Animation Books

This book served as a guide to go from not knowing anything about iMovie to being able to create a large slideshow project. I ordered another guide first and couldn't get off square one. This guide allowed me from starting at no knowledge to understanding well enough to get my job done. The iMovie icon sat on my desktop for years before this book opened it's utility. A small and worthwhile investment to get the most out of this software. It has even given me the bug to get a camcorder and move from photography to videography.

I love this book. Its so easy to read and informative that it'll suit any age! Its an easy way to get the know-how on Imovie and Idvd and also helps seasoned ammatures (like myself) brush up on the commands and answers any questions you might have.

As digital video cameras spawn in the hands of you, me, parents and tourists like cockroaches in my kitchen we find ourselves needing the kind of technical and aesthetic help not really seen since the advent of `desktop publishing'. Once again a `Missing Manual' has come to my help. `iMovie 3 & iDVD: The Missing Manual' is an excellent book.

I previously reviewed iPhoto2: The Missing Manual and said "The target audience for this book would probably be a little less technical than myself, however when I find myself in a field I don't understand well I don't mind a little stuff for the absolute newbie" -- and once again this is true. iMovie 3 & iDVD: The Missing Manual finds me in an area where I am technically inferior. Once again I truly appreciated this book and its style.

The book is broken up into four sections, one devoted to video cameras and shooting a movie, a large one on editing in iMovie 3, and smaller sections on exporting out of iMovie 3 and on using iDVD. At the end are two useful appendices: the first is a menu-by-menu look at iMovie 3, and the second is an iMovie 3 troubleshooting guide. The latter is often needed and always useful -- iMovie 3 still has more than one bug.

The first section gives a great deal of incredibly useful information about video cameras and how to use them, including hints on various types of shooting such as sporting events, interviews and weddings. The technical information on cameras is perfect if you have yet to buy a camera, including a guide to which features are essential and which unnecessary as you can do the same thing (only better) in iMovie 3. When it goes on to the `how to shoot' section, you get pretty much the same advice you'll get anywhere, but since we didn't really read all of from the last book on video we read (and forgot half the bits we did read) it's nice to have it there again.

The second section does a good job of explaining the details of iMovie 3, even down to some of its shortcomings and bugs. I also appreciated the way it spent as much time on improving the quality of the finished film as it did telling me how to use the various parts of the software. It follows a logical sequence through the movie-making process, giving good details on how iMovie does the job, how to get the best result and what sort of things to avoid -- particularly useful for things like transitions and effects when less is best.

The third section, titled "Finding Your Audience," is a bit more of a problem. It really has nothing to do with finding an audience and a lot more to do with QuickTime. The section first spends ten pages telling us how to get our edited film back onto the camcorder or onto a VCR, then it spends a lot of time dealing with exporting to QuickTime, including posting movies to the web and some info on using the QuickTime player, including some "tricks" with QuickTime Player Pro.

The attention to the finished product in the second section carries through to the fourth section on iDVD, though the writing here is not quite as good. It is incredibly informative, however. I learned a great deal about putting together all sorts of iDVD projects, including ways of customizing almost every aspect of the finished product.

O'Reilly have the usual marketing stuff on their website while Pogue Press have the handy little Missing CD section with links to all the free and shareware software mentioned in the book. Neither has a sample chapter or the table of contents.

One of the drawbacks of getting free software is that we don't get good free documentation. One of the benefits of free software is that we can choose which `documentation' to buy. Some people might prefer the style of the `Dummies' books, others the style of Peachpit's Visual Quickstart Guide. I've had a look at all three and like the balance of depth and explanation that Pogue has in his `Missing Manual' series. I once again find myself recommending a `Missing Manual' to everyone. While catering to the beginner, this book goes deep enough that all but the most long-term user of these two pieces of software will find something to learn in this volume.

Yup. This book really made using iMovie for the first time a walk in the park.
Wiht absolutely no prior experience in this sort of stuff (the closest I've come is Photoshop Elements), I was able to, on the first try, make a music video of my son's first christmas.
I was then able to convert an old videotape from the late 70's into a gleaming, groovy DVD.
The book is well laid out, easy to navigate and above all, usable.
It's a five-star manual, no doubt about it.

