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| Introduction | |
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| Dedication and Thanks | |
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| Getting Started | |
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| First, Catch Your Rabbit | |
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| Linear and Nonlinear Storytelling | |
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| Setting Limitations and Finding Liberation | |
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| Shopping for Story: Creating Lists | |
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| Nothing Is Normal: Researching Action | |
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| All Thumbs: Quick Sketch and Thumbnails | |
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| Reality Is Overrated | |
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| Past and Present: Researching Settings and Costumes | |
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| Vive la Difference! Animation and Live-action Storyboards | |
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| Comic Boards and Animation Boards | |
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| Television Boards and Feature Boards | |
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| Putting Yourself Into Your Work | |
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| The Use of Symbolic Animals and Objects | |
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| The Newsman's Guide: Who, What, When, Where, and Why | |
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| Situation and Character-driven Stories | |
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| Stop if You've Heard This One | |
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| Defining Conflict | |
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| Log Lines | |
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| Stealing the Show | |
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| Parodies and Pastiches | |
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| What If? Contrasting the Possible and the Fanciful | |
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| Beginning at the Ending: The Tex Avery "Twist" | |
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| Establishing Rules | |
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| Appealing or Appalling? Beginning Character Design | |
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| Reading the Design: Silhouette Value | |
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| Construction Sights | |
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| Foundation Shapes and Their Meaning | |
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| The Shape of Things | |
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| Going Organic | |
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| Creating Characters from Inanimate Objects | |
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| Across the Universe | |
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| Size Matters: The Importance of Scale | |
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| Practicing Your Scales | |
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| Stereotypes of Scale | |
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| Triple Trouble: Working with Similar Character Silhouettes | |
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| Getting Pushy | |
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| Beauties and Beasts: Creating Character Contrasts in Design | |
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| The Great Dictator: Charlie Chaplin's Character Acting | |
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| I Feel Pretty! Changing Standards of Beauty | |
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| A Face That Only a Mother Could Love? | |
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| Gods and Monsters: Contrasting Appearance and Personality | |
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| Location, Location, Location: Art Direction and Storytelling | |
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| Technique | |
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| Starting Story Sketch: Compose Yourself | |
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| Tonal Sketches | |
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| Graphic Images Ahead! | |
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| The Drama in the Drawings: Using Contrast to Direct the Eye | |
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| The Best Laid Floor Plans | |
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| Structure: The Mind's Eye | |
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| Roughing It: Basic Staging | |
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| I'm Ready for My Close-up: Storyboard Cinematography | |
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| Boarding Time: Getting With the Story Beat | |
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| Working to the Beat: Story Beats and Boards | |
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| Do You Want To Talk About It? | |
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| The Big Picture: Creating Story Sequences | |
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| Panels and Papers: A Word about Storyboard Materials | |
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| Acting Out: Structuring Your Sequences | |
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| A-B-C Sequences: Prioritizing the Action | |
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| Arcs and Triumphs | |
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| Naming Names | |
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| Patterns in Time: Pacing Action on Rough Boards | |
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| Climactic Events | |
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| Present Tense: Creating a Performance on Storyboard | |
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| Working with Music | |
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| Visualizing the Script | |
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| Diamond in the Rough Model Sheet: Refining Character Designs | |
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| Tying It Down: Standardizing Your Design | |
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| Your Cheatin' Part: Nonliteral Design | |
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| Color My World: Art Direction and Storytelling | |
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| Fishing for Complements | |
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| Saturation Point: Colors and Tonal Values | |
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| Writing the Color: Color Scripts | |
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| O Tempora, O More or Less | |
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| Presentation | |
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| Show and Tell: Pitching Your Storyboards | |
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| The More Things Change: The Turnover Session | |
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| Talking Pictures: Assembling a Story Reel or Animatic with a Scratch Track | |
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| This Is Only a Test: Refining Story Reels | |
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| Build a Better Mouse: Creating Cleanup Model Sheets | |
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| Maquette Simple: Modeling Characters in Three Dimensions | |
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| Am I Blue? Creating Character Through Color | |
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| Creating Color in Context | |
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| It's a Setup: Testing Your Color Models | |
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| Screen and Screen Again: Preparing for Production | |
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| Further Reading: Books, Discs, and Websites | |
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| Appendices: Animated Interviews | |
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| Discussion with A. Kendall O'Connor | |
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| Caricature Discussion with T. Hee | |
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| Interview with Ken Anderson | |
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| Glossary of Animation Preproduction Terms | |
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| Index | |