DOCSLIB.ORG

Animation: the Mechanics of Motion K51666-Prelims.Qxd 6/23/05 12:01 PM Page Ii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Animation: the Mechanics of Motion K51666-Prelims.Qxd 6/23/05 12:01 PM Page Ii K51666-Prelims.qxd 6/23/05 12:01 PM Page i Animation: The Mechanics of Motion K51666-Prelims.qxd 6/23/05 12:01 PM Page ii focal press visual effects & animation Debra Kaufman, Series Editor 3D for the Web: Interactive 3D Animation using 3ds max, Flash and Director Carol MacGillivray and Anthony Head A Guide to Computer Animation: For TV, Games, Multimedia and Web Marcia Kuperberg Animation in the Home Digital Studio: Creation to Distribution Steven Subotnick Character Animation in 3D: Use Traditional Drawing Techniques to Produce Stunning CGI Animation Steve Roberts Digital Compositing for Film and Video Steve Wright Essential CG Lighting Techniques Darren Brooker Film Animation Dan McLaughlin Producing Animation Catherine Winder and Zahra Dowlatabadi Producing Independent 2D Character Animation: Making and Selling a Short Film Mark Simon Stop Motion: Craft Skills for Model Animation Susannah Shaw Visit www.focalpress.com to purchase any of our titles. K51666-Prelims.qxd 6/23/05 12:01 PM Page iii Animation: The Mechanics of Motion Chris Webster AMSTERDAM • BOSTON • HEIDELBERG • LONDON • NEW YORK • OXFORD PARIS • SAN DIEGO • SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier K51666-Prelims.qxd 6/23/05 12:01 PM Page iv Focal Press An imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP 30 Corporate Drive, Burlington MA 01803 First published 2005 Copyright © 2005 Chris Webster. All rights reserved The right of Chris Webster to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publisher Permissions may be sought directly from Elsevier’s Science and Technology Rights Department in Oxford, UK: phone: (ϩ44) (0) 1865 843830; fax: (ϩ44) (0) 1865 853333; e-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (www.elsevier.com), by selecting ‘Customer Support’ and then ‘Obtaining Permissions’ British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A catalogue record for this book is available from the Library of Congress ISBN 0 240 51666 4 For information on all Focal Press publications visit our website at: www.focalpress.com Typeset by Charon Tec Pvt. Ltd, Chennai, India Printed and bound in Italy K51666-Prelims.qxd 6/23/05 12:01 PM Page v Contents Foreword ..................................................................... ix Preface ........................................................................ x Introduction – Walking with Animators ............................ xiv Acknowledgements ....................................................... xvii Chapter 1 Basic Principles .................................. 1 Before we begin ............................................................ 3 Timing in animation ....................................................... 4 Animation Exercise 1.1 – Flip Book ............................. 8 Laws of motion ............................................................. 14 Squash and stretch........................................................ 18 Pose-to-pose and straight-ahead.................................... 24 Keys and inbetweens ..................................................... 27 Animation Exercise 1.2 – Bouncing Balls..................... 32 Overlapping action, follow-through and drag ................. 35 Overlapping Action Case Study 1 – Lifting a Weight................................................................ 41 Overlapping Action Case Study 2 – Getting Out of a Chair ....................................................... 44 Questions to Ask Yourself about Overlapping Action, Follow-through and Drag ............................. 49 Arcs and curves, and line of action................................. 50 Cycle animation ........................................................... 55 Animation Exercise 1.3 – Flag Cycle........................... 58 Animation Exercise 1.4 – Aeroplane Cycle .................. 64 Chapter 2 Figurative Animation ....................... 67 Before we begin ........................................................... 69 The four ‘A’s of animation.............................................. 69 Walks and runs............................................................. 72 Animation Exercise 2.1 – Basic Walk Cycle ................. 78 Animation Exercise 2.2 – Basic Run Cycle ................... 89 Weight and balance...................................................... 89 Questions to Ask Yourself about Weight and Balance ................................................................. 98 Anticipation.................................................................. 98 Chapter 3 Acting .............................................. 105 Before we begin ......................................................... 107 Characterization......................................................... 109 Temperament and pace .............................................. 115 Animation Exercise 3.1 – Temperament and Pace.................................................................... 117 K51666-Prelims.qxd 6/23/05 12:01 PM Page vi vi Contents Animation Exercise 3.2 – Character Types/ Two Sacks............................................................ 119 Character interaction .................................................. 121 Animation Exercise 3.3 – Character Interaction ......... 123 Planning a scene ........................................................ 124 Props and costume ..................................................... 125 Questions to Ask Yourself about Acting in Animation ........................................................ 126 Chapter 4 Design ............................................. 129 Before we begin ......................................................... 131 Storyboards................................................................ 133 Animatics................................................................... 139 Character design........................................................ 142 Design criteria............................................................ 152 Questions to Ask Yourself about Design.................... 154 Chapter 5 Animals in Motion........................... 155 Before we begin........................................................ 