I bought this book as an afterthought when I started using I-Movie. At first, like most of us, I thought--hey, I can use I-movie intuitively without a manual...but after my Imovie 3.0 crashed and corrupted the movie I'd been working on for 100+ hours, I was eternally grateful to have it nearby. This manual is wonderfully organized, very easy-to-understand, and answers virtually every question you could have about I-Movie and I-DVD. It walks you through everything from how to shoot footage that is eye-appealing...to editing it to a work-of-art in I-movie...to converting it to a Quicktime video and/or burning it to DVD. It is honestly one of the best manuals I've ever used for anything---clear, concise, yet comprehensive. Thanksfully, you don't need to read the whole book in order to "get started" with I-movie; rather, it's a great tool to pick up on an "as needed" basis while you're editing. This book is definitely worth the small investment. It truly is "the missing manual" for I-movie. O'Reilley has done it again...great job!

I've been interested in popular Japanese culture for a long time, so I was pleased to see this new exploration of the interface between Japan and America, . . . though I was somewhat put off by the use of the pejorative word "invaded" in the title. That seems to have been a marketer's contribution, though, because the half-Japanese author, who has become something of a professional explainer of Japanese and Americans to each other, seems not to reach value judgments about the wide popularity of manga and anime in this country, nor about the much more longstanding popularity of everything American in Japan. It's largely a generational thing, though; most Americans over the age of thirty have no idea what Gundam is, nor what "otaku" and "cosplay" mean. And while anime has become increasingly popular in the U.S., it remains deeply Japanese. There's really no such thing as "American anime." Though he comes to no strikingly original conclusions, Kelts does a good job of explaining things to those who are new to the subject.

Mr. Kelts' book about the popularity of Japanese culture in America is first rate. He discusses more than just anime and manga and provides the reader with an easy to understand analysis of Japanese popular culture both in Japan and as it appears in the US. It should be in the collection of any Japanophile.

As an American who is fascinated with Japan, but frustrated with books about the relationship between the two countries, I found Roland Kelts' "Japanamerica" to be a welcome breath of fresh air. Kelts focuses on the growing popularity of manga and anime among Americans, and the "mobius strip" of give and take between the two cultures, but his focus inevitably widens to address the broader mutual fascination between these two worlds. I love the fact that, as an American with a Japanese mother, Kelts avoids the two hazards of Japanophilia and Japanophobia. There is a refreshingly grounded and sensible middle ground in his analysis, a realism that seems to lighten things up and make it all more accessible and welcoming. Perhaps best of all - and this is a miracle in the world of cultural analysis - Kelts is delightfully unpretentious and his prose is as clear and comprehensible as it is filled with fascinating ideas and observations. Never for a moment do we doubt that Kelts knows what he's talking about it - and he brings it all across with infectious enthusiasm.

For those who have been to Japan or have an interest in anything Japan, I highly recommend this book. The author does a wonderful job explaining Japanese pop culture and how it relates to Japanese society and culture. IT was a very easy, entertaining, and insightful read.

I read this book after a Village Voice critic called it "a Wired Magazine article on steroids," and Ain't It Cool News said that it was "an imperative resource." Then Bookforum called it "an amazing ride," and The Boston Globe raved.
Then: Even Pete Townshend of The Who endorsed it!
I am skeptical of books trying to capitalize on trends, and very skeptical of books on Japan. But the chorus of praise from so many different voices was enough for me.
This book is written in lucid, carefully crafted prose--telling you everything you need to know about transcultural entertainment and the psychological and spiritual traumas embedded in pop culture, and also precisely what makes Japan so sexy to Westerners in the 21st Century. It is also hip and smart, and very accessible. I only wished it were longer.
The author is no geek, but a writer of considerable talent and range. Get Japanamericaa now.

I rarely write reviews for the books I read, but with this one a review isn't that hard. First and foremost, this book assumes that you already have some solid knowledge on web design (CSS, HTML, and Javascript). There is a quick chapter on javascript in the appendix that helps but it's more of a friendly reminder of javascript concepts that anything else. It's also good to have an understanding of some of the more advanced CSS selectors that are in the CSS3 specification. This isn't a requirement but you'll get a bit more out of it if you do. jQuery has some very powerful ways of selecting elements and you can use some of the CSS3 selector statements even if the browser doesn't support it. Very cool stuff! The authors do a great job of explaining things with detailed code and real-world examples (which you can download and run yourself if you wish to follow along). They also do a good job of breaking everything down into a linear fashion that is easy to absorb and don't get ahead of themselves all that often. All in all, this is probably one of the best web development/design related books I've read in a while. I haven't quite finished yet but the half I have read is reqlly well written. I already feel like I have a firm grasp of the basic concepts of jQuery and could probably start using it a bit. Bravo to the authors for writing a solid book on jQuery!

