3D animation is todayï¿1/2s hottest art form, and hereï¿1/2s the perfect training manual to get 3D artists started! Both experienced artists and newcomers to 3D can discover the secrets behind creating fully dimensional characters for comics, web toons, graphic novels, and computer-animated short films. This book will also appeal to collectors, comics enthusiasts, and others who simply appreciate great cartoon art and want to know more about how it is created. The authors show how claymation and other traditional animation media can be given fresh life by using digital techniques. They also instruct with clear, non-technical explanations focusing on body and facial design, texturing, rigging, lighting, posing, and other aspects of building digital characters in 3D. Illustrated spreads graphically demonstrate how to conceive characters and scenes, then develop them into a finished narrative work. A gallery section showcases recent creations of some of todayï¿1/2s leading 3D artists. Approximately 400 illustrations in full color.

Animation has been part of television since the start of the medium but it has rarely received unbiased recognition from media scholars. More often, it has been ridiculed for supposedly poor technical quality, accused of trafficking in violence aimed at children, and neglected for indulging in vulgar behavior. These accusations are often made categorically, out of prejudice or ignorance, with little attempt to understand the importance of each program on its own terms. This book takes a serious look at the whole genre of television animation, from the early themes and practices through the evolution of the art to the present day. Examining the productions of individual studios and producers, the author establishes a means of understanding their work in new ways, at the same time discussing the ways in which the genre has often been unfairly marginalized by critics, and how, especially in recent years, producers have both challenged and embraced this "marginality" as a vital part of their work. By taking seriously something often thought to be frivolous, the book provides a framework for understanding the persistent presence of television animation in the American media--and how surprisingly influential it has been.

Secrets of Digital Animation sets out to demonstrate and showcase a range of cutting-edge work, new techniques, and influential practitioners within all forms of contemporary animation, from anime to flashware, and from animated shorts to machinima, offering creative hints and tips from the genre masters. This book offers young practitioners, and those interested in broadening their skills, an insider’s view of the fast evolving work of animation; showcasing professionals and their creations, working methods, and inspiration, along with jargon-busting explanations and easy to follow demonstrations. Stunning examples of finished work are shown alongside conceptual drawings and works in progress. The book contains practical advice and case studies that explore the professional techniques behind designing innovative characters and fantastical worlds, and bringing them to life.

Many combat veterans refuse to discuss their experiences on the line. With the passage of time and the unreliability of memory, it becomes difficult to understand the true nature of war. In The Line: Combat in Korea, January–February 1951, retired Army colonel William T. Bowers uses firsthand, eyewitness accounts of the Korean War to offer readers an intimate look at the heroism and horror of the battlefront. These interviews of soldiers on the ground are particularly telling because they were conducted by Army historians immediately following combat. Known as the "forgotten war," the action in Korea lasted from June 1950 until July 1953 and was particularly savage for its combatants. During the first few months of the war, American and U.N. soldiers conducted rapid advances and hasty withdrawals, risky amphibious landings and dangerous evacuations, all while facing extreme weather conditions. In early 1951, the first winter of the war, frigid cold and severe winds complicated combat operations. As U.N. forces in Korea retreated from an oncoming Chinese and North Korean attack, U.S. commanders feared they would be forced to withdraw from occupation and admit to a Communist victory. Using interviews and extensive historical research, The Line analyzes how American troops fought the enemy to a standstill over this pivotal two-month period, reversing the course of the war. In early 1951, the war had nearly been lost, but by February's end, there existed the possibility of preserving an independent South Korea. Bowers compellingly illustrates how a series of small successes at the regiment, battalion, company, platoon, squad, and soldier levels ensured that the line was held against the North Korean enemy. The Line is the first of three volumes detailing combat during the Korean War. Each book focuses on the combat experiences of individual soldiers and junior leaders. Bowers enhances our understanding of combat by providing explanatory analysis and supplemental information from official records, giving readers a complete picture of combat operations in this understudied theatre. Through searing firsthand accounts and an intense focus on this brief but critical time frame, The Line offers new insights into U.S. military operations during the twentieth century and guarantees that the sacrifices of these courageous soldiers will not be lost to history.

Using numerous illustrations and case studies, the author maps out the creative process involved in producing interactive media, such as CD-ROM productions and network applications. Looking at concrete outstanding examples, various contributions by international multimedia authors, designers, and artists shed light on the role and function of interactive media in the context of exhibitions, museums, cultural learning, entertainment, film, and television. The publication explores methods and strategies of interactive dramaturgy that go beyond interactive storytelling. The emphasis is on new modes of dramaturgy, where the user is actively involved, cooperation among users is supported, and repeated visits are motivated.