cstrong\u003ePracticalities. \u003c\/strong\u003ePart 2. \u003cstrong\u003eIllustrating Science. \u003c\/strong\u003e13. \u003cstrong\u003eSpecial Considerations for Science Graphics. \u003c\/strong\u003e14. \u003cstrong\u003eTypes of Science Graphics. \u003c\/strong\u003ePart 3. \u003cstrong\u003eD.I.Y. (do it yourself). \u003c\/strong\u003e15. \u003cstrong\u003eThe Process of Building Graphics.\u003c\/strong\u003e 16. \u003cstrong\u003eStep-by-Step Guide for Building. \u003c\/strong\u003e17. \u003cstrong\u003eStep-by-Step Guide for Adapting. \u003c\/strong\u003ePart 4. \u003cstrong\u003eJoint Efforts. \u003c\/strong\u003e18. \u003cstrong\u003eCollaborations. \u003c\/strong\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866293481815,"sku":"9781032106748","price":38.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032106748.jpg?v=1722277983"},{"product_id":"technical-animation-in-video-games-9781032203270","title":"Technical Animation in Video Games","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis book provides a comprehensive overview of video game technical animation, covering the next generation pipelines that industry developers utilise to create their games. It covers the technical animation workflow from start to finish, looking at both software and hardware, as well as the industry standard processes that all technical animators need to know.\u003c\/p\u003e\u003cp\u003eWritten to be an accessible technical animation resource, this book combines easy-to-understand principles with educational use cases on how to combine the principles and tools taught within. Example test scripts, animation files, and rig assets are provided as tangible examples that can be modified and taken apart to deepen your understanding. It covers the end-to-end pipeline of technical animation, from the very first steps of placing joints in Autodesk's Maya to breathe life into your static characters, through tools and automation development, all the way to Unreal Engine 5 integration and optimisation.\u003c\/p\u003e\u003cp\u003eAddit\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 1: Technical Animator\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 2: Introduction to Software\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 3: Introduction to Motion Capture Technology\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 4: A Technical Understanding\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 5: Introduction To Maya\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 6: Introduction To Python\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 7: Python For Maya\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 8: Maya—Building a Skeleton\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 9: Maya—Building A Control Rig\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 10: Introduction To Unreal Engine 5\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 11: Unreal—The Skeleton Setup\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 12: Unreal—The Animation Blueprint \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 13: Unreal—The Control Rig Blueprint\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 14: Unreal—Physics Assets\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 15: Unreal—Sequencer Cinematics\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 16: Unreal—Cloth Dynamics\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 17: Unreal—The Optimisation\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 18: Evaluation\u003c\/strong\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866298888535,"sku":"9781032203270","price":44.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032203270.jpg?v=1722278010"},{"product_id":"the-complete-guide-to-blender-graphics-9781032510552","title":"The Complete Guide to Blender Graphics","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eBlender\u003csup\u003eTM\u003c\/sup\u003e\u003c\/strong\u003e is a \u003cb\u003efree Open-Source 3D Computer Modeling and Animation Suite\u003c\/b\u003e incorporating Character Rigging, Particles, Real World Physics Simulation, Sculpting, Video Editing with Motion Tracking and 2D Animation within the 3D Environment.\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBlender\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eis \u003cb\u003eFREE \u003c\/b\u003eto download and use by anyone for anything.\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003eThe Complete Guide to Blender Graphics: Computer Modeling and Animation, Eighth Edition\u003c\/p\u003e is a unified manual describing the operation of the program, updated with reference to the Graphical User Interface for \u003cb\u003eBlender Version\u003c\/b\u003e \u003cb\u003e3.2.2\u003c\/b\u003e, including additional material covering \u003cb\u003eBlender Assets, Geometry Nodes, and Non-Linear Animation\u003c\/b\u003e.\u003cp\u003e\u003c\/p\u003e\u003cp\u003eDivided into a \u003ca href=\"https:\/\/www.routledge.com\/The-Complete-Guide-to-Blender-Graphics-Computer-Modeling-and-Animation\/Blain\/p\/book\/9781032562186\" target=\"_blank\"\u003etwo-volume set\u003c\/a\u003e, the book introduces the program's Graphical User Interface and shows how to\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIntroduction. The Author. Preamble. \u003cstrong\u003eCH01 Objects in the 3D View Editor. \u003c\/strong\u003e\u003cstrong\u003eCH02 Editing \u0026amp; Add-Ons. \u003c\/strong\u003e\u003cstrong\u003eCH03 Editing with Generate Modifiers. \u003c\/strong\u003e\u003cstrong\u003eCH04 Editing with Deform Modifiers. \u003c\/strong\u003e\u003cstrong\u003eCH05 Editing Using Curves. \u003c\/strong\u003e\u003cstrong\u003eCH06 Material Assignment. \u003c\/strong\u003e\u003cstrong\u003eCH07 Rendering. \u003c\/strong\u003e\u003cstrong\u003eCH08 Animation. \u003c\/strong\u003e\u003cstrong\u003eCH09 Constraints. \u003c\/strong\u003e\u003cstrong\u003eCH10 Armatures \u0026amp; Character Rigging. \u003c\/strong\u003e\u003cstrong\u003eCH11 Shape Keys \u0026amp; Action Editors. \u003c\/strong\u003e\u003cstrong\u003eCH12 Particle Systems. \u003c\/strong\u003e\u003cstrong\u003eCH13 Physics and Simulation. \u003c\/strong\u003e\u003cstrong\u003eCH14 Dynamic Paint. \u003c\/strong\u003e\u003cstrong\u003eCH15 Geometry Nodes. \u003c\/strong\u003e\u003cstrong\u003eCH16 Drivers. \u003c\/strong\u003e\u003cstrong\u003eCh17 Non Linear Animation. \u003c\/strong\u003e\u003cstrong\u003eCH18 Rigging – Rigify – Animbox. \u003c\/strong\u003e\u003cstrong\u003eCH19 Blender Render Engines. \u003c\/strong\u003eIndex. \u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866310685015,"sku":"9781032510552","price":52.