57 Gestures, Moons, and Tangents
One of the practical benefits of a gesture class lies in the fact that it condenses nearly all the steps of animation into the making of one sketch. So instead of just copying the model (or studying anatomy and drapery) the artist is asked to create a one-drawing scene—complete with story, motivation, and inner forces that constitute a gesture.
A gesture would be impossible without some real or imagined motivation and a kinesthetic feeling for the physical moves needed to express that motivation. Motivation involves acting, while the physical moves involve action analysis.
As an example, in a recent session we had David Roon come as a farmer. One of his jobs was to hoe some weeds. (The hoe was real but the weeds ...
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