I have solid JavaScript skills and plenty of experience, but at first I wasn't feeling 100% comfortable using jQuery; I was able to be productive very quickly, but failed to feel at home using it. This book was exactly what I was looking for. jQuery has its own way to approach many problems and, in my case, I almost had to "unlearn" certain habits and embrace the idiomatic alternatives offered by the library. jQuery in Action helped me a lot in the process, saved me some time and made the whole learning process much more enjoyable. I wish there was more space dedicated to ui.jQuery, but I understand that's a topic worth a dedicated book.

I found this book to be a great resource for learning about jQuery. I was able to apply what I learned right away.

This is just an excellent book all around. It's well-written. No BS to wade through (just the stuff you need to get going with jQuery). It has excellent online tools to download so you can really get into jQuery and how it works (they call it a Lab page -- it's a set of HTML pages that you download and use to test tasks or theories in jQuery).

I haven't read too many books solely on Ajax frameworks but I cannot recommend this one enough. You'll be up and running with jQuery faster than you can imagine.

jQuery is a Javascript framework that aims to let you think structurally and conceptually, rather than worrying about syntax and other details. In that largely succeeds, and so does this remarkable book.

Every technical book should be like this one; having written a few myself, I know that's a tall order. "jQuery in Action" is concise but clear, humorous but not silly, and answers all the questions it raises, quickly. The reader is never left wondering "But what about..." for more than a sentence or two. The authors clearly gave a lot of thought to pedagogy, because things are explained in a clear way which progresses naturally from chapter to chapter. Factor in the extremely readable style and the handsome diagrams, and it's easy to see why reading this book is a sheer joy.

For each major feature of jQuery, this book provides a "Laboratory page", a kind of interactive HTML playground where you can try the feature out using different options. The remarkable flexibility of these pages is a testament to both the power of jQuery and to the imagination and creativity of the authors.

Perhaps the most commendable feature of "jQuery in Action" is, however, its unflinching honesty. All too often authors are interested in selling you on an approach or a product, and they tend to gloss over the rough spots to win you over. These authors refuse to do that. They present their topic just as it is, describe its merits, and let the reader decide. You should, of course, decide to buy this book!

This is such a treasure! It shows life inside Termite Terrace and preserves the history like a textbook. The author shares stories that aren't covered in other books and talks about the people who weren't in the spotlight of the Golden Era. I was amazed to find someone who had lived through it and been there had written this. Any students of Looney Tunes, animation, or cartoon history should read this book.

If you've read any other animation history books, you've gotten a basic idea of how things were during "Golden Age" of the 30's and 40's. But not only is Living Life Inside The Lines one of the few books written someone who actually worked in animation during that period, it's the only book I've seen written by an ink & paint artist, which gives it a point of view of the animation world that other books never mention.

Sigall also tells stories of people like Irv Spence and Phil Monroe who were a big part of animation history, but have never gotten much mention in books. And having worked at numerous studios and ink & paint houses, she has very broad perspective on how the animation industry has changed from the 30's thorough to the 80's. Plus her pleasant demeanor makes for a nice, easy-going read.

If you're interested in animation, this book is a perfect supplement to your library.

I know the son of the writer and was eager to read her book. I have done computer animation and presently am in involved in video production. I found this personal history of the early days of animation to be fun, informative, and came away feeling I had a better knowledge of the people involved in this wonderful form of visual art!

If you love animation, history of early animation days...this book is a wonderful read!

When Chuck Jones received his special Academy Award in the mid-1990s, he wondered aloud from the stage where all the "laughing faces of Termite Terrace" had gone. They're right here in Martha Goldman Sigall's wonderful book. Martha was a central participant in the Golden Age of the animated short: she inked and painted on timeless, classic films directed by Chuck Jones, Tex Avery, Bob Clampett, Friz Freleng, Bob McKimson, Frank Tashlin, Bill Hanna and Joe Barbera, and others, and almost certainly contributed to more animated films than all of them combined, probably without receiving a single screen credit in that era. But she sketches the men and women who sketched Bugs Bunny and Tom and Jerry masterfully in this extremely well-written book, which, like Martha herself, is very warm, funny, and people-oriented. Her personal portraits of artists like Treg Brown, Virgil Ross, Ben Washam, and many others are a crucial contribution to animation history as well as a fun and funny reading experience.

