Enhanced descriptions from Syndetics:

The Fundamentals of Animation by Paul Wells offers an illustrated and visually stimulating introduction to the key elements of animation. It discusses the key principles and processes involved in animation, exploring the entirety of the creative process from finding and researching a concept, through the preparation and techniques used, to the execution of the work. Each stage is presented in an engaging visual style, accompanied by examples and analysis of contemporary student and commercial animation. The book also discusses the links between animation and the styles and narratives of other areas of popular culture, aligning theory and ideas to practical advice. It includes a section for aspiring animators examining career paths, portfolios and the structure of the creative industries.

Table of contents provided by Syndetics

• Introduction
• Animation and Popular Culture (p. 006)
• Why Animation? (p. 010)
• Key Principles and Processes
• Introduction (p. 012)
• Concept (p. 014)
• Research (p. 018)
• Preparation (p. 024)
• Narrative Drawing (p. 026)
• Technique and Approach (p. 028)
• Story and Design (p. 033)
• Design as Concept (p. 034)
• Storyboards and Narrative (p. 036)
• Storyboards and Composition (p. 038)
• Character and Movement (p. 043)
• Character Development (p. 046)
• Layout and Thinking Cinematically (p. 050)
• Sound (p. 056)
• Technique (p. 064)
• The Animator as Interpreter (p. 070)
• Script and Scenario (p. 070)
• Animated Gags and Comic Events (p. 076)
• The Animator as Performer (p. 078)
• The Animator as Editor (p. 080)
• The Animator as Director (p. 082)
• Applications and Outcomes
• Introduction (p. 086)
• Drawn and Cel Animation (p. 088)
• A Brief History (p. 088)
• Walk Cycles (p. 092)
• Drawing and Aesthetic Tradition (p. 098)
• 3D Stop-motion Animation (p. 100)
• A Brief History (p. 100)
• Sound and Stop-motion Animation (p. 104)
• Stop-motion Animation and Satire (p. 106)
• A First Experience (p. 110)
• Animation for Children (p. 114)
• Clay Animation (p. 117)
• Digital Animation (p. 122)
• A Brief History (p. 122)
• Computer-generated Animation (p. 125)
• CGI Independent Studio Work (p. 126)
• A Superior Example of CGI (p. 130)
• Digital Effects and 3D Animation (p. 132)
• Rotoscope and Motion Capture (p. 134)
• Combining Live Action and Animation Using Motion Capture for CGI (p. 136)
• The Merits of Flash (p. 140)
• Enhancing Flash Techniques (p. 142)
• Alternative Methods (p. 146)
• A Brief History (p. 146)
• Fine Art Practices (p. 148)
• A Philosophical Approach (p. 152)
• Animated Documentary (p. 158)
• Contexts
• Introduction (p. 160)
• Post-production (p. 162)
• Special Effects (p. 162)
• Sound in Post-production (p. 165)
• Critical Evaluation (p. 166)
• Portfolio (p. 168)
• Show reel (p. 170)
• CV/Resume (p. 171)
• Collaboration (p. 174)
• Working as an Independent (p. 176)
• The Pitfalls (p. 178)
• Postgraduate Opportunities (p. 180)
• Making an Independent Film (p. 182)
• Screening Opportunties (p. 184)
• Markets (p. 184)
• Festivals (p. 185)
• Contexts (p. 187)
• Appendix
• Bibliography and Webography (p. 192)
• Index (p. 194)
• Credits and Acknowledgements (p. 196)