Layout_and_Composition_for_Animation.pdf

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Layout
and
Composition
for
Animation
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sample:
Unruled corporate logo at bottom left of type block; dual-brand
imprint logo (FP, GPP, MK, Newnes) at bottom right of type block,
must be of equal or lesser height than the Elsevier corp logo. Cities
to set in 9/12 pt basal font with word band, bullet, and word band
between city names; ctr’d. Imprint name and “is an imprint of
Elsevier” to set in 7/12 pt basal font on line below; cities type block
to bottom align with logos at left and right and center.
Ed Ghertner
AMSTERDAM • BOSTON • HEIDELBERG • LONDON
NEW YORK • OXFORD • PARIS • SAN DIEGO
SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO
Focal Press is an imprint of Elsevier
Focal Press is an imprint of Elsevier
30 Corporate Drive, Suite 400, Burlington, MA 01803, USA
The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK
© 2010 ELSEVIER INC. All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by any means, electronic
or mechanical, including photocopying, recording, or any information storage and retrieval system,
without permission in writing from the publisher. Details on how to seek permission, further
information about the Publisher’s permissions policies and our arrangements with organizations such
as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our
website: www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under copyright by the
Publisher (other than as may be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As new research and experience
broaden our understanding, changes in research methods, professional practices, or medical
treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in evaluating
and using any information, methods, compounds, or experiments described herein. In using such
information or methods they should be mindful of their own safety and the safety of others, including
parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume
any liability for any injury and/or damage to persons or property as a matter of products liability,
negligence or otherwise, or from any use or operation of any methods, products, instructions, or
ideas contained in the material herein.
Library of Congress Cataloging-in-Publication Data
Application submitted
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
ISBN: 978-0-240-81441-4
For information on all Focal Press publications
visit our website at www.elsevierdirect.com
10 11 12 13 5 4 3 2 1
Printed in China
For Jana, Sean, and Amy
Acknowledgments
T
he journey to bring this book to reality is a long one and my purpose is to pass
along the knowledge that was given to me. I wanted to explain and show that the
Layout Artist’s contribution to the animation process is extremely important and
that 2-D Animation, as an art form, should not be thrown away like an old shoe for
the sake of progress. I know that each step of the animation process, from story
to final color, will change due to progress and innovation; however, knowing and
passing on the history and evolution of those processes are important to the future
of this great art.
There are many friends, colleagues, and neighbors who inspired me and sup-
ported me along the way in creating this book. There are a few I’d like to acknowl-
edge in print: my parents, Elliot and Carole; my wife, Jana, whom I haven’t seen
much of while writing this book; my kids, Sean and Amy; the rest of my immediate
family, both here and gone. I also want to thank the artists who taught me: the
great Ken O’Connor, Don Griffith, Maurice Noble, Mike Maltese, Bill Moore, Vance
Gerry, and last but not least, Eric Larson. Without their selfless characters, I would
have lost hope. To my friends Brian Efron, Mark Kirkland, Brian McEntee, Krista
Bunn, and Karen Bunn, thank you for being there and for your support.
A special thank you to Karen Bunn who took on the daunting task of helping
me lay out the book, and without whom I would have never made the schedule.
THANK YOU!!!!
The information in this book is dedicated to those who wish to learn and ad-
vance themselves in a truly beautiful art form.
Long Live Animation!!!!!
--Ed

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