While I was at the Florida animation studio, we had several drawing sessions using live models. One of the best models was Max Howard’s beautiful baby daughter, still in diapers, and a born “ham.” She presented us with an infinite number of gestures and poses. It kept everyone on their toes because most of the poses were held for perhaps three or four seconds or less.
It was an opportunity for me to suggest the idea of registering the pose in the memory (as if taking a Polaroid photo), the “first impression” thing I keep stressing. I pointed out how if too much time were spent “drawing” the head then by the time they got to the body, it would have changed. Then while drawing the body, the arms would have changed. So by the time they began to draw the arms their attitude would have nothing to do with the body or head gesture. Then, of course, the legs would be added to a drawing that already is a mixture of three or four gestures. It brings to mind the creations of Dr. Moreau, H. G. Wells’ mad doctor, who created strange animals by using parts of different animals.
It was a perfect opportunity to drive home the idea that the gesture was the important thing — not the shape of the baby’s arms or legs. After all, Baby Herman was the object of the study. I urged them to stop “drawing” and start “capturing the gesture.” There was a great step forward made as each artist attempted to “go for the gesture.”
Jeff Dutton, whose drawings I managed to confiscate (to share with you) typify the effects of trying to “capture” the gesture rather than trying to “draw” a baby ala Rembrandt. The drawings he made before these were factual as far as shape, proportion, and detail are concerned, but suddenly, he began to record the gestures, which I believe is the foundation of draftsmanship. It is tempting to suggest that there is a rule to cover all rules: “Stop trying to draw, and just get the gesture down.” The drawing will take care of itself.