This is the best book on the Schlesinger studio (birthplace of Bugs Bunny, Daffy Duck, Porky Pig, and many others), and provides perhaps a thousand important details about that historic cartoon studio and MGM's that aren't found elsewhere. Martha sketches the 1941 strike, the Red Scare, wartime Hollywood, and other events from the animation community's perspective, and also sheds light on the historic industry locations such as 861 Seward, where six different studios sought shelter through the years; the neat and clean (but long gone) MGM building in Culver City, and the shabby Van Ness home of Leon Schlesinger and his "kids".

In what may be the last major eyewitness account of the classic era of animation, Martha raises the spirit of those long-gone laughing faces, and humanizes the creation of the great cartoons and timeless characters that will last forever. The joy she obviously felt in her career infuses the book and the reader.

Martha and her husband Sol, who, happily, is also heard from here, have always been like beloved grandparents to animators in Southern California (one of which this author was for a few years), but in 1996 they kindly donated themselves to the Warner Brothers Museum and are now officially public treasures. If you're not in the area, you can claim your share of them right here in this wonderful book. They should designate a rating higher than five stars for it.

I love reading stories from animations golden age and this book is especially charming.
Most people don't know it, but the ink and paint departments in all the major and minor studios were the real unsung heroes of the cartoon business-many ladies being accomplished artists in their own right and having the ability to take well drawn line drawings and just adding the right touch to each cel that the scenes would really shine. Water effects being one of the areas of animation that without great inkers and painters could tend to look "hokey".
I give this book 5 stars, but I wish it had more pictures!!

Although this book is aimed toward the younger readers, it is the original poem of the Nightmare Before Christmas, so no matter if you are a Burton fan or study literature, this is an essential item to add to that collectio

Hmm, where do I begin... I LOVE JACK SKELLINGTON first off, and this book is SOO COOL! And yes, you can probably tell I'm a teenage girl so far... but yeah, I read this book when I was really little (same with watching the movie) and at first it scared the crap outta me (hey, I was little). But when I got older, I started to realize that this thing kicked @$$. It made me laugh, made me smile, made me cry a little, everything! Best holiday book ever! It's not really a little kid book, but it's not too scary either. The scariest part about it are the drawings, just cuz they're so abnormal. Also... if you haven't seen the movie, make sure you do. But all in all, this is probably my favorite book. GOOD JOB TIM!

I bought a copy of this book a couple years back, only to find my young nephew (only 5 back then) reaching to look at it often when he visited. I've now decided to buy him his own copy of this book, while it's still in print, because I see this movie's "legend" continuing to grow as an annual Halloween classic. Such is the unique and wonderful world of Tim Burton; his style often does not catch on immediately, but it slowly finds its way beyond "cult" viewing and into the hearts and minds of mainstream audiences. This book features a generous offering of pre-production designs (including many of Burton's own drawings) and behind-the-scenes photos, which are fun to look at again and again. A beautifully illustrated book, and fun to own

A director named Burton with the first name of Tim
Wrote this tale of a skeleton, tall and slim.

Jack Skeleton is the name of this "hero"
He comes with a ghost dog known as Zero.

As the title implies two holidays meet
Do we say "Merry Christmas" or "trick or treat?"

Jack wants to spread Christmas and help Santa out
But he's a little misguided when he takes the toy route.

The kids are a bit surprised by Jack as S. Claus
Some of his Christmas traditions would make anyone pause.

Before you read this give the movie a look
The film helps the reader make sense of the book.

Illustrated with drawings instead of claymation
This book still creates quite a sensation!

I'd like to know more about Nightmare Before Christmas.

I have all RenderMan books on the market.
This one is impressed me!
The authors explain step by step and that make readers understand RenderMan more.

Same as other reviews, lacking of CD is the shame.
However, overall still be very good to me.
And if you consider the price is very worth for money.
That's why I think this book should be given 5 stars.
Hopefully, There will be more good RenderMan books available soon.

