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Acknowledgments | p. xiii |
Introduction | p. xv |
The Study of Motion | p. 1 |
Asking Ourselves Some Key Questions | p. 1 |
Pioneers of Action Analysis | p. 8 |
Books About Animation | p. 13 |
Dynamics and the Laws of Motion | p. 15 |
An Approach to Study: What You Need to Know | p. 15 |
Forces of Nature | p. 16 |
The Weak Nuclear Force | p. 17 |
The Strong Nuclear Force | p. 18 |
The Electromagnetic Force | p. 18 |
Gravity | p. 18 |
Newton's Theory of Gravitation | p. 20 |
Newtononian Laws of Motion | p. 22 |
Newton's First Law of Motion | p. 23 |
Newton's Second Law of Motion | p. 25 |
Newton's Third Law of Motion | p. 28 |
Animation Principles | p. 31 |
A Little History | p. 31 |
Approaches to Animation | p. 32 |
Simulation | p. 32 |
Representation | p. 33 |
Interpretation | p. 34 |
Four A's of Animation | p. 34 |
Activity | p. 35 |
Action | p. 37 |
Animation | p. 38 |
Acting | p. 40 |
Timing for Animation | p. 42 |
Pacing | p. 42 |
Phrasing | p. 43 |
Animation Timing | p. 44 |
The Hierarchy of Animated Actions | p. 44 |
Primary Action | p. 45 |
Secondary Action | p. 46 |
Tertiary Action | p. 47 |
The Principles of Animation | p. 50 |
Timing, Secondary Action, and Slow In and Slow Out | p. 52 |
Straight-Ahead Action and Pose-to-Pose | p. 52 |
Squash and Stretch | p. 54 |
Anticipation | p. 56 |
Staging | p. 57 |
Follow-through and Overlapping Action | p. 58 |
Arcs | p. 60 |
Exaggeration | p. 61 |
Solid Drawing | p. 62 |
Appeal | p. 62 |
Drag | p. 63 |
Balance and Weight | p. 64 |
Solid Modeling | p. 64 |
Energy Flow | p. 64 |
Animals in Motion | p. 67 |
The Richness of Life on Earth | p. 67 |
Human Understanding of the Animal Kingdom | p. 69 |
The Principles of Locomotion | p. 73 |
Speed | p. 73 |
Maneuverability | p. 74 |
Endurance and Economy of Energy | p. 75 |
Stability and Gait | p. 77 |
Quadrupeds | p. 83 |
Quadruped Anatomy | p. 83 |
Muscle | p. 84 |
Tendons | p. 85 |
Anatomy | p. 86 |
Horses | p. 89 |
Cats | p. 90 |
Dogs | p. 92 |
Cows | p. 93 |
Other Quadrupeds | p. 94 |
Crocodiles | p. 95 |
Squirrels | p. 96 |
Quadruped Animation | p. 98 |
Birds | p. 119 |
Bird Anatomy | p. 121 |
Small Birds | p. 129 |
Medium-Sized and Large Land-Based Birds | p. 130 |
Water Birds | p. 131 |
Hummingbirds | p. 134 |
Birds of Prey | p. 134 |
Seabirds | p. 135 |
Other Birds | p. 135 |
Bird Animation | p. 136 |
Principles of Flight | p. 136 |
Types of Wings | p. 140 |
Types of Flight | p. 146 |
Fish | p. 154 |
Fish Anatomy | p. 156 |
Fish Movement | p. 160 |
Fish Animation | p. 167 |
Figures in Motion | p. 177 |
Human Anatomy | p. 178 |
Human Skeletal Structure | p. 180 |
Human Musculature | p. 185 |
Human Animation | p. 194 |
The Sagittal or Median Plane | p. 195 |
The Frontal or Coronal Plane | p. 195 |
The Transverse or Horizontal Plane | p. 196 |
Objectives of Movement | p. 198 |
Balance | p. 198 |
Locomotion | p. 198 |
Projection | p. 198 |
Manipulation | p. 199 |
Effort | p. 199 |
Movement Given to One's Own Body | p. 206 |
Movement Given to External Objects | p. 206 |
Movement under Loads | p. 207 |
Figurative Interaction | p. 210 |
Children in Motion | p. 215 |
Movement in the Elderly | p. 215 |
Movement and the Environment | p. 216 |
Walking | p. 217 |
The Stride | p. 219 |
The Passing Position | p. 220 |
A Child Walk | p. 228 |
An Elderly Walk | p. 229 |
A Heavy Walk | p. 231 |
Walking with a Limp | p. 232 |
Walking with an Aid | p. 234 |
A Happy Walk | p. 235 |
A Sad Walk | p. 236 |
Running | p. 237 |
Timing a Run | p. 243 |
Sprinting | p. 244 |
Steady Runs | p. 245 |
Jogging | p. 245 |
Child Running | p. 247 |
Lifting | p. 248 |
Lifting a Heavy Weight | p. 248 |
Lifting a Light Weight | p. 251 |
Lifting a Light Weight with One Hand | p. 252 |
Cooperation in Lifting Weight | p. 253 |
Carrying | p. 254 |
Pushing | p. 260 |
Pulling | p. 262 |
Throwing and Catching | p. 264 |
Kicking | p. 271 |
Jumping | p. 273 |
Striking | p. 275 |
Using Hands and Articulation | p. 279 |
Facial Movement | p. 283 |
Action in Performance and Acting | p. 287 |
Timing Gives Meaning to Motion | p. 290 |
Body Language | p. 290 |
Mood and Psychology | p. 293 |
Facial Motion and Expression | p. 295 |
The Thinking Process | p. 299 |
Lip Sync | p. 301 |
Motivated Movements | p. 304 |
Characterization | p. 304 |
Character Types | p. 304 |
Personality | p. 305 |
Performance Dynamics | p. 306 |
Action Analysis and Acting | p. 307 |
Group Actions and Dynamics | p. 309 |
Dance and Choreography | p. 310 |
Capturing and Analyzing Action | p. 313 |
Capturing Action | p. 314 |
First-Hand Observation | p. 315 |
Photographing Action | p. 337 |
Filming Action | p. 352 |
Motion Capture | p. 354 |
Analyzing Action | p. 358 |
Four A's of Animation | p. 359 |
Analyzing the Moving Image | p. 360 |
Reading a Sequence | p. 368 |
Staging Actions and Choreography | p. 370 |
Analysis of Performance | p. 371 |
Analyzing Still Images | p. 373 |
Analyzing Animation | p. 374 |
Research | p. 383 |
Reference and Research | p. 383 |
Primary Research | p. 386 |
Secondary Research | p. 387 |
Quantitative Research | p. 388 |
Qualitative Research | p. 388 |
Research Methods | p. 389 |
Heuristic | p. 389 |
Phenomenology | p. 390 |
Action Research | p. 390 |
Participant Observer | p. 391 |
Ethnographic Research | p. 391 |
Sources | p. 392 |
Creating Your Own Reference Library | p. 392 |
Further Reading and Viewing | p. 393 |
Action Analysis | p. 393 |
Practical Guides | p. 394 |
Theory | p. 395 |
Index | p. 397 |
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The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.