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Summer Reading
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Today may be your fist time using a Walter Foster art book, or it may be the continuation of a long-term relationship with our products. Either way, this book will delight you.
Like all of our art books, this title was written with careful attention to detail. It includes detailed illustrations that will bring you a satisfying learning experience and hours of enjoyment. Walter Foster Publishing knows that artists are eager to learn, sharpen their skills and talents, and experience new artistic horizons. And while you may not be in a position to take private lessons, Walter Foster offers you the next best thing--step-by-step, do-it-yourself art instruction books that are entertaining and affordable.
Our books are authored by some of the best artists in America, and you can be sure our quality standards and color presentations are at the highest possible levels. For 80 years, Walter Foster Publishing has been providing instructional art books and products to million of enthusiastic artists who enjoy the rewards of learning to draw and paint. Most of all, we hope you have fun in the process!
Blair was one of the fine artists of animation. With the Disney Studio, he designed and animated the hippos in "The Dance of the Hours" and animated Mickey Mouse in the "Sorcerer's Apprentice" (both in Fantasia), parts of Pinocchio, and the segment in Bambi when the owl tell about love in the "tiwitterpatted" speech.
At MGM, Blair directed Barney Bear shorts, and is well known as the animator and designer of Red Hot Riding Hood in the Tex Avery epic shorts. Later, Blair moved to Connecticut and produced television commercials, educational films, and half-hour cartoon episodes (including the Flinstones) for West Coast producers. More recently, he was an inventor of interactive TV systems using animation methods to teach reading or to provide full-figure game action that simulates reality--for example, playing tennis with an animated opponent.
Blair died in April 1995 at the age of 85.
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There are some weak spots. Be aware that Blair's 'guide to lipsync' has misled generations of animators and should not be taken as gospel. Synchronizing mouth action has more to do with the type of character you are working with and the type of acting you are performing; there are no 'formulas'. Once you know this, you can follow the instructions in theory without imitating the grossly overstated mouth actions in this book.
Layout and scene planning are handled cursorilly, though there is more information in the newer section. Teachers should supplement this work with other volumes. I have found it the best for Animation I students, with the more advanced ones proceeding to Shamus Culhane's ANIMATION FROM SCRIPT TO SCREEN.
Generations of artists have learned animation acting and timing from Preston Blair. It makes no difference if you use a computer or a pencil. If you are trying to create a living, believable character on screen, this is the best place to learn the basics.