157 Four legs ................................................................... 158 Animation Exercise 5.1 – Basic Walk Cycle ............... 163 Animation Exercise 5.2 – Basic Run Cycle................. 167 Animation Exercise 5.3 – Advanced Action ............... 167 Questions to Ask Yourself about a Four-legged Animal in Motion.................................................. 168 Birds in flight.............................................................. 168 Animation Exercise 5.4 – Basic Flight Cycle .............. 171 Animation Exercise 5.5 – Take-off and Landing ......... 176 Questions to Ask Yourself about Birds in Flight.......... 177 Chapter 6 Sound Synchronization ................... 179 Before we begin ......................................................... 181 Bar charts .................................................................. 182 Delivering dialogue and carrying narrative.................... 189 Lip synchronization ..................................................... 189 Animation Exercise 6.1 – Lip-sync ............................ 197 Animation Exercise 6.2 – Sound Synchronization ....... 198 Questions to Ask Yourself about Sound Synchronization .................................................... 199 Chapter 7 Technical......................................... 201 Before we begin ......................................................... 203 Dope sheets............................................................... 203 Questions to Ask Yourself about Dope Sheets ................................................................. 219 Line tests.................................................................... 220 K51666-Prelims.qxd 6/23/05 12:01 PM Page vii Contents vii Layouts and field guides.............................................. 221 Questions to Ask Yourself about Layouts ................... 226 Formats ..................................................................... 226 Production processes .................................................. 229 Questions to Ask Yourself about Production Management ....................................................... 236 Appendices ....................................................... 237 Appendix 1: Glossary ................................................. 239 Appendix 2: Further reading ........................................ 245 Appendix 3: Further viewing ........................................ 249 Appendix 4: Useful contacts ........................................ 251 Index ........................................................................
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • The Disney Strike of 1941: from the Animators' Perspective Lisa Johnson Rhode Island College, Ljohnson [email protected]
    Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2008 The Disney Strike of 1941: From the Animators' Perspective Lisa Johnson Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Labor Relations Commons, Other Film and Media Studies Commons, Social History Commons, and the United States History Commons Recommended Citation Johnson, Lisa, "The Disney Strike of 1941: From the Animators' Perspective" (2008). Honors Projects Overview. 17. https://digitalcommons.ric.edu/honors_projects/17 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. The Disney Strike of 1941: From the Animators’ Perspective An Undergraduate Honors Project Presented By Lisa Johnson To The Department of History Approved: Project Advisor Date Chair, Department Honors Committee Date Department Chair Date The Disney Strike of 1941: From the Animators’ Perspective By Lisa Johnson An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of History The School of the Arts and Sciences Rhode Island College 2008 1 Table of Contents Introduction Page 3 I. The Strike Page 5 II. The Unheard Struggles for Control: Intellectual Property Rights, Screen Credit, Workplace Environment, and Differing Standards of Excellence Page 17 III. The Historiography Page 42 Afterword Page 56 Bibliography Page 62 2 Introduction On May 28 th , 1941, seventeen artists were escorted out of the Walt Disney Studios in Burbank, California.
    [Show full text]
  • Motion Enriching Using Humanoide Captured Motions
    MASTER THESIS: MOTION ENRICHING USING HUMANOIDE CAPTURED MOTIONS STUDENT: SINAN MUTLU ADVISOR : A NTONIO SUSÌN SÀNCHEZ SEPTEMBER, 8TH 2010 COURSE: MASTER IN COMPUTING LSI DEPERTMANT POLYTECNIC UNIVERSITY OF CATALUNYA 1 Abstract Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University. Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties.
    [Show full text]
  • Animation: Types
    Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
    [Show full text]
  • Overview of History of Irish Animation
    Overview of History of Irish Animation i) The history of animation here and the pattern of its development, ii) ii) The contemporary scene, iii) iii) Funding and support, iv) iv) The technological advancement, which can allow filmmakers do more and do it more excitingly, v) v) The educational background. i) History and Development. The history of animation in Ireland is comparable to the history of live action film in Ireland in that in the early years it offered the promise of much to come and stopped really before it got started; indeed in the final analysis animation has even far less to show for itself than its early live action cousin. One outstanding exception is the pioneering work of James Horgan. Horgan became involved in cinema at the end of the 19th century when he acquired a Lumiere camera and established his own moving picture exhibition company for the south show to his audiences - mostly religious events. However soon his eager mind began to turn to the Munster region. As well as projecting regular international shows, Horgan shot local footage to look into cinematography in a scientific way and in fact he made some money by patenting a cog for film traction in the camera, which was widely used. He also experimented with Polaroid film. He then began to dabble in stop frame work - animation - around the year 1909 and considering that the first animation was made in 1906, this is quite significant. His most famous and most popular piece was his dancing Youghal Clock Tower - where the town's best known landmark has to hop into the frame and "manipulate" itself frame by frame into its rightful place in the main street in Youghal.