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781032510552.jpg?v=1722278065"},{"product_id":"game-engine-architecture-third-edition-9781138035454","title":"Game Engine Architecture Third Edition","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIn this new and improved third edition of the highly popular \u003cb\u003eGame Engine Architecture\u003c\/b\u003e, Jason Gregory draws on his nearly two decades of experience at Midway, Electronic Arts and Naughty Dog to present both the theory and practice of game engine software development. In this book, the broad range of technologies and techniques used by AAA game studios are each explained in detail, and their roles within a real industrial-strength game engine are illustrated.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eNew to the Third Edition\u003c\/strong\u003e \u003c\/p\u003e\u003cp\u003eThis third edition offers the same comprehensive coverage of game engine architecture provided by previous editions, along with updated coverage of:\u003c\/p\u003e\u003cul\u003e \u003cli\u003ecomputer and CPU hardware and memory caches\u003c\/li\u003e \u003cli\u003ecompiler optimizations\u003c\/li\u003e \u003cli\u003eC++ language standardization\u003c\/li\u003e \u003cli\u003ethe IEEE-754 floating-point representation\u003c\/li\u003e \u003cli\u003e2D user interfaces\u003c\/li\u003e \u003cli\u003eplus an entirely new chapter on hardware parallelism and concurrent programming\u003c\/li\u003e \u003c\/ul\u003e\u003cp\u003eThis book is intended to serve as an introductory text, but it also offers the experienced game programmer a useful perspective on aspects of game development technology with which they may not have deep experience. As always, copious references and citations are provided in this edition, making it an excellent jumping off point for those who wish to dig deeper into any particular aspect of the game development process.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eKey Features\u003c\/strong\u003e\u003c\/p\u003e\u003cul\u003e \u003cli\u003eCovers both the theory and practice of game engine software development\u003c\/li\u003e \u003cli\u003eExamples are grounded in specific technologies, but discussion extends beyond any particular engine or API.\u003c\/li\u003e \u003cli\u003eIncludes all mathematical background needed.\u003c\/li\u003e \u003cli\u003eComprehensive text for beginners and also has content for senior engineers.\u003c\/li\u003e \u003c\/ul\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eSection I Foundations\u003c\/strong\u003e \u003c\/p\u003e\u003cp\u003eChapter 1 Introduction \u003c\/p\u003e\u003cp\u003eChapter 2 Tools of the Trade \u003c\/p\u003e\u003cp\u003eChapter 3 Fundamentals of Software Engineering for Games \u003c\/p\u003e\u003cp\u003eChapter 4 Parallelism and Concurrent Programming \u003c\/p\u003e\u003cp\u003eChapter 5 3D Math for Games \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection II Low-Level Engine Systems\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eChapter 6 Engine Support Systems\u003c\/p\u003e\u003cp\u003eChapter 7 Resources and the File System \u003c\/p\u003e\u003cp\u003eChapter 8 The Game Loop and Real-Time Simulation \u003c\/p\u003e\u003cp\u003eChapter 9 Human Interface Devices \u003c\/p\u003e\u003cp\u003eChapter 10 Tools for Debugging and Development \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection III Graphics, Motion and Sound\u003c\/strong\u003e \u003c\/p\u003e\u003cp\u003eChapter 11 The Rendering Engine \u003c\/p\u003e\u003cp\u003eChapter 12 Animation Systems \u003c\/p\u003e\u003cp\u003eChapter 13 Collision and Rigid Body Dynamics \u003c\/p\u003e\u003cp\u003eChapter 14 Audio \u003c\/p\u003e\u003cp\u003eChapter 15 Introduction to Gameplay Systems \u003c\/p\u003e\u003cp\u003eChapter 16 Runtime Gameplay Foundation Systems \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection V Conclusion\u003c\/strong\u003e \u003c\/p\u003e\u003cp\u003eChapter 17 You Mean There’s More? \u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866430517591,"sku":"9781138035454","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"design-for-motion-9781138318656","title":"Design for Motion","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eCombining art and design principles with creative storytelling and professional savvy, this book covers everything a serious motion designer needs to make their artistic visions a reality and confidently produce compositions for clients.\u003c\/p\u003e\u003cp\u003eIn this updated second edition of \u003ci\u003eDesign for Motion\u003c\/i\u003e, author Austin Shaw explores the principles of motion design, teaching readers how to creatively harness the essential techniques of this diverse and innovative medium to create compelling style frames, design boards, and motion design products. Lessons are augmented by illustrious full-color imagery and practical exercises, allowing you to put the techniques covered into immediate practical context. Industry leaders, pioneers, and rising stars contribute their professional perspectives, share personal stories, and provide visual examples of their work.\u003c\/p\u003e\u003cp\u003eThis second edition also includes updates on the following:\u003c\/p\u003e\u003cul\u003e \u003cp\u003e \u003c\/p\u003e \u003cli\u003eIllustration techniques\u003c\/li\u003e \u003cli\u003eTypography\u003c\/li\u003e \u003cli\u003eCompositing\u003c\/li\u003e \u003cli\u003eVisual storytelling\u003c\/li\u003e \u003cli\u003eIncorporating 3D elements\u003c\/li\u003e \u003cli\u003eSocial\/mobile-first design\u003c\/li\u003e \u003cli\u003ePortfolio and concept development\u003c\/li\u003e \u003cli\u003eHow to develop a distinct personal design style, and much more\u003c\/li\u003e \u003c\/ul\u003e\u003cp\u003ePlumb the depths of core motion design fundamentals and harness the essential techniques of this diverse and innovative medium. An accompanying Companion Website (www.routledge.com\/cw\/shaw) features video tutorials, a student showcase, and more.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"At a time when 'Motion Design' is clambering out of infancy and maturing as a discipline – yet when it is simultaneously complicated by rapidly evolving technologies, platforms and shifting economics – \u003cem\u003eDesign for Motion\u003c\/em\u003e provides a comprehensive, contemporary blueprint for what it takes to be a 'Motion Designer' today. Austin's book reminds us to pay attention to the fundamentals of our craft, while inspiring us to ponder the potential for motion design as a communication tool, a storytelling platform and an art form into the future.\"\u003c\/p\u003e\u003cp\u003e—Patrick Clair, Director, Antibody\u003c\/p\u003e\u003cp\u003e\"Austin is one of the first to identify and put down on paper a tangible, in-depth account of a new field that has quickly emerged within the design genre. For years, even professionals in the industry have had trouble giving it a title. Not only does Austin give it a name, but he also captures the essence of the field in a way that both young designers and professionals can appreciate. With words and pictures, he shares the process and explains in detail the knowledge base required for the field. 