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| Preface: When Worlds Collide | |
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| Foundation | |
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| Fleas on the Shoulders of Giants | |
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| The Evolution of the Art Form | |
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| Aesthetic Appeal Changes | |
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| Broadening the Audience for Animation | |
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| Unappealing Storytelling in Traditional Animation | |
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| The Importance of History and Trends in Animation | |
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| Digital Artistry Begins | |
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| Times Are Changing: 1981-1994 | |
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| Roger Rabbit Pushes 2D and CG Forward | |
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| Popularity of the CG Medium or Story? | |
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| Visual-Effects Movies Broaden the Audience | |
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| The 1990s Shift: CG Becomes a Player | |
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| A New Digital Artist Is Born | |
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| The Animated Movie Industry: Moving into the Millennium | |
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| The Best of Both Worlds | |
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| Tell Me a Story | |
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| Plot and Premise | |
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| Here Come the Talking Animals | |
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| Desire and Growth | |
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| Growth and Character Arcs | |
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| Orchestration and Back Story | |
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| Storyboards, Animatics, and Pre-Viz | |
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| Intention and Essence | |
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| Handling Cuts and Camera Staging | |
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| Savor the Moment, but Not for Long! | |
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| Storyboards for Television versus Film | |
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| Storytelling | |
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| Storytelling Strengthening | |
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| Storyboard Musts | |
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| The Good, the Bad, and the Just Plain Annoying | |
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| Memorable Characters | |
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| Inspiration from Your Own Experience | |
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| Flaws and Emotions | |
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| Character Bio | |
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| Stereotype versus Archetype | |
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| Believability and Credibility | |
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| Motivation | |
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| Show, Don't Tell | |
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| The Fine Art of Being a Bastard | |
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| Design | |
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| 2D Drawings Translated into CG | |
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| Handling Textures in CG | |
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| The Rig Equals Solid Drawing | |
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| Character Bio Questionnaire | |
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| Character Development | |
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| Animation | |
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| The Thursday Animator | |
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| Thinking and Planning | |
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| Using Reference and Acting It Out | |
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| Gesture Drawings and Thumbnails | |
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| Sharing | |
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| Ten Things to Think About | |
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| Listen | |
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| Subtext | |
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| Experiment | |
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| Rhythm | |
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| Empathize | |
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| Simplify | |
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| Texture | |
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| Honesty | |
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| Eyes | |
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| Commit | |
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| Ten Things to Think About | |
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| Every Frame Counts | |
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| Spliney, Gooey, Computery, and Watery Motion | |
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| The Graph Editor | |
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| Stepped, Linear, and Spline | |
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| Posing and Layering | |
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| Breaking the Rig | |
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| Using Breakdowns | |
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| Animating Frame by Frame or on the Twos | |
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| In-Betweening | |
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| Creating Overlap and Secondary Motion | |
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| Creating Principal and Secondary Characters | |
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| CG Tools | |
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| Pushing Your CG Animation to a Higher Level | |
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| Weight | |
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| Contrasts in Timing | |
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| Reality versus Entertainment Exaggeration? | |
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| Dialogue and Lip-Synch Styles | |
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| Moving Holds | |
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| Attention to Detail | |
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| Motion Blur and Squash and Stretch | |
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| Drawing Skills | |
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| The Approval Process | |
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| The Revision Process | |
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| The Cleanup Process | |
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| Acting the Moment Again and Again and Again | |
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| Motion Capture and Acting in CG Animation | |
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| Improv | |
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| Helpful Improv Tools for Animators | |
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| Charlie Chaplin, Empathy, and Acting | |
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| Get Inside the Character | |
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| Body Structure | |
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| Psychological Gesture and Subtext | |
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| Stay in the Moment | |
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| Acting Tools for Animators | |
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| Remotivating the Moment | |
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| Improv | |
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| Power Centers | |
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| Status | |
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| Space, Time, and Weight | |
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| Chaplin | |
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| Emotion | |
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| Empathy | |
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| Observation | |
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| Body Structure | |
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| Psychological Gesture | |
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| Stay in the Moment | |
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| And Now a Word from the Producer | |
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| When Push Comes to Stab | |
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| Workflow | |
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| Dailies | |
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| Multiple Art Direction | |
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| Mentorship Lost | |
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| Competition | |
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| Pigeonholing | |
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| Core and Glitz Skills | |
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| Responsibility | |
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| Communication between Departments | |
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| Problem-Solving | |
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| Freelancing | |
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| Networking | |
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| Mass Production of CG Animation | |
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| Death, Taxes, and Outsourcing | |
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| Schedules and Production | |
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| The End of the Beginning | |
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| Bridging the Gap | |
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| Appendixes | |
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| Author Bios | |
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| Traditional and CG Productions 1994-2005 | |
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| The Digital Age of Animation Begins | |
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| Animation Hall of Funny | |
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| Principles of Animation | |
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| Character Animation Terms | |
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| Computer Animation Terms | |
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| Further Reading | |
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| Rigging Blog | |
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| Timeline Bibliography | |
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| Index | |