Tom Sito (the legendary animator behind Who Framed Roger Rabbit, Beauty and the Beast, and other classic works) brings together the perfect fusion of culinary skill and animation in his cookbook, Eat, Drink, Animate: An Animator's Cookbook. Sito’s book is a celebration of the works from legendary animation artists from around the world. Twelve Academy Award winners, five Emmy Award winners. From legendary animators from Hollywood’s Golden Age, to modern masters. Not only does he demonstrate examples of their works, but he also includes their favorite personal recipe, and an anecdote from their professional lives that relates to food. Key Features: A rare look behind the scenes of some of animation's most memorable films. Usable recipes you canmake yourself, tested and adapted by Rebecca Bricetti, former editor for Stewart, Tabori, & Chang (Glorious Food ) and Robert Lence animator and gourmet (Toy Story, Shrek ). Never before seen photos and illustrations. Anecdotes from behind-the-scenes of some of your favourite animated classics.

Tom Sito (the legendary animator behind Who Framed Roger Rabbit, Beauty and the Beast, and other classic works) brings together the perfect fusion of culinary skill and animation in his cookbook, Eat, Drink, Animate: An Animator's Cookbook. Sito’s book is a celebration of the works from legendary animation artists from around the world. Twelve Academy Award winners, five Emmy Award winners. From legendary animators from Hollywood’s Golden Age, to modern masters. Not only does he demonstrate examples of their works, but he also includes their favorite personal recipe, and an anecdote from their professional lives that relates to food. Key Features: A rare look behind the scenes of some of animation's most memorable films. Usable recipes you canmake yourself, tested and adapted by Rebecca Bricetti, former editor for Stewart, Tabori, & Chang (Glorious Food ) and Robert Lence animator and gourmet (Toy Story, Shrek). Never before seen photos and illustrations. Anecdotes from behind-the-scenes of some of your favourite animated classics.

Some of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood's marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especially at the emergence of the art form early in the twentieth century. In Drawing the Line, veteran animator Tom Sito chronicles the efforts of generations of working men and women artists who have struggled to create a stable standard of living that is as secure as the worlds their characters inhabit. The former president of America's largest animation union, Sito offers a unique insider's account of animators' struggles with legendary studio kingpins such as Jack Warner and Walt Disney, and their more recent battles with Michael Eisner and other Hollywood players. Based on numerous archival documents, personal interviews, and his own experiences, Sito's history of animation unions is both carefully analytical and deeply personal. Drawing the Line stands as a vital corrective to this field of Hollywood history and is an important look at the animation industry's past, present, and future. Like most elements of the modern commercial media system, animation is rapidly being changed by the forces of globalization and technological innovation. Yet even as pixels replace pencils and bytes replace paints, the working relationship between employer and employee essentially remains the same. In Drawing the Line, Sito challenges the next wave of animators to heed the lessons of their predecessors by organizing and acting collectively to fight against the enormous pressures of the marketplace for their class interests -- and for the betterment of their art form.

A behind-the-scenes history of computer graphics, featuring a cast of math nerds, avant-garde artists, cold warriors, hippies, video game players, and studio executives. Computer graphics (or CG) has changed the way we experience the art of moving images. Computer graphics is the difference between Steamboat Willie and Buzz Lightyear, between ping pong and PONG. It began in 1963 when an MIT graduate student named Ivan Sutherland created Sketchpad, the first true computer animation program. Sutherland noted: “Since motion can be put into Sketchpad drawings, it might be exciting to try making cartoons.” This book, the first full-length history of CG, shows us how Sutherland's seemingly offhand idea grew into a multibillion dollar industry. In Moving Innovation, Tom Sito—himself an animator and industry insider for more than thirty years—describes the evolution of CG. His story features a memorable cast of characters—math nerds, avant-garde artists, cold warriors, hippies, video game enthusiasts, and studio executives: disparate types united by a common vision. Sito shows us how fifty years of work by this motley crew made movies like Toy Story and Avatar possible.

Be a fly on the wall as industry leaders Bill Kroyer and Tom Sito take us through insightful face-to-face interviews, revealing, in these two volumes, the journeys of 23 world-class directors as they candidly share their experiences and personal views on the process of making feature animated films. The interviews were produced and edited by Ron Diamond. Your job is not to be the one with the answers. You should be the one that gets the answers. That’s your job. You need to make friends and get to know your crew. These folks are your talent, your bag of tricks. And that’s where you’re going to find answers to the big problems - Andrew Stanton It’s hard. Yet the pain you go through to get what you need for your film enriches you, and it enriches the film. – Brenda Chapman Frank and Ollie always used to say that great character animation contains movement that is generated by the character’s thought process. It can’t be plain movement. – John Lasseter The beauty of clay is that it doesn’t have to be too polished, or too smooth and sophisticated. You don’t want it to be mechanical and lifeless. – Nick Park The good thing about animation is that tape is very cheap. Let the actor try things. This is where animation gets to play with spontaneity. You want to capture that line as it has never been said before. And, most likely, if you asked the actor to do it again, he or she just can’t repeat that exact performance. But you got it. – Ron Clements

Clark's book takes an in-depth look at the methods and technology that professionals use to create realistic and believable characters using computer technology.

We are both fans of watching animated stories. Every evening, before or after d- ner, we always sit in front of the television and watch the animation program, which is originally produced and shown for children. We find ourselves becoming younger while immerged in the interesting plot of the animation: how the princess is first killed and then rescued, how the little rat defeats the big cat, etc. But what we have found in those animation programs are not only interesting plots, but also a big chance for the application of computer science and artificial intelligence techniques. As is well known, the cost of producing animated movies is very high, even with the use of computer graphics techniques. Turning a story in text form into an animated movie is a long and complicated procedure. We came to the c- clusion that many parts of this process could be automated by using artificial - telligence techniques. It is actually a challenge and test for machine intelligence. So we decided to explore the possibility of a full life cycle automation of c- puter animation generation. By full life cycle we mean the generation process of computer animation from a children s story in natural language text form to the final animated movie. It is of course a task of immense difficulty. However, we decided to try our best and to see how far we could go.

An upbeat exploration of how animals stay warm in cold weather

This volume reviews a range of fascinating linguistic facts about ingestive predicates in the world's languages. The highly multifaceted nature of 'eat' and 'drink' events gives rise to interesting clausal properties of these predicates, such as the atypicality of transitive constructions involving 'eat' and 'drink' in some languages. The two verbs are also sources for a large number of figurative uses across languages with meanings such as 'destroy', and 'savour', as well as participating in a great variety of idioms which can be quite opaque semantically. Grammaticalized extensions of these predicates also occur, such as the quantificational use of Hausa shaa 'drink' meaning (roughly) 'do X frequently, regularly'. Specialists discuss details of the use of these verbs in a variety of languages and language families: Australian languages, Papuan languages, Athapaskan languages, Japanese, Korean, Hausa, Amharic, Hindi-Urdu, and Marathi.

Ever wonder why Estonian animation features so many carrots or why cows often perform pyramids? Well, neither question is answered in Chris Robinson's new book, Estonian Animation. Robinson's frank, humorous, and thoroughly researched book traces the history of Estonia's acclaimed animation scene from early experiments in the 1930s to the creation of puppet (Nukufilm) and cel (Joonisfilm) animation studios during the Soviet era, as well as Estonia's surprising international success during the post-Soviet era. In addition, Robinson writes about the discovery of films by four 1960s animation pioneers who, until the release of this book, had been unknown to most Estonian and international animation historians.