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Character-Driven Design Boards\u003c\/p\u003e\u003cp\u003e9. Tactile Design Boards\u003c\/p\u003e\u003cp\u003e10. Modern Design Boards\u003c\/p\u003e\u003cp\u003e11. Matte Painting\u003c\/p\u003e\u003cp\u003e12. Illustrative Design Boards\u003c\/p\u003e\u003cp\u003e13. Finding Inspiration\u003c\/p\u003e\u003cp\u003e14. Looking Forward\u003c\/p\u003e\u003cp\u003e15. Design for Motion \"Young Guns\"\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866439201111,"sku":"9781138318656","price":45.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138318656.jpg?v=1782120242"},{"product_id":"educational-game-design-fundamentals-9781138631540","title":"Educational Game Design Fundamentals","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eCan we learn through play? Can we really play while learning?\u003c\/p\u003e\u003cp\u003eOf course! 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This \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"The book is essential for game and learning designers alike as it blends learning principles, strategies and models with game elements, mechanics and dynamics in intuitive ways for\u003cb\u003e \u003c\/b\u003eachieving a balance between learning and fun while the player is striving to discover a meaningful purpose through playing.\"\u003c\/p\u003e\u003cp\u003e-Petros Lameras, Senior Lecturer and Researcher in Serious Games at Coventry University, UK.\u003c\/p\u003e\u003cp\u003e\"In his breathtaking book Educational Game Design Fundamentals, George Kalmpourtzis not simply presents a comprehensive how-to guide to designing and building world-class educational experiences, but rather weaves together a culmination of lessons and insights- both from years working within the industry to talking to some of the best and brightest minds pushing the frontiers on how humans continue to evolve and learn. This is a must read for anybody interested in taking part in one of the most exciting ventures of human ingenuity and evolution to date; one that stands to fundamentally change the nature of what it means to be a human being alive at the dawn of the 3rd millennium.\"\u003c\/p\u003e\u003cp\u003e- Ryan Gerber, User Experience Designer, Vive Virtual Reality\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"The book is essential for game and learning designers alike as it blends learning principles, strategies and models with game elements, mechanics and dynamics in intuitive ways for\u003cb\u003e \u003c\/b\u003eachieving a balance between learning and fun while the player is striving to discover a meaningful purpose through playing.\"\u003c\/p\u003e\u003cp\u003e-Petros Lameras, Senior Lecturer and Researcher in Serious Games at Coventry University, UK.\u003c\/p\u003e\u003cp\u003e\"In his breathtaking book Educational Game Design Fundamentals, George Kalmpourtzis not simply presents a comprehensive how-to guide to designing and building world-class educational experiences, but rather weaves together a culmination of lessons and insights- both from years working within the industry to talking to some of the best and brightest minds pushing the frontiers on how humans continue to evolve and learn. This is a must read for anybody interested in taking part in one of the most exciting ventures of human ingenuity and evolution to date; one that stands to fundamentally change the nature of what it means to be a human being alive at the dawn of the 3rd millennium.\"\u003c\/p\u003e\u003cp\u003e- Ryan Gerber, User Experience Designer, Vive Virtual Reality\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eSection I - Educational game design essentials. Ch 1. Designing learning experiences. Ch 2 The magic powers of the game designer. Ch 3 Pedagogy and Games. Section II -Let's make a Game! Ch 4 IThe Game Core. Ch 5 Where to Start. Ch 6 Let's Make a Game!. Ch 7 A closer look at game mechanics. Ch 8. Games as reflection tools. Ch 9 IKnowing Your Audience. Ch 10. The dynamics of single player and multiplayer games. Ch 11 Storytelling. Section III - Level Up!.Ch 12 12. Games as systems of information, Ch 13 13. Game aesthetics. Ch 14 14. Game testing and feedback. Ch 15 Game Over\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48866448245079,"sku":"9781138631540","price":49.39,"currency_code":"GBP","in_stock":true}]},{"product_id":"composition-for-the-21st-century-vol-1-9781138740891","title":"Composition for the 21st  century Vol 1","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eComposition for the 21st  century: Image-Making for Animation\u003c\/strong\u003e focuses on composition and its technical and artistic application in animation, illustration, games, and films. It covers all aspects of design and discusses in detail their artistic applicability and impact on image and narrative. Emphasis is placed on the ability of each aspect to support and affect the narrative. Additional case studies explain the successful use of these concepts in films and animation. 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And like a good Pixar film, it’ll put a smile on your face.’ \u003c\/p\u003e * Andrew Ross Sorkin, \u003ci\u003eNew York Times\u003c\/i\u003e *\u003cbr\u003e\u003cp\u003e‘A finely sketched insider’s account of the hard-fought success of a pathbreaking company. Lawrence Levy goes surprisingly and refreshingly deep on the business details behind Pixar’s creative achievements. He also shows an intimate side of Steve Jobs that will delight the mercurial businessman’s many admirers.’\u003c\/p\u003e -- Adam Lashinsky, assistant managing editor of \u003ci\u003eFortune\u003c\/i\u003e Magazine and author of \u003ci\u003eInside Apple\u003c\/i\u003e\u003cbr\u003e\u003cp\u003e‘To Pixar and Beyond is part business book and part thriller – a tale that’s every bit as compelling as the ones Pixar tells in its blockbuster movies. It's also incredibly inspirational, a story about a team that took big risks and reaped the rewards. This is a must-read book for anyone who cares about corporate culture and wants to learn how to build a business, as well as everyone who loves Woody, Buzz, and all of the other beloved Pixar characters. I loved this book and could not put it down.’ \u003c\/p\u003e -- Dan Lyons, bestselling author of \u003ci\u003eDisrupted\u003c\/i\u003e\u003cbr\u003e\u003cp\u003e‘The gripping story of how through hard work, vision, and a devotion to excellence, tiny Pixar transformed itself into a Hollywood powerhouse. But it also something more: a wonderful buddy story – between Levy and Steve Jobs – and how their friendship and partnership transformed them both.’\u003c\/p\u003e -- William D. 