    [Show full text]
  • Computerising 2D Animation and the Cleanup Power of Snakes
    Computerising 2D Animation and the Cleanup Power of Snakes. Fionnuala Johnson Submitted for the degree of Master of Science University of Glasgow, The Department of Computing Science. January 1998 ProQuest Number: 13818622 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818622 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY LIBRARY U3 ^coji^ \ Abstract Traditional 2D animation remains largely a hand drawn process. Computer-assisted animation systems do exists. Unfortunately the overheads these systems incur have prevented them from being introduced into the traditional studio. One such prob­ lem area involves the transferral of the animator’s line drawings into the computer system. The systems, which are presently available, require the images to be over- cleaned prior to scanning. The resulting raster images are of unacceptable quality. Therefore the question this thesis examines is; given a sketchy raster image is it possible to extract a cleaned-up vector image? Current solutions fail to extract the true line from the sketch because they possess no knowledge of the problem area.
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • 2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
    Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Pose Controlled Physically-Based Motion
    Volume xx (200y), Number z, pp. 1–11 Pose Controlled Physically-Based Motion Raanan Fattal† Dani Lischinski‡ School of Computer Science and Engineering The Hebrew University of Jerusalem Abstract In this paper we describe a new method for generating and controlling physically-realistic motion of complex articulated characters. Our goal is to create motion from scratch, where the animator provides a small amount of input and gets in return a highly detailed and physically plausible motion. Our method relieves the animator from the burden of enforcing physical plausibility, but at the same time provides full control over the internal DOFs of the articulated character via a familiar interface. Control over the global DOFs is also provided by supporting kinematic constraints. Unconstrained portions of the motion are generated in real time, since the character is driven by joint torques generated by simple feedback controllers. Although kinematic constraints are satisfied using an iterative search (shooting), this process is typically inexpensive, since it only adjusts a few DOFs at a few time instances. The low expense of the optimization, combined with the ability to generate unconstrained motions in real time yields an efficient and practical tool, which is particularly attractive for high inertia motions with a relatively small number of kinematic constraints. Categories and Subject Descriptors (according to ACM CCS): I.3.7 [Computer Graphics]: Three-Dimensional Graphics and RealismAnimation 1. Introduction Generating and controlling physically realistic motion of complex articulated characters is a longstanding grand chal- lenge in computer graphics. In today’s animation houses such characters are typically animated by keyframing, which gives animators complete control over each degree of free- dom at any point in time.
    [Show full text]
  • Animation 1 Animation
    Animation 1 Animation The bouncing ball animation (below) consists of these six frames. This animation moves at 10 frames per second. Animation is the rapid display of a sequence of static images and/or objects to create an illusion of movement. The most common method of presenting animation is as a motion picture or video program, although there are other methods. This type of presentation is usually accomplished with a camera and a projector or a computer viewing screen which can rapidly cycle through images in a sequence. Animation can be made with either hand rendered art, computer generated imagery, or three-dimensional objects, e.g., puppets or clay figures, or a combination of techniques. The position of each object in any particular image relates to the position of that object in the previous and following images so that the objects each appear to fluidly move independently of one another. The viewing device displays these images in rapid succession, usually 24, 25, or 30 frames per second. Etymology From Latin animātiō, "the act of bringing to life"; from animō ("to animate" or "give life to") and -ātiō ("the act of").[citation needed] History Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting Five images sequence from a vase found in Iran to convey the perception of motion. A 5,000 year old earthen bowl found in Iran in Shahr-i Sokhta has five images of a goat painted along the sides.
    [Show full text]
  • Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected]
    PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD JULY – AUGUST 2015 US $8.00 Comic-Con Issue 15 Rewe St., Brooklyn, NY 11211 3210 Vanowen St., Burbank, CA 91505 [email protected] [email protected] BRIDGEPROPS.COM ® contents The Anatomy of an Anti-Hero 12 Constantine’s darkness doesn’t feel so bad by David Blass, Production Designer Tomorrowland 20 Logos and pins by Clint Schultz, Graphic Designer Comic Con, Pot Fields 28 Designing the world of Ted 2 & a Giant Cake by Stephen Lineweaver, Production Designer Welcome to Nowhere 36 Manhattan in New Mexico by Ruth Ammon, Production Designer Comic Book Art 46 Created by Art Directors Guild members Collected by Patrick Rodriguez, Illustrator 5 EDITORIAL 6 CONTRIBUTORS 8 NEWS ON THE COVER: 58 PRODUCTION DESIGN Director Brad Bird called on Graphic Designer Clint Schultz three different times to develop 60 MEMBERSHIP key logos for Tomorrowland (Scott Chambliss, Production Designer). His last assignment 61 CALENDAR resulted in this fully rendered 3D model of 62 MILESTONES the T pin that is an important prop and story element in the film. It went on to become 64 RESHOOTS central to the studio’s marketing efforts. PERSPECTIVE | JULY/AUGUST 2015 1 PERSPECTIVE THE JOURNAL OF THE ART DIRECTORS GUILD July/August 2015 PERSPECTIVE ISSN: 1935-4371, No. 60, © 2015. Published bimonthly by the Art Directors Guild, Local 800, IATSE, 11969 Ventura Blvd., Second Floor, Studio City, CA 91604-2619. Telephone 818 762 9995. Fax 818 762 9997. Periodicals postage paid at North Hollywood, CA, and at other cities.
    [Show full text]