Featuring hundreds of carefully hand-crafted illustrations by the internationally renowned production designer Hans Bacher, Sketchbook - Composition Studies for Film is a unique journey through the mind and creative process of one of the artistic legends in animation film design. Having shaped such films as The Lion King, Mulan and Beauty and the Beast to name a few, Hans's work is a part of the very cultural fabric of our age. Here the artist puts on display the rarely discussed first part of image making for film, the conceptual thumbnail. Exquisitely beautiful in themselves, these small illustrations represent the birth of what eventually becomes the iconic images we experience on the silver screen. Essential to anyone interested in understanding the skeletal structure that exists underneath stunning imagery in all forms of media, this book is especially relevant today with the dramatic increase of interest in film and game design. Although students today have ready access to and an understanding of technical aspects of the craft using associated software, the area most lacking in accessible information is this quintessential first part of thumb-nailing an image. This unique book will provide the student and professional with the fundamentals of conceptualizing images, and how these can be used in composition in the related fields of illustration, graphic novels, 2D animation, 3D animation, photography and cinematography.
Author: Hans P. Bacher, Sanatan Suryavanshi
Publisher: Laurence King Publishing
Featuring hundreds of carefully hand-crafted illustrations as well as significant tuition on how to best compose and use images to create the most powerful frames, this book is potentially Hans P. Bacher's life's work encapsulated in one volume. Here, the internationally renowned production designer shares his expertise in an easy-to-follow and imaginative way – giving tips, exercises, and a depth of knowledge garnered from a lifetime in the industry. Bacher's production designs have established the look of many seminal animated films such as The Lion King, Balto, Mulan and Beauty and the Beast, so fans of his work will be delighted. While keeping the focus on storytelling, Bacher instructs readers in the art of animated cinematography with the ever-present aim of soliciting an emotional response from the audience. Vision: Color and Composition for Film represents an amazing depth of experience — and is visually arresting to boot.
A 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.
This essential, hands-on guide is filled with examples of what a composition should look like and example of poorly designed layouts. Spot potential problems before they cost time and money, and adapt creative solutions for your own projects with this invaluable resource for beginner and intermediate artists. With Beauty and the Beast examples and Simpson character layouts, readers will learn how to develop character layout and background layout as well as strengthen composition styles with a creative toolset of trick shot examples and inspirational case studies. A companion website will include further technique based tools, finalized layout and composition examples and tutorials for further artistic skill development.
Author: Robh Ruppel
Graphic L.A. is part practical instruction, part guided meditation on the importance of color values and objects in art. The reader is led by the professional instruction of Robh Ruppel; instructor at the Art Center College of Design, Gnomon School of Visual Effects, and Concept Art Academy. He is also a multiple award-winning art director of video games. By reducing environments down to basic shapes and colors (or “symbols”), Robh builds astounding images. Robh documents the progression of building an image while referencing basic techniques. By using color with surprisingly bold brushstrokes, he produces images of incredible depth with intricate handling of light and shadow. It is a rare exploration into simplicity without resorting to minimalism. Readers will be certain to take away both a sense of admiration for Robh Ruppel's work and a greater understanding and appreciation for the importance of color value relationships in all forms of art.
Author: Donald W. Graham
The principles of and approaches to composition have been intriguing and challenging subjects of study since the beginning of pictorial art. In this book both traditional and contemporary principles and approaches are explored and clearly explained. This lucid, insightful encyclopaedia of how pictures are put together, a classic in its field, is an invaluable book for long-term study, reference, and even browsing. A picture cannot be weighed, measured, and appraised like a sack of potatoes. This book avoids the "discussion by dissection" method of picture analysis, stressing instead the graphic forces that remain valid and essential regardless of how art forms and fashions may change. In thirty-five short chapters, each devoted to a single important concept, the author covers the basics and complexities of graphic composition, including the illusion of depth, the enigma of surface, manifesting and symbolising force and motion, utilising borders, graphic accents, patterns, handling dark and light, directing the viewer's eye, and creating storyboards. These concepts are illustrated by hundreds of diagrams and the work of great artists from myriad historical ages, cultures, and styles. The book not only contains a section on film graphics, but also consistently reminds the reader that the principles of composition relate to the moving picture as well as the still picture.