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For more than a decade she has run her own interactive design studio consulting and designing on XR projects and working as a motion designer for Forbes. You can find her teaching at the S. I. Newhouse School of Public Communications at Syracuse University, where she is the Associate Chair of the Visual Communications Department, overseeing the undergraduate and graduate design programs. She was named an Educator to Watch by Graphic Design USA (GDUSA). She has been invited around the world to speak about her research and design work in XR, including TEDx, SXSW, Sundance, VR\/AR Association, and AIGA. She is the author of the book \u003cem\u003ePowered by Design\u003c\/em\u003e. She lives in New \u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eCHAPTER 1 PICK YOUR REALITY \u003c\/p\u003e\u003cp\u003eThe tech behind the acronyms\u003c\/p\u003e \u003cp\u003eYou are already using extended reality\u003c\/p\u003e \u003cp\u003eProsthetic knowledge\u003c\/p\u003e \u003cp\u003eLooking ahead\u003c\/p\u003e CHAPTER 2 TECHNOLOGY CHECK \u003cp\u003eIs any of this actually new?\u003c\/p\u003e \u003cp\u003eThe world in the palm of your hand\u003c\/p\u003e \u003cp\u003eProjection mapping\u003c\/p\u003e \u003cp\u003eHead-mounted displays\u003c\/p\u003e \u003cp\u003eSpatial computing\u003c\/p\u003e \u003cp\u003eReality check\u003c\/p\u003e CHAPTER 3 THE IMMERSIVE EXPERIENCE \u003cp\u003eThe world in 3D\u003c\/p\u003e \u003cp\u003eAffordances\u003c\/p\u003e \u003cp\u003eMultimodal experiences\u003c\/p\u003e \u003cp\u003eExperience design\u003c\/p\u003e CHAPTER 4 IDEATION \u003cp\u003eIdentify the why\u003c\/p\u003e \u003cp\u003eInnovation and practicality\u003c\/p\u003e \u003cp\u003eOutside influence\u003c\/p\u003e \u003cp\u003eKeep it human\u003c\/p\u003e \u003cp\u003eThe answer to your questions\u003c\/p\u003e CHAPTER 5 CREATING THE PROTOTYPE \u003cp\u003eFake it 'til you make it\u003c\/p\u003e \u003cp\u003eSketch transparently\u003c\/p\u003e \u003cp\u003eThe power of prototypes\u003c\/p\u003e \u003cp\u003eUse what you know\u003c\/p\u003e \u003cp\u003eProcess work\u003c\/p\u003e CHAPTER 6      THE UX OF XR \u003cp\u003eApproachable design\u003c\/p\u003e \u003cp\u003eSeamless user flow\u003c\/p\u003e \u003cp\u003eKnow thy audience\u003c\/p\u003e \u003cp\u003eMaking reality accessible\u003c\/p\u003e \u003cp\u003eUX challenge\u003c\/p\u003e CHAPTER 7 THE UI OF XR \u003cp\u003eThe z-axis\u003c\/p\u003e \u003cp\u003e3D interface metaphors\u003c\/p\u003e \u003cp\u003eTime and space\u003c\/p\u003e \u003cp\u003eMicrointeractions\u003c\/p\u003e \u003cp\u003eInspiration is all around you\u003c\/p\u003e CHAPTER 8 HUMAN FACTORS \u003cp\u003eDesigning the whole experience\u003c\/p\u003e \u003cp\u003eTheories of perception\u003c\/p\u003e \u003cp\u003eCreating hierarchy in 3D\u003c\/p\u003e \u003cp\u003eHuman centered\u003c\/p\u003e CHAPTER 9 THE UNCONTROLLABLE BACKGROUND \u003cp\u003eExpecting the unexpected\u003c\/p\u003e \u003cp\u003eFigure-ground\u003c\/p\u003e \u003cp\u003eLocation, location, location\u003c\/p\u003e \u003cp\u003eGetting emotional\u003c\/p\u003e \u003cp\u003eControl is overrated\u003c\/p\u003e CHAPTER 10 AUGMENTED TYPOGRAPHY \u003cp\u003eLegibility and readability\u003c\/p\u003e \u003cp\u003eCreating visual contrast\u003c\/p\u003e \u003cp\u003eTake control\u003c\/p\u003e \u003cp\u003eDesign with purpose\u003c\/p\u003e CHAPTER 11 COLOR FOR XR \u003cp\u003eColor appearance models\u003c\/p\u003e \u003cp\u003eLight interactions\u003c\/p\u003e \u003cp\u003eDynamic adaptation\u003c\/p\u003e \u003cp\u003eReflection\u003c\/p\u003e CHAPTER 12 SOUND DESIGN \u003cp\u003eHearing what you see\u003c\/p\u003e \u003cp\u003eSpatial sound\u003c\/p\u003e \u003cp\u003eAugmented audio\u003c\/p\u003e \u003cp\u003eVoice experiences\u003c\/p\u003e \u003cp\u003ePower of sound\u003c\/p\u003e CHAPTER 13 BRINGING IT TO LIFE \u003cp\u003eTo code or not to code\u003c\/p\u003e \u003cp\u003eKeep it agile\u003c\/p\u003e \u003cp\u003eTry, and try again\u003c\/p\u003e \u003cp\u003eUser experience research\u003c\/p\u003e \u003cp\u003ePrivacy and ethical considerations\u003c\/p\u003e \u003cp\u003eKeep it super\u003c\/p\u003e CHAPTER 14 UP NEXT \u003cp\u003eWhere to go from here\u003c\/p\u003e \u003cp\u003eBreaking out of rectangles\u003c\/p\u003e \u003cp\u003eWhy we need XR right now\u003c\/p\u003e \u003cp\u003eExtend our physical space\u003c\/p\u003e","brand":"Pearson Education (US)","offers":[{"title":"Default Title","offer_id":48883799327063,"sku":"9780137282838","price":34.19,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780137282838.jpg?v=1722529095"},{"product_id":"adobe-animate-classroom-in-a-book-2022-release-9780137623587","title":"Adobe Animate Classroom in a Book 2022 release","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp class=\"MsoNormal\" style=\"margin:\" calibri sans-serif font-size:=\"\" font-family:=\"\"\u003e\u003cb\u003eRussell Chun\u003c\/b\u003e is an associate professor at the Lawrence Herbert School of Communication at Hofstra University, where he teaches multimedia storytelling, data journalism, and information design. 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Creating Interactive Navigation\u003c\/p\u003e \u003cp\u003eBonus Lesson Online:  Working with Sound and Video\u003c\/p\u003e","brand":"Pearson Education (US)","offers":[{"title":"Default Title","offer_id":48883800342871,"sku":"9780137623587","price":36.74,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780137623587.jpg?v=1722529100"},{"product_id":"adobe-creative-cloud-classroom-in-a-book-9780137914708","title":"Adobe Creative Cloud Classroom in a Book","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eJoseph Labrecque\u003c\/strong\u003e is a creative developer, designer, and educator with nearly two decades of experience creating expressive web, desktop, and mobile solutions. He joined the University of Colorado Boulder College of Media, Communication and Information as faculty with the Department of Advertising, Public Relations and Media Design in Autumn 2019. His teaching focuses on creative software, digital workflows, user interaction, and design principles and concepts. Before joining the faculty at CU Boulder, he was associated with the University of Denver as adjunct faculty and as a senior interactive software engineer, user interface developer, and digital media designer.\u003c\/p\u003e \u003cp\u003eLabrecque has authored a number of books and video course publications on design and development technologies, tools, and concepts through publishers which include LinkedIn Learning (Lynda.com), Peachpit Press, and Adobe. 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He has taught Flash at the beginning through advanced levels at a number of institutions including the College of San Mateo, the Center for Electronic Art, the UC Berkeley Graduate School of Journalism, Cellspace, Columbia University Graduate School of Journalism, and City University of New York Graduate School of Journalism. He has also taught Flash at national conferences, regional user group meetings, and corporate workshops. He is the author of several advanced Flash books, Macromedia Flash Advanced Visual QuickPro Guide for versions 5, MX, MX2004, and 8. He has written several Flash articles for MacWorld and for SBS Digital Design.