ABSTRACT
You might think of drawing as composed of two elements of life – mental and physical. The physical is the knowledge of anatomy and the mechanics of how that anatomy works. The other part is the mental, which involves the whole gamut of moods and emotions. Our job as artists is to somehow tie those two elements together into a readable expression of whatever it is we want to illustrate. In our sessions we have been emphasizing the mood and emotional part of the gestures. Needless to say both areas are necessary for a maximum of expression. But whereas the mechanical part of anatomy is traditionally taught in anatomy classes, the mental and emotional side has been left for the artist to develop according 190to the artist's needs or preference. Ultimately, in animation one must face up to the emotional gesture when called upon by the director to inject it into his scenes.
