In my professional life, I became a writer, but I never forsook my childhood languages-although English, the tongue of the oppressor-parents, was to be avoided. (Nolan’s father did, in fact, wrestle professionally, under the ring name The Genius.) When questioned about opening the novel in this way, Nolan fils said that he felt it was the duty of the translator to convey the spirit of the original rather than hide behind word-for-word literalness-and I would agree. Hummel begins the first chapter ponderously: “ All-yay appy-hay amilies-fay are-yay alike-yay. . . .” Nolan, in contrast, had chosen to leave out that sentence entirely and substitute one about how his “ ad-day” (“dad”) was an “ ofessional-pray estler-wray” (“professional wrestler”). Much of the childlike joy imparted to the text by Nolan and his fellow-translators has been lost, I’m sorry to report. Recently, I returned to the novel, this time in its unabridged original form, translated by Evelyn Hummel, who apparently is an adult. The principal translator, Billy Nolan, was a fully proficient speaker. version of olstoy-Tay’s “anna-Yay arenina-Kay” in the abridged translation done by Mrs. I even prefer to read novels in it, because it makes me feel at home. Other members of my linguistic community will tell you that I’m fiercely proud of my fluency and stand up for the language whenever it is misused. Among linguists, it’s known as Demotic Ay-speak, for the sake of precision, and to remove any allusion to pigs (which have nothing to do with the language). The earthy, untrammelled, and lyrical other language that I’m referring to was derived originally from Latin, hence its common name, Pig Latin. Because I am aware of how frustrating it is when people drop foreign-language expressions into their speech and expect the listener to understand, I will translate: entence-say, in English, is the singular noun “sentence,” and en-thay is the temporal adverb “then.” You’ll notice that I did it just en-thay. Even today, I find myself going back and forth, sometimes even in the same entence-say. Hart has worked in animation, comic strips (Blondie), and magazines, including contributing regularly to Mad Magazine.I grew up multilingual and learned in earliest childhood to switch effortlessly between languages. He is also the author and on-screen host of a popular art instruction CD-ROM series. ISBN: 0-8230-2365-6 (US$19.95)Ĭhristopher Hart has written and illustrated many successful "how to" cartoon and animation books for Watson-Guptill, in addition to writing for many studios and networks like NBC, Showtime, 20th Century Fox, MGM and others. New York, New York: Watson-Guptill Publications, a division of VNU Business Media, Inc., 1997. How to Draw Animation by Christopher Hart. By "tweaking," or pushing, a character's facial expression, you get that extra energy and vitality that can make a memorable moment. Although the examples given are of 2D animation, the same principles may carry over to 3D.ĭon't settle for the ordinary. If you are interested in learning more about character design (both cartoony and semi-realistic types), as well as in creating fluid, convincing motion based on fundamentals and more advanced techniques, then give these pages a look. Appealing characters lie at the heart of animation and it always struck me that unless you create great characters, it's pointless to put so much energy into making them move. My aim in creating the book was to marry art instruction with appealing characters. So I was delighted when the people at Animation World, a Website I frequent, asked me if they could reproduce some of the art from the book. My book, How to Draw Animation, has found its way into many animation classrooms.
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