\u003c\/p\u003e","brand":"Pearson Education (US)","offers":[{"title":"Default Title","offer_id":48883801882967,"sku":"9780138317713","price":41.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780138317713.jpg?v=1722529107"},{"product_id":"force-character-design-from-life-drawing-9780240809939","title":"Force Character Design from Life Drawing","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eDesign creative characters inspired by real people. Let Mike Mattesi show you how to use life drawing to discover the poses, features and personalities which form the basis of character and then build, develop and 'PUSH' your drawings to new heights of dramatic and visual impact for believable characters audiences can relate to.\u003c\/p\u003e\u003cp\u003ePacked with color illustrations and photographs of the models who inspired them. With step-by-step explanation of how the characters were developed and exercises for you to sharpen your skills this is everything you need to bring your characters to life.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eKey Concepts\u003cbr\u003e- Fear\u003cbr\u003e- Risk\u003cbr\u003e- Opinion\u003cbr\u003e- Hierarchy\u003cbr\u003e- Contrast and Affinity\u003cbr\u003e\u003cbr\u003eForce with Character\u003cbr\u003e- Amazing angles\u003cbr\u003e- Developing ideas\u003cbr\u003e\u003cbr\u003eSpace with Character\u003cbr\u003e- Spatial Bounding Box\u003cbr\u003e- Playing with depth\u003cbr\u003e- Forced perspective\u003cbr\u003e- Ratio\/ Size\u003cbr\u003e- Overlap\u003cbr\u003e- Creating flat design\u003cbr\u003e\u003cbr\u003eShape with Character\u003cbr\u003e- Straight to Curve Design\u003cbr\u003e- Forceful Triangle\u003cbr\u003e- The Brilliant Bounding Box\u003cbr\u003e- Seeing ratios through Hierarchy\u003cbr\u003e- Facial Ratios\u003cbr\u003e- The law of Thirds\u003cbr\u003e\u003cbr\u003eCostume with Character\u003cbr\u003e- Tonal Theory\u003cbr\u003e- Color theory\u003cbr\u003e- Imaginative Designs\u003cbr\u003e\u003cbr\u003eReportage with Character\u003cbr\u003e- Using forced perspective\u003cbr\u003e- The character behind architecture\u003cbr\u003e- Forcing the stories\u003cbr\u003e\u003cbr\u003eAnimals with Character \u003cbr\u003e- Pulling character out of animals\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":48883876069719,"sku":"9780240809939","price":999.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240809939.jpg?v=1791454903"},{"product_id":"creating-q-bert-and-other-classic-video-arcade-games-9781595801050","title":"Creating Q*Bert: and Other Classic Video Arcade","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eCreating Q*bert and Other Classic Video Arcade Games\u003c\/i\u003e takes you inside the video arcade game industry during the pivotal decades of the 1980s and 1990s. Warren Davis, the creator of the groundbreaking \u003ci\u003eQ*bert\u003c\/i\u003e, worked as a member of the creative teams who developed some of the most popular video games of all time, including \u003ci\u003eJoust 2\u003c\/i\u003e, \u003ci\u003eMortal Kombat\u003c\/i\u003e, \u003ci\u003eNBA Jam\u003c\/i\u003e, and \u003ci\u003eRevolution X\u003c\/i\u003e.\u003c\/b\u003e\u003c\/p\u003e  \u003cp\u003eIn a witty and entertaining narrative, Davis shares insightful stories that offer a behind-the-scenes look at what it was like to work as a designer and programmer at the most influential and dominant video arcade game manufacturers of the era, including Gottlieb, Williams\/Bally\/Midway, and Premiere.\u003c\/p\u003e   \u003cp\u003eLikewise, the talented artists, designers, creators, and programmers Davis has collaborated with over the years reads like a who’s who of video gaming history: Eugene Jarvis, Tim Skelly, Ed Boon, Jeff Lee, Dave Thiel, John Newcomer, George Petro, Jack Haeger, and Dennis Nordman, among many others.\u003c\/p\u003e  \u003cp\u003eThe impact Davis has had on the video arcade game industry is deep and varied. At Williams, Davis created and maintained the revolutionary digitizing system that allowed actors and other photo-realistic imagery to be utilized in such games as \u003ci\u003eMortal Kombat\u003c\/i\u003e, \u003ci\u003eT2\u003c\/i\u003e, and \u003ci\u003eNBA Jam\u003c\/i\u003e. When Davis worked on the fabled \u003ci\u003eUs vs. Them\u003c\/i\u003e, it was the first time a video game integrated a live action story with arcade-style graphics.\u003c\/p\u003e   \u003cp\u003eOn the one-of-a-kind \u003ci\u003eExterminator\u003c\/i\u003e, Davis developed a brand new video game hardware system, and created a unique joystick that sensed both omni-directional movement and rotation, a first at that time. For \u003ci\u003eRevolution X\u003c\/i\u003e, he created a display system that simulated a pseudo-3D environment on 2D hardware, as well as a tool for artists that facilitated the building of virtual worlds and the seamless integration of the artist’s work into game code.\u003c\/p\u003e  \u003cp\u003eWhether you’re looking for insights into the Golden Age of Arcades, would like to learn how Davis first discovered his design and programming skills as a teenager working with a 1960's computer called a Monrobot XI, or want to get the inside scoop on what it was like to film the Rock and Roll Hall of Fame band Aerosmith for \u003ci\u003eRevolution X\u003c\/i\u003e, Davis’ memoir provides a backstage tour of the arcade and video game industry during its most definitive and influential period.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"Davis, an International Video Game Hall of Fame inductee, reflects in this entertaining debut on his years as an influential creator at the forefront of the “video game revolution.” He recounts his “earliest exposure” to computers, in high school in Brooklyn in the 1970s, when he learned programming on a device “the size of a desk.” As a freshman at Rensselaer Polytechnic Institute, he discovered \u003cem\u003ePong\u003c\/em\u003e, and later created his first game, a simulated gin rummy that was done via punch cards. After graduating, Davis landed his first programming job in 1982 at the arcade game company Gottlieb, where he helped create \u003cem\u003eQ*bert\u003c\/em\u003e—one of the most popular video arcade games of the ’80s—an accomplishment that led him to later achieve breakthroughs in automating the digitizing of graphics used in such games as \u003cem\u003eMortal Kombat\u003c\/em\u003e and \u003cem\u003eNBA Jam\u003c\/em\u003e. Even in his more granular descriptions, Davis’s enthusiasm brings to the page the palpable excitement of the “golden age” he’d been a part of. From deciding on Q*bert’s moves (“Should I just keep him stuck at the edge [of the pyramid], or allow him to fall into nothingness?”) to procuring the flying footage needed for the alien invasion game \u003cem\u003eUs vs. Them\u003c\/em\u003e, every detail is parsed to convey the rigorous thought underpinning some of history’s most successful video games. Gamers will be fascinated.