Gesture Drawing For Animation
that in a model drawing situation, the pose is already there; searching is not necessary.
The use of a pen forces one to distill the essence of the pose in the mind’s eye and in turn
draw it the way one sees it.
Of course, when there is no model and when a needed gesture is not clear in the mind, by
all means start searching. I am not putting down using a multitude of lines—one may
come to rely on it for it sometimes accidentally locates things in its meandering lines,
from which all one has to do is pick out the best ones. Ultimately, the searching method
may be the style you will use in animation, for there will be no model before you to lean
on.
But this method borders on doodling, which can become a habit. Even when you don't
have a model to hold the pose, you can use your kinetic sense of motion—the feeling of
the pose in our own bodies, or “living” the pose, or being at one with the gesture and
“knowing” it, without having to discover the gesture in a model. The ability to distill the
essence of the pose, acquired through the practice of using a pen, will let you draw the
pose the way you feel it in your body. This will in every sense be a shortcut to capturing
the gesture on paper.
Simplicity for the Sake of Clarity
One of our models, Ian Steele, said a very significant thing to me after a session. He said
after holding a pose for some minutes he no longer had that fresh, intense feeling for the
pose that he had when he first assumed it. That is something that happens in all phases of
life. The artist, when he first gets an inspiration or tackles a pose in an action analysis
class, sees the pose, is struck by its clarity, its expressiveness, then after working on it for
a while that first impression is gone and with it goes any chance of capturing it on paper.
That's the reason we should learn to get that first impression down right away—while it's
fresh, while it's still in that first impression stage before it starts to fade.
It's not an easy thing to do. You have studied anatomy and have spent many hours
admiring your favorite artists until a foregone conclusion as to how to draw something
sets in. Now you are bombarded with new gestures and new concepts. You are called
upon to see the essence of the gesture and get it down before it slides back into a watered-
down pose or before your foregone conclusions alter your new found vision.
Detail doesn't buy you anything at this stage of the drawing. Doodling with detail will
cause you to lose that first impression. The time to study bone structure and muscles is in
anatomy class or at home with a good book on anatomy. In an action analysis class a
rough circle is all you need to locate and suggest a knee or an elbow or a wrist. Two lines
is all you need to locate and suggest the various parts of the arms and legs—preferably
one of them straight and the other curved; the straight one being used on the stretch side
and the curved one being used on the squash side. When I say locate and suggest, that is
exactly what and all you need. What you are drawing is a pose, not parts. The simplest
kind of suggestion is the surest way to a good drawing.