Tee

The RenderMan Shading Language Guide is an excellent resource. It contains numerous examples of shader code, to help get you started with writing your own shaders. I was happy to see the robust section on illumination models, with some sl code provided for most of them. I found the section that had common functions (like gamma() and remap()) very helpful, and appreciated the disscussion on more sophisticated components of the shading language (like subsurface scattering and global illumination). In addition, for the user who is new to the process of writing and compiling shaders, a number of pages are devoted to explaining how to achieve these goals. All in all, I would highly recommend this book to any user who wants to learn how to write his/her own RenderMan shaders.

I caught wind that this book was coming out well before it actually came out and could hardly contain my excitement. I had it ordered before it was even off the press.

Let's face it, trying to learn Renderman online is like trying to ride a bike with a flat tire. You can go, but not very fast or very far. I own several other renderman books but found them to be a bit out of date and lacking in areas. Since leaving school and entering into the industry I had actually been considering writing a Renderman book myself. I am glad to say that now I don't have to!

I have been enjoying my copy of the book since december of last year. I admit that I was thrown off by all the refrences to the accompanying cd, as well as a few typos throughout. I was overjoyed however to find the website today! This is the book that I have needed for a long time. It is well worth what you pay for it.

I have read many technical manuals relating to the 3D Animation and Visual Effects industries, and I can honestly say that this is easily one of the best available.

Given the limited library of Renderman books, I'd call this an absolute must have for any Lighting/Rendering/Shader TD, or any artist or technical director involved in the look development and shot finaling pipelines.

Even if you haven't yet worked within a Renderman pipeline, this is the perfect publication to introduce you to, and bring you up to speed in, the Renderman Shading Language (RSL).

I've found that the majority of technical manuals suffer from a number of common flaws:

1. The information is presented chaotically, and with minimal use of examples or descriptions, resulting in a publication that would readable only by those that already know everything it has to teach.

2. The information is presented so laboriously that what should take a paragraph instead takes up three chapters.

The Renderman Shading Language Guide is perfectly paced for beginners and intermediate users alike, and indeed when I showed the book to a couple of highly experienced Renderman TDs, they were surprised by the sheer volume of information and ordered copies for themselves.

Everything is presented in short blocks with an easily readable description, examples, shortcuts and conclusions. There is no unecessarily complicated geek speek, and neither is the reader treated like a 4 year old.

Even though I barely remember my high school math, and in the most flattering estimation I'd be considered a competent beginner when it comes to the math involved in RSL, I found the examples relatively easy to follow for the most part. And in those parts where the math went well over my head, I found the simple descriptions and concise, well explained instructions to be all I needed to quickly understand the topic.

From cover to cover this book is crammed full of useful information. There is no wastage of space in these pages. It seems that every conceivable question is answered - every possible topic covered from introduction to an advanced level of understanding and a practical and immmediately useful conclusion.

And at the price? This book is a steal.

One very minor complaint I would make is in regards to the occasional typographical error. An equation or two is printed with "?" in place of "*" or another symbol, and there are a few spelling and grammatical errors. But as I said, it is a minor complaint.

Also, I would have liked to have seen more complete shader examples demonstrated in a step-by-step process, as while this book is overflowing with informative mini-tutorials, it all seems a little incongruous. It would have been good to see a few more examples where the information was brought together in real-world ways to create some amazing completed shaders. Perhaps in a sequel? ;)

All in all, HIGHLY RECOMMENDED, from an industry Lead Lighting TD.

9.5/10

I'm quite pleased with the depth of this book. So many of the CGI titles I've bought that claim to be intermediate or advanced aren't. While the RenderMan Shading Language Guide assumes that you have no starting knowledge of RSL, it immediately dives into technical details without overwhelming the novice. For someone wishing to learn RSL (or even just shader theory), this book is wonderfully paced, containing a great depth of information, very well explained.

At the same time, this isn't a book for dabblers. To get much out of the RenderMan Shading Language Guide, you need to be willing to put some effort and practice into it. This is a textbook and needs to be treated as a subject of study, rather than a casual enhancement for playing with CGI. If RenderMan intrigues you, but you don't want to get too deep into the technical (and programing/scripting) aspects, you'd be better off getting Pixar's RenderMan for Maya and a Digital Tutors or similar training DVD. You'll learn more of the simple, day-to-day things and get started making renderings faster.

As another poster mentioned, the text mentions an included disk which isn't. The website doesn't have downloads either. That omission would knock the book down to 4.5 stars, but since I can't rate with half-stars, 5 stars more accurately reflects the value of the book than 4.