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—\u003ci\u003ePublisher's Weekly \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“Warren was part of a small team building Williams’ next generation of video arcade hardware and software. By the time I joined the video game department, they had built a development foundation upon which future classic arcade games like \u003ci\u003eNARC\u003c\/i\u003e, \u003ci\u003eSmash TV\u003c\/i\u003e, \u003ci\u003eTerminator 2\u003c\/i\u003e, \u003ci\u003eNBA Jam\u003c\/i\u003e, and \u003ci\u003eMortal Kombat\u003c\/i\u003e would be created. . . . I can’t overstate the impact Warren had on the development of \u003ci\u003eMortal Kombat\u003c\/i\u003e and so many other Williams\/Midway games.”\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—Ed Boon, Co-creator of \u003ci\u003eMortal Kombat\u003c\/i\u003e and NetherRealm Studios creative director\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“\u003ci\u003eQ*bert\u003c\/i\u003e may be Warren’s most famous creation, but his work at 1990’s Midway was instrumental in the parade of arcade smash hits that marched out of our studio. He is both humble and accurate in his behind-the-scenes recollections. If ever you wanted a peek behind our coin-op curtain and a window into the life of a true industry pioneer, this is it!”\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—John Tobias, Co-creator of \u003ci\u003eMortal Kombat\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"In retro-gaming circles, Warren Davis is something of an unheralded pioneer, one of many who laid a blocky 8-bit path to PlayStation, Wordle and an industry now pulling in $180 billion annually.”\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—\u003ci\u003eChicago Tribune\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\"In his new book, \u003ci\u003eCreating Q*bert and Other Classic Arcade Games\u003c\/i\u003e, legendary game designer and programmer Warren Davis recalls his halycon days imagining and designing some of the biggest hits to ever grace an arcade.\"\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—Engadget\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“Working alongside Warren at Williams Electronics was one of those rare, once-in-a-lifetime opportunities. He conjured magical code that introduced me to the world of digitization and video game programming. Not only a wise and entertaining designer\/programmer, he impressed us all with his extra-curricular acting gigs. This book gave me a true appreciation for the man that was always positive, kind, and helpful to a young 'know it all' from Indiana.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—George Petro, founder of Play Mechanix, makers of \u003ci\u003eBig Buck Hunter\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“The impact Warren Davis has had on video game culture cannot be understated. It was great to learn so much more about one of the Godfathers of the industry.”\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—Joshua Tsui, director of \u003ci\u003eInsert Coin\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“[Davis] takes us on an insightful journey through the ’80s and ’90s covering the birth and nearly two decades of arcade game development from a unique insider perspective. . . . For someone who has been an active gamer since 1980, I found this a highly enjoyable and surprisingly detailed journal of those times. . . . I went into this review hoping to learn a bit of the backstory on how Q*bert was created and came away with a much greater knowledge of the entire arcade industry from testing, building, and even marketing. . . . I highly recommend \u003ci\u003eCreating Q*bert and Other Classic Video Arcade Games \u003c\/i\u003eto anyone who enjoys (or has ever enjoyed) arcade video games regardless of your age.  The games you play today on PC and console all got their roots during these two decades of innovation and chances are Warren Davis played some part in what we are all playing today.”\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—Mark Smith, \u003ci\u003eGame Chronicles\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“Warren delivers a ringside peek into the Golden Age of arcade gaming. Art, science, and commerce merged to produce games which continue to delight and challenge aficionados, and Warren was smack dab in the middle of it. He tells his story in a clear, concise voice, all the while retaining a touch of awe reflecting the alchemy of the era.”\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—Jeff Lee, Co-creator of \u003ci\u003eQ*bert \u003c\/i\u003eand curious earthling\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“Warren was in the right place with the right stuff. We were fortunate to be at the beginning of a revolution in entertainment. It is great that an interactive entertainment pioneer has taken the time to write about his journey and Warren does it well.”\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—David Thiel, interactive audio artist \u003ci\u003e \u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“Warren’s book is a well-written, entertaining history of the early video game industry. Working with Warren, Dave, Rich, and others creating \u003ci\u003eUs vs. Them\u003c\/i\u003e was an interesting creative challenge. We had never done anything like this before, but we just dove in, solving problems as they came up. I have a lot of great memories of our time together working on \u003ci\u003eUs vs. Them\u003c\/i\u003e, and Warren’s writing reminded me of a few I had forgotten. Thanks, Warren, for documenting the history of our great adventure.”\u003c\/p\u003e\u003cp\u003e\u003cb\u003e—Dennis Nordman, pinball and coin-op game designer\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“Warren’s wit, insights and self-depreciating humour make this a pleasure to read and as entertaining as the games he created.”—\u003cb\u003e\u003ci\u003eThe Nottingham Post\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“With a brilliant and friendly style, Warren Davis tells us his story full of interesting anecdotes.”\u003cb\u003e—\u003ci\u003eRetroMagazine\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e“\u003ci\u003eCreating Q*bert\u003c\/i\u003e is more than a compelling memoir: it is a vehicle that parks itself and delivers now-stalgia in Q*bert-style leaps and bounds. Warren Davis is your friendly, neighborhood, savant-like driver.”