Kit Laybourne’s The Animation Book and Maureen Furniss’  The Animation Bible 
both show thumbnail storyboards or diagrams for several experimental animated 
films, including George Griffin’s “Head” (this one is essentially a flow 
chart). The question of what constitutes “experimental” is critical, as Bernie 
notes. Some animations are experimental in their approach, dispensing with 
storyboarding, others experiment with genre, technique, etc.. So the script 
might simply be directions for proceeding without reference to image content or 
dialog or voice over.

Wells’ and Quinn’s Drawing for Animation, Clare Kitson’s monograph on 
Norstein’s Tale of Tales, Corrie Francis Parks’ Fluid Frames, and Amid Amidi’s 
Cartoon Modern might also provide good examples of experimental animation 
process documents.


> On Apr 3, 2017, at 5:40 AM, sandra.eber sandra.eber 
> <> wrote:
> In his book "Basic Animation 01: Scriptwriting" Paul Wells uses the term 
> scriptwriting to include storyboarding, written treatments,  or any other 
> method of communicating/planning an animation idea. He includes many case 
> study examples. For experimental work there is Johnny Hardstaff's "The Future 
> of Gaming".  There is also the dopesheet from McLaren's "Lines Vertical". For 
> that matter, somewhere on the NFB website you can find the full document for 
> this and the planning for other McLaren experimental work (Mosaic, Cannon 
> come to mind). But Well's book is the only one I've found that addresses 
> scripwriting for experimental work. 
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