A sketchbook is the perfect place to gather and record observations, whether your intent is to complete a quick watercolor sketch or prepare for a larger studio painting. In Keeping a Watercolor Sketchbook, acclaimed artist Brenda Swenson explores the many wonderful possibilities that an artist's sketchbook has to offer-from practice pad to travel journal. You will discover how to get the most out of your own personal sketchbook, as well as learn essential art theory and techniques, including composition, perspective, color mixing, and much more. It's all right here in this comprehensive guide! (64-page paperback, 6.5 x 9.5) Awards: Craftrends Awards of Excellence 2006 Finalist
The Beethoven Sketchbooks
Author: Douglas Porter Johnson, Alan Tyson, Robert Winter
Publisher: Univ of California Press
Herri Met de Bles
Author: Norman E. Muller, Betsy J. Rosasco, James H. Marrow
Understand the body's framework, grace and utility, and each vital element in this cunningly guided sketchbook. Anatomical mastery was critical to Michelangelo and Leonardo da Vinci's success. They understood that to draw a figure you must first learn its underlying architecture. Touching on structural drawing, the skeleton, musculature and modelling, this sketchbook includes 20 pioneering examples of anatomical study alongside helpful directions from celebrated artists, scientists and art historians. Whether drawing hands with Raphael, an eye with Escher, a foot with da Vinci or a torso with Giacometti, you will come to understand each element of the body and how they form a whole. The masterpieces, wisdom and glossary included in these aided sketchbooks together offer a strong foundation for artistic progression, and there's plenty of blank space to work your thoughts through. Gain the technique and confidence you need to produce accomplished results.
Author: Jean-Michel Basquiat
Publisher: Princeton University Press
Setting the Scene
Author: Fraser MacLean
Publisher: Chronicle Books
The art of animation layout takes center stage for the first time in this gorgeous, full-color volume. Animation fans and students can finally take a behind-the-scenes peek at the history of layout, the process by which artists plot scenes and stitch together the many elements of animated works. With in-depth text by veteran animator Fraser MacLean, this extraordinary book features previously unpublished art from major studios archives including Warner Bros., Pixar, Walt Disney, and more as well as interviews with some of the biggest names in animation and a foreword by Academy Award winning director Pete Docter. From the genre's earliest pioneers to the digital world of contemporary cinema, Setting the Scene provides an enchanting journey into the history of animation.
A compilation of sketches, mostly done in brushpen.
How to Draw
Author: Scott Robertson, Thomas Bertling
Provides instruction on drawing objects and environments from the imagination, constructing accurate perspective grids, and experimenting with various mediums.
Artists in Exile
Author: Joseph Horowitz
Publisher: Harper Collins
During the first half of the twentieth century—decades of war and revolution in Europe—an "intellectual migration" relocated thousands of artists and thinkers to the United States, including some of Europe's supreme performing artists, filmmakers, playwrights, and choreographers. For them, America proved to be both a strange and opportune destination. A "foreign homeland" (Thomas Mann), it would frustrate and confuse, yet afford a clarity of understanding unencumbered by native habit and bias. However inadvertently, the condition of cultural exile would promote acute inquiries into the American experience. What impact did these famous newcomers have on American culture, and how did America affect them? George Balanchine, in collaboration with Stravinsky, famously created an Americanized version of Russian classical ballet. Kurt Weill, schooled in Berlin jazz, composed a Broadway opera. Rouben Mamoulian's revolutionary Broadway productions of Porgy and Bess and Oklahoma! drew upon Russian "total theater." An army of German filmmakers—among them F. W. Murnau, Fritz Lang, Ernst Lubitsch, and Billy Wilder—made Hollywood more edgy and cosmopolitan. Greta Garbo and Marlene Dietrich redefined film sexuality. Erich Korngold upholstered the sound of the movies. Rudolf Serkin inspirationally inculcated dour Germanic canons of musical interpretation. An obscure British organist reinvented himself as "Leopold Stokowski." However, most of these gifted émigrés to the New World found that the freedoms they enjoyed in America diluted rather than amplified their high creative ambitions. A central theme of Joseph Horowitz's study is that Russians uprooted from St. Petersburg became "Americans"—they adapted. Representatives of Germanic culture, by comparison, preached a German cultural bible—they colonized. "The polar extremes," he writes, "were Balanchine, who shed Petipa to invent a New World template for ballet, and the conductor George Szell, who treated his American players as New World Calibans to be taught Mozart and Beethoven." A symbiotic relationship to African American culture is another ongoing motif emerging from Horowitz's survey: the immigrants "bonded with blacks from a shared experience of marginality"; they proved immune to "the growing pains of a young high culture separating from parents and former slaves alike."