By Paul Wells
The pondering technique in the back of drawing, characters, composition and circulation, narrative and model are all totally tested within the newest identify Drawing for Animation. the writer introduces the elemental components fascinated by generating drawn animation.
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Additional info for Basics Animation 03: Drawing for Animation
Second, it facilitates a call-and-response in the artist as he or she is intuitively ‘mark-making’ and yet simultaneously going through a process of immediate evaluation and revision while drawing. Third, it enables the process of repetition, selection, refinement and practice to take place as ideas, perceptions and memories are being explored. The drawing is being formed and transformed, translating ideas into marks of interpretation and personal expression. Experimental drawing is all about not being fixed, nor subject to the rigours of success or failure.
Get a model or use a mirror and follow these rules: ▶ Before putting pencil to paper, ask the model to continuously repeat the movement and look at the complete action over and over, attempting to follow the pathway of individual parts of the body, ie the head, each arm, leg, hand and foot, the hips and shoulders. When you think you have a fairly good understanding of the movement, work out where you think the key positions are, ie the points at which the model has changed direction. Once you think you know where the key positions are ask the model to stop at these positions mid-movement and freeze the pose long enough for you to do quick drawings.
Animators often first achieve this through their approach to walk cycles, one of the fundamentals of animation practice. Ironically, at one level, a basic walk cycle (see p58–59) is an animation exercise that needs no observation whatsoever and is more of a technical exercise. Crucially, it only becomes observational when we add emotion. ▶ Key poses artist a Joanna Quinn Practice A life drawing demonstrating opposite key poses. 52 | 53 ◀ Foreshortened image F o figure of artist a Joanna Quinn Composition and perspective > Life and figure drawing > Movement and dynamics A figure in a state of repose, but there is still an energy in the posture that suggests the next movement, or a possible reaction to a changing situation.