For our students, a series bible is primarily a pitching document designed to help you sell your great idea for a TV series. A good pitch is like throwing out a hook, helping your potential investors and partners to understand the context of your idea and build excitement about its potential. Our first year students must create a animation bible as part of pitching their pitch for an animated TV series - part of the "Movement and Narrative" module in year 1. The Animation Bible' covers every conceivable animation process and technique, eplaining and exploring their use through case studies of eminent and cutting-edge animators of the past and present

Concept, medium, and style -- Storytelling strategies -- Applications I: hearing sound -- Pre-production -- Production and post-production -- Applications II: timing action -- Early motion devices -- Applications III: thaumatrope -- Direct filmmaking: practice and presentation -- Direct filmmaking: vision, sound, and collective experience -- Applications IV: direct motion -- Graphics loopology -- Mixed media and drawing -- Water- and oil-based media -- Applications V: texture book -- Stop-motion animation: a survey of techniques -- Animation in real world contexts -- Applications VI: replacement -- Animation and lip sync -- Digital media and computer animation -- Digital visions -- Applications VII: playing with Flash Once a property has been developed to the stage where the buyer is prepared to begin putting it into production, they will need to seek out investment for the project. This is not just a pretty book to have on your shelf so you can look professional. I mean, it is pretty, but it is also extremely thorough in what it’s trying to tell. This book has started as an animation guide and turned into a detailed survey on the progression of animation, both within the Disney studios and in the world of animation in general. Written by two of the nine old men who defined the Disney animation style, this book takes the reader through all the steps it took them to discover and research the best methods of animation. there are great concepts to learn from this book, but it is also important to know the history of how animation came to be, and this book covers both in amazing depth. Now, it doesn’t have to be finished art. If you’re an artist, and you can make the character’s personality shine from a rough sketch, that’s okay to share.This book (produced and written for Bloop Animation) is a step-by-step guide to becoming an animator (even if you’ve never animated before). All this is done without a computer – attendees will just need a pencil or pen and paper, and occasionally some board paper, scissors, glue and staples. Next is plasticine, as you need to put your character in front of you to get a 360° vision of it. As you hold your creation in your hands, touch it and take a look at it from all sides, it's agreat moment that feels like you've created anew life. You will find out a lot at this stage. Things that look great in 2D don't necessarily translate well or easily into the third dimension. However, upon stopping, there is some residual movement before a complete standstill. Inertia will act on an object, for example, hair flowing past the character, before joining them at a dead stop. This is usually described as a follow-through.

However, there are 3 books that need to be on the shelf of any aspiring animator, regardless of the type of animator they are. The Animator’s Survival Kit / Richard Williams Unsurprisingly, drawing and sketching are skills integral to animation. Therefore, it’s crucial you get them right. Great sketches act as great planning, while high-quality drawings create characters and objects with realistic, convincing physical attributes and proportions. You can wait until you finally settled on a style (truth is, we are always evolving so this may never happen!) or just make your art bible and update as you go along. Since one of my favourite art styles is that of Dreamworks Ice Age, I’ll show you what an art bible could look like using this movie as an example. I just love how they designed the environment. I made these examples myself by studying the trees in the movie:What do you mean “an amazing piece of art?” Unless you are a professional artist, you should NOT, I repeat, should NOT include any art in your pitch. Movements that are affected by gravity follow an arcing path, as dictated by the laws of physics. As this applies to a great many movements, this principle should be kept in mind when animating. With a carefully crafted frame, you can direct the viewer’s attention to be exactly where you want it, without them realizing that they are being guided. Eventually, the viewer may recognize the craft that has gone into this principle: everything must be expressed clearly and in a manner that can be retained later on. For example, you can choose to include multiple character model sheets. These character sheets can depict your character in different poses. This can help shine a spotlight on the character’s personality, and give the animation client a clearer idea about how the character will behave.