I was an Army broadcaster for nearly thirty years, commanding major audio-visual activities and the largest radio-television network in the Defense Department, located in central Europe. In these assignments, all of Dr. Zettl's texts were used as our training gold standard. When I managed the Army "audiovisual school", the Soldiers Manual and other texts for television production were written with his principles, theories, and practices in mind. As an educator pioneering a film and TV school in a large college, all my TV courses in production were Zettl-based. I found that many leading industry executives (who's who among top networks) began their early education - as I did - in colleges that used the Zettl TV Production Handbook. In TV hands-on assignments, I continue to use his lighting templates and theories. I admonished my students to never cash-in his texts at the end of the course, but to keep them as references.

I have the essential text series: Video Basics, TV Production Handbook, and most especially, Sight, Sound & Motion. The best DVD on the subject ever produced is his own Zettl TV Lab 3.0.

I can't imagine any professional without the "Bibles" of visual information and TV production. All are well worth the price if you are career-minded, or a current industry member but learned your trade "on-the-job". The texts will not only provide context, but with details and information to help you throughout your career.

I love that you offer these books so inexpensively. If I went to my universtiy bookstore I would have paid three times as much. I can use my own money without having to use loan money to pay for books!

The book is totally new and under very good condition, and the dilievery time is much earlier than i expected.

This text thoroughly explains the intricacies of applied media asthetics in a concise and completely accessible way. It is a well organizied text that ehances its presentation through the use of many illustrations. I believe that this is the best text on the subject and that it has been since its first edtion.

"Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book."

I would disagree with the above review. Only by learning WHY first, can we learn HOW later. This book is more than a cookie cutter approach to film and video. If you want to "click and drag" your way through an editing program, then true, this book is not for you. Add this to your collection if you want a book that teaches how to see and create film. Sight, Sound, Motion: Applied Media Aesthetics has staying power.

There seem to be two kinds of animation books: the "just the facts, ma'am" kind, and those filled with endless anecdotes of the lost golden age. Shamus Culhane's book falls between them and yet hits both extremes. He doesn't clean up history or trim the facts to fit the legends. Which is to say it's unexpurgated (which means uncensored) told in a rollicking, stream of consciousness you are there style.

It's also the untold backstory of animation, as well as a peek at numerous cartoons which have yet to make DVD. Shamus Culhane created the best Woody Woodpecker cartoons including "Barber of Seville," very different from but equally intriguing as "The Rabbit of Seville" (Chuck Jones/ written by Michael Maltese), as well as darkening the doors of most of the then current studios. Not only that, but it's absolutely crammed with photos, character sheets and other animania so as to render the book a visual feast. Anyone with even a passing interest in cartoons or looking for a good read will be delighted to find Culhane's book which is, ironically, one of the few animated histories of animation.

This book was recommended to me by another web/multimedia developer. He told me that I should read it, that it was the web industry in a nutshell. The main difference is the web has a very compressed time line. I first read the book over a year ago... it still reads like prophesy.

This is a "must have" for anyone who wants to create animation. Although not a how-to book, it has an incredible amount of insightful and useful information that is pertinent to those starting out or thinking about starting out their animation career. Shamus writes his animation life story in a way that will entertain and enlighten you. Many of his adventures and experiences are as relavant today as when they happened to him long ago during the Golden Age of animation. The author gives you a ring side seat as he is introduced to animation and evolves as an animator and producer. This was a book that I wish had no end; it actually made me sad to reach the final page.

This book is a must.It is extremely useful for those who want to animate cartoon characters.Shamus description of his life which he shares with the animation history is a very brilliant and inspirated storytellig.This is the book that all animator's should buy. It contains all the valuable information about american animation and all those wonderful pioneers who created the most amazing industry in the world: animation.Do not hesitate! Just buy this book and you will love it. I bet!

James "Shamus" Culhane is not a name that is instantly recognizable to the general public, as is Chuck Jones, but his contributions were every bit as significant. Like Jones, he can be maddeningly arrogant and dismissive of the efforts of his fellow animators, but the truly annoying thing is that he is often right. Culhane worked at virtually every major cartoon studio during its "Golden Age", and generally improved the output of every studio with which he was involved--however briefly. He turned the Fleischer's version of Popeye into a fluid, living character, whereas before Popeye seemed to move like some sort of animatronic figure at Disneyland. He directed one of the few bright spots at Walter Lantz, a Woody Woodpecker cartoon called "Barber of Seville" (which garnered an Academy Award nomination). He also takes us where few other books in animation dare to go--the early days of cartooning for television (did you know he was one of the first producers to make animated commercials for TV? The Ajax elves were his). He even attempted to get in the ground floor of the TV animated series market, though his efforts did not succeed.