\u003cb\u003e—Geek Insider\u003c\/b\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eCONTENTS    1) The Shaping of a Young Mind   2) Entering Wonderland   3) The Cubes Game   4) A Noser is Born   5) The Aftermath   6) US vs THEM   7) Gottlieb’s Demise   8) Williams and the Dawn of Digitization   9) The Premier Years   10) Return to Williams   11) Last Days in the Funhouse   12) Loose Ends","brand":"Santa Monica Press","offers":[{"title":"Default Title","offer_id":48886544826711,"sku":"9781595801050","price":17.09,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781595801050.jpg?v=1722540543"},{"product_id":"computer-animation-9781607415596","title":"Computer Animation","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Nova Science Publishers Inc","offers":[{"title":"Default Title","offer_id":48886736060759,"sku":"9781607415596","price":187.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781607415596.jpg?v=1722541344"},{"product_id":"video-marketing-for-marketers-building-trust-engagement-and-conversion-on-the-customer-journey-9781544505923","title":"Video Marketing for Marketers: Building Trust,","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e","brand":"Lioncrest Publishing","offers":[{"title":"Default Title","offer_id":49084123709783,"sku":"9781544505923","price":14.04,"currency_code":"GBP","in_stock":false}]},{"product_id":"3ds-max-modeling-for-games-volume-ii-9780240816067","title":"3ds Max Modeling for Games Volume II","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eLearn how to model comic-style à la Pixar with the expert techniques found in \u003ci\u003e3ds Max Modeling for Games Volume 2: Insider's Guide to Stylized Modeling. \u003c\/i\u003eThis new volume will show you the ins-and-outs of stylized modeling, including characters, vehicles, environments, and much more. Follow the story of cover characters Robert and Robot as their adventure takes you through the world of modeling, vegetation, alpha-maps, and much more! This book is also packed with highly detailed tutorials feared toward enhancing your modeling skills and expanding your portfolio.\u003c\/p\u003e\u003cp\u003eThe companion website (www.3d-for-games.com) is unique - an online forum where readers can post and answer questions about their work. In terms of developing a portfolio, online peer critiques are invaluable, and current readers have made use of this feature, in fact some have happily become the forum responders (along with Andy) to coach and develop new artists at work.  Also include\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eChapter 1 Introduction to 3ds Max and Basic Modeling Terms; Chapter 2 Planning Your Project Including Making a Plan; Chapter 3 Adapting a Concept; Chapter 4 Vegetation and Alpha Maps; Chapter 5 Introduction to Maya; Chapter 6 Modeling the Robot in Maya; Chapter 7 Gallery; Chapter 8 Modeling the Character Robert Using Zbrush; Chapter 9 Modeling the House; Chapter 10 Polishing Your Scene and Modeling Projects to Complete; Chapter 11 Portfolio and Interview; Chapter 12 Creating the Initial Cover Image;\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49371648328023,"sku":"9780240816067","price":37.59,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780240816067.jpg?v=1791454911"},{"product_id":"the-gamification-of-digital-journalism-innovation-in-journalistic-storytelling-9780367076252","title":"The Gamification of Digital Journalism Innovation","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eThis book examines the brief yet accelerated evolution of newsgames, a genre that has emerged from puzzles, quizzes, and interactives augmenting digital journalism into full-fledged immersive video games from open-world designs to virtual reality experiences.\u003c\/p\u003e\u003cp\u003eCritics have raised questions about the credibility and ethics of transforming serious news stories of political consequence into entertainment media, and the risks of trivializing grave and catastrophic events into mere games. Dowling explores both the negatives of newsgames, and how the use of entertainment media forms and their narrative methods mainly associated with fiction can add new and potentially more powerful meaning to news than traditional formats allow. The book also explores how industrial and cultural shifts in the digital publishing industry have enabled newsgames to evolve in a manner that strengthens certain core principles of journalism, particularly advocacy on behalf of marginalized and oppressed groups.\u003c\/p\u003e\u003cp\u003eCutting-edge and thoughtful, \u003ci\u003eThe Gamification of Digital Journalism\u003c\/i\u003e is a must-read for scholars, researchers, and practitioners interested in multimedia journalism and immersive storytelling.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\"Bring in the (news) games! Dowling’s rigorous and enjoyable analysis of what digital technologies offer journalism and how journalism advances the potential for games is a vital read for knowing the news world today and preparing and predicting news of tomorrow. \u003ci\u003eThe Gamification of Digital Journalism \u003c\/i\u003eis part cultural studies, part business analysis, and part techno science rooted in empirical analysis and expert interpretation to reveal the breadth and depth of news games in advocacy journalism, immersive storytelling, and audience engagement. Herein are tools for the future of journalism.\" \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eRobert E. Gutsche, Jr.\u003c\/strong\u003e, Senior Lecturer in Critical Digital Media Practice, \u003cem\u003eLancaster University, UK \u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\"Video games, like any other medium, can be used for journalistic purposes, and their interactive nature can help players understand the situations of others. Dowling’s book is a thorough exploration of games as journalism, examining the connections between games and politics, news, social media, and documentary.\"\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eMark J. P. Wolf\u003c\/strong\u003e, Professor of Communication, \u003cem\u003eConcordia University Wisconsin, USA\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eIntroduction: The Mainstreaming of Gaming Culture and Journalism’s Ludic Turn 1. Journalism and the Politicization of Game Content 2. News Branding Through News Experiences 3. Games as Advocacy Journalism 4. Open-World Game Narratives 5. Documentary Games 6. Social Media and Mobile Gaming 7. Immersive Design: VR Journalism Conclusion: The Ultimate Empathy Machine? Games About Refugees and Migrants \u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49371682570583,"sku":"9780367076252","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367076252.jpg?v=1730154180"},{"product_id":"multimedia-foundations-9781138391550","title":"Multimedia Foundations","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eWhether you are working using text, graphics, photography, sound, motion, or video, \u003cem\u003eMultimedia Foundations\u003c\/em\u003e covers the skills necessary to be an effective modern storyteller. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cp\u003ePresented in full color with hundreds of vibrant illustrations, this book trains readers in the principles and skills common to all forms of digital media production, enabling the creation of successful, engaging content, no matter what tools are used. Chapters feature useful exercises to cement core concepts and help readers develop planning, collaboration, design, and production skills. This third edition has been fully updated and includes new and revised illustrations, updated coverage of digital asset management and media workflows, a completely rewritten chapter on coding for web and mobile media, and new sections on design thinking, inclusive design, color theory, photography composition, interview and B-roll acquisition techniques, and editing stages and postproduction workflows.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAcknowledgements\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cem\u003eAbout the Author\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection 1 Multimedia Foundations\u003c\/strong\u003e \u003c\/p\u003e\u003cp\u003eChapter 1 Understanding Multimedia \u003c\/p\u003e\u003cp\u003eChapter 2 Digital Content and File Management\u003c\/p\u003e\u003cp\u003eChapter 3 Project Planning\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection\u003c\/strong\u003e \u003cstrong\u003e2 Visual Communications\u003c\/strong\u003e \u003c\/p\u003e\u003cp\u003eChapter 4 Elements of Visual Design \u003c\/p\u003e\u003cp\u003eChapter 5 Principles of Visual Design \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection\u003c\/strong\u003e \u003cstrong\u003e3 Static Media \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eChapter 6 Text \u003c\/p\u003e\u003cp\u003eChapter 7 Graphics\u003c\/p\u003e\u003cp\u003eChapter 8 Photography\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection\u003c\/strong\u003e \u003cstrong\u003e4 Time-Based Media \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eChapter 9 Digital Sound and Video Recording\u003c\/p\u003e\u003cp\u003eChapter 10 Audio Production\u003c\/p\u003e\u003cp\u003eChapter 11 Video Production\u003c\/p\u003e\u003cp\u003eChapter 12 Non-Linear Editing \u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eSection\u003c\/strong\u003e \u003cstrong\u003e5 Interactive Media \u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eChapter 13 User Interface Design \u003c\/p\u003e\u003cp\u003e\u003ci\u003eBy Qian Xu \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003eChapter 14 Coding for Web and Mobile Media \u003c\/p\u003e\u003cp\u003e\u003ci\u003eBy Kelly Furnas \u003c\/i\u003e\u003c\/p\u003e\u003cp\u003e\u003ci\u003eIndex\u003c\/i\u003e\u003c\/p\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49371831140695,"sku":"9781138391550","price":68.39,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138391550.jpg?v=1730154732"},{"product_id":"composition-for-the-21st-century-vol-2-9781138740907","title":"Composition for the 21st  century Vol 2","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cstrong\u003eComposition for the 21st  century: Characters in Animation\u003c\/strong\u003e focuses on characters and their application in animation, illustration, games, and films. It covers various technical aspects of character design and their artistic applicability. This book analyzes in detail the purpose of these character design features and provides examples of their impact. Emphasis is placed on each aspect and how it affects and is affected by the narrative. Additionally, complex case studies that assist in explaining the successful use of these concepts in films and animation are included. This book is geared toward students; however, it is also reader-friendly for professionals. \u003cstrong\u003eComposition for the 21st  century: Characters in Animation\u003c\/strong\u003e's\u003cstrong\u003e \u003c\/strong\u003egoal is to comprehend composition as an artistic tool and as a significant part of the professional character design process.\u003c\/p\u003e\u003cb\u003e\u003c\/b\u003e\u003cp\u003eKey Features:\u003c\/p\u003e\u003cul\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cli\u003eTeaches the complexity of composition in the profe\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eChapter 1: The Job of a Character Designer \u003c\/p\u003e\n\u003cp\u003eChapter 2: Visual Development Process \u003c\/p\u003e\n\u003cp\u003eChapter 3: Storytelling and Drama \u003c\/p\u003e\n\u003cp\u003eChapter 4: Personality \u003c\/p\u003e\n\u003cp\u003eChapter 5: Relationships \u003c\/p\u003e\n\u003cp\u003eChapter 6: Emotions \u003c\/p\u003e\n\u003cp\u003eChapter 7: Message or Theme \u003c\/p\u003e\n\u003cp\u003eChapter 8: Research and Concept \u003c\/p\u003e\n\u003cp\u003eChapter 9: Design Scale \u003c\/p\u003e\n\u003cp\u003eChapter 10: Pose and Communication \u003c\/p\u003e\n\u003cp\u003eChapter 11: Thumbnail Drawings \u003c\/p\u003e\n\u003cp\u003eChapter 12: Shape \u003c\/p\u003e\n\u003cp\u003eChapter 13: Form \u003c\/p\u003e\n\u003cp\u003eChapter 14: Line of Action \u003c\/p\u003e\n\u003cp\u003eChapter 15: Anatomy\u003c\/p\u003e\n\u003cp\u003eChapter 16: Weight\u003c\/p\u003e\n\u003cp\u003eChapter 17: Tension and Compression \u003c\/p\u003e\n\u003cp\u003eChapter 18: Contrapposto \u003c\/p\u003e\n\u003cp\u003eChapter 19: Movement and Twist\u003c\/p\u003e\n\u003cp\u003eChapter 20: Pivot Point \u003c\/p\u003e\n\u003cp\u003eChapter 21: Balance and Tension \u003c\/p\u003e\n\u003cp\u003eChapter 22: Silhouette \u003c\/p\u003e\n\u003cp\u003eChapter 23: Perspective and Dimensionality \u003c\/p\u003e\n\u003cp\u003eChapter 24: Foreshortening \u003c\/p\u003e\n\u003cp\u003eChapter 25: Tangents \u003c\/p\u003e\n\u003cp\u003eChapter 26: Light and Shadow \u003c\/p\u003e\n\u003cp\u003eChapter 27: Vectors and Directions \u003c\/p\u003e\n\u003cp\u003eChapter 28: Facial Expressions \u003c\/p\u003e\n\u003cp\u003eChapter 29: Extroverted and Introverted Pose \u003c\/p\u003e\n\u003cp\u003eChapter 30: Negative and Positive Space \u003c\/p\u003e\n\u003cp\u003eChapter 31: Body Ratio \u003c\/p\u003e\n\u003cp\u003eChapter 32: Contrast \u003c\/p\u003e\n\u003cp\u003eChapter 33: Texture \u003c\/p\u003e\n\u003cp\u003eChapter 34: Line Quality \u003c\/p\u003e\n\u003cp\u003eChapter 35: Simplicity and Readability \u003c\/p\u003e\n\u003cp\u003eChapter 36: Believability \u003c\/p\u003e\n\u003cp\u003eChapter 37: Color Design \u003c\/p\u003e\n\u003cp\u003eChapter 38: Clothing Design, Folds, and Fabrics \u003c\/p\u003e\n\u003cp\u003eChapter 39: Style Pass \u003c\/p\u003e\n\u003cp\u003eChapter 40: Character \/ Model Sheets \u003c\/p\u003e\n\u003cp\u003eChapter 41: Refinement \u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Taylor \u0026 Francis Ltd","offers":[{"title":"Default Title","offer_id":49371834745175,"sku":"9781138740907","price":54.14,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781138740907.jpg?v=1791470097"}],"url":"https:\/\/bookcurl.com\/collections\/digital-animation.oembed?page=10","provider":"Book Curl","version":"1.0","type":"link"}