The life-drawing sessions really highlighted the difference between life-drawing for traditional art and life-drawing for animation. Where as , in fine art , a light drawing session would focus on capture the models realistically, capturing details , composition, lighting ,anatomy , at the expense of emotions, personality and unsurprisingly action ( with the model having a dead-pan emotion most of the time ), life drawing in animation would be the opposite , choosing to focus on capturing dynamism and movements of characters that has a distinct personality, in order to transfer that knowledge on screen. By this fact then , poses in animation life drawing would be more dynamic , and often follows the same principles as animation itself- that is a presence of exaggeration. ( just like when animation uses exaggeration to efficiently communicate a character's personality in a limited screen time, life-drawing in animation focuses on those kind of poses in order for the artist to understand the underlying principles through drawing and analysis ).
Again drawing from the session in the morning , since we want to capture movement more than anything else, each poses should not be overly long ( something that is very characteristic of traditional life-drawing . Instead , it emphasises kinetic and loose sketching , that capture the essence of the posture , movement and attitude of the character, all the while keeping true to and understanding volume and anatomy in order to study weight shift, balance, breaking of joints, anticipation and follow-through actions, as well as finding the pose that deliver the most story and visual interest.
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