This is a must-read, if for no other reason than it avoids rehashing the same material covered again and again by previous books, and gives us an insight into the inner workings of an animation studio as few other books do.

I found this book really by luck and was thinking I had too many animation books already - until I opened it and took a look. I realized I didn't! This is the most comprehensive and detailed book on the art of 2D animation - and can directly be used by 3D animators as the principals are the same. It is deceptively simple looking, but that is because it is one of the most well-designed books I have ever seen. If you are learning animation, brushing up on your skills, or even already doing animation this is the best book I have seen so far. Get it! Your library will thank you!

This book is amazing...it's a resource that any student of animation should not be without. It not only outlines in detail the process of drawing out the animation, it also explains to some degree every aspect of producing the piece. It is an easy read and a great reference, and I wouldn't want to be missing it in my collection.

As an animation teacher, I went through a lot of books as support for my 2D class; this one is on my top list and I would recommend it to any animation student new to the field who want to learn about the process and the principles of animation.
The book is clear, with beautiful illustrations. Many animation books use styles that often turn me off as being too cartoony or dated but this one is very appealing. Each chapter is well documented with simple explanation and visuals. I was particularly impressed by the clarity of the layouts and X.sheet section, as those are usually a nightmare to explain to students.
It offers a wonderful overview of the fundamentals of animation and covers all the aspect of the profession, from storyboard to animating to editing. Even if this is about hand drawn traditional animation, those principles can be applied to 3D and computer animation.

An absolutly great book!! I highly recommend it to any animation student or fan. It's as good as the preston blair book. Check it out!!

As an animation artist, I am familiar with the author's work and eagerly awaited the arrival of this book. It did not disappoint!
It is good for beginners and seasoned veterans alike. The sequential animation drawings - along with their respective numberings and spacing charts - are worth more than the price of the book. They are an excellent way for the student of animation to see how the drawings are spaced to provide the true 'spark of life' so necessary in the success of the animated image 'coming alive'. The book ranks up there with the Preston Blair books, Thomas and Johnston's ILLUSION OF LIFE, and Richard William's THE
ANIMATOR'S SURVIVAL KIT. The chapters on Storyboarding, Layout and Background, along with many other animation gems, are there as well. A true tour de force!

The Artist Within showcases comic artists and cartoonists, usually inside their own workspaces, for a unique and thrilling look at how these creative people surround themselves (and therefore what drives them to do the work they do). The photos are stunning, the reproduction brilliant, and any fan of comic art will find many favorites represented inside, with huge black and white photos by Greg Preston, brief bios, and samples of their work.

There is no other book quite like this on the market, and it's about time we got one--and more than that, such a splendid one.

This book, without question is AMAZING! This book should be in every photography class, on every library and a standard for what the artist behind the camera can do.

Mr. Preston has run us through all emotions with this stellar work - he obviously threw his heart and soul into it - enjoy it!! The background of his shots makes one feel they are getting the best vew from his eye.

Thanks for a superior work!!

This book is an amazing study of artists and people. Even if you're not a comic book fan, these images open up the unbelievably private world of an artists' workspace and it's a fascinating study. Every time I leaf through these pages, I notice something new, some detail that you can see reflected in the pen and ink beside it.

And if you are a comic book fan... how can you resist this glimpse backstage?!

You can't. This book is irresistible. Thanks, Greg Preston!

Greg Preston has done an amazing job of photographing some of the worlds most talented and creative artists and getting that extra insight into their personalities by having them pose where they work, in their studios. Since he's been at it for well over a decade, the book luckily remembers many that have since passed away. It's fantastic to see so many people that have inspired me while turning page after page of this huge hardcover, Hogarth, Toth, Wrightson, Kaluta, Smith, Romita among, well, around 95 others! This collection should also put Greg on the map as an exceptional artist himself. You wouldn't even have to care about who he's snapping a camera at to enjoy and appreciate his knockout skill. I'm looking forward to a volume two!

As an artist myself, I am always fascinated to see the working environments of other artists. This book shows a ton of them. It's a huge, over sized book filled with gorgeous photos. I highly recommend it!