In 1937 Don Graham, one of the most instrumental teachers at the Disney studio somewhat criticized artists of drawing and animating FORMS instead of FORCES. In contrast, he praised animator, Bill Tytla of being the only artist at the studio who consistently drew forces in his work.
1937年のこと、
"...there is a constant use of graphic accents in his (Tytla's) manipulation (animation) , and these accents may be used as possible symbols of forces. The actual form is something which eventually is necessary but which is really a by-product of animation. The vital element is force.
「ティトラは、
What does this concept lead to. (?) As soon as the forces are under control, it is possible to create feelings or emotions or reactions in the audience." - Don Graham
このコンセプトは何を意味しているのだろうか？ フォースをコントロールできるようになれば、鑑賞者の感じ方、
There is a saying, "The artist draws not the 'thing' but the forces that have created it."
「アーティストは、「物」ではなく、その根源にある「フォース」
描いたものから生気が感じられない、
The cause might be because you failed to include the forces acting upon the subject.
その原因は、対象に働いている「フォース」
Forces are vital to creating a sense of life, energy and vitality in a drawing. I believe capturing the forces are essential if you want your drawing to have a sense of movement.
ドローイングに生命感、エネルギ、
Some might dismiss this as "animation concepts" . Truth is, ALL drawing of the figure is a form of animation. Movement, thoughts and feelings are all part of what we as artists are trying to convey to our audience.
これは「アニメーションの考え方だ」
The sketches below from the animator, Bill Tytla are good examples. Please don't get distracted by the use of caricature.
ビル・ティトラ（Bill Tytla）による以下のスケッチは、
I used the red lines to indicate where the weight was either pushing in to or away from gravity. Though the figures are not moving the sensation of movement exists. If you ignored the facial expressions the sense of what they are feeling exist.
内向き、外向きの力、
Glen Keane.
グレン・キーン
In Glen Keane's Little Mermaid, it's very easy to read in her flowing body what forces are working upon the character and even how she is feeling.
グレン・キーンによるリトル・マーメイドでは、
1) Notice how your eyes "glide" around the character as opposed to falling to a dead stop.
2) Notice how you feel the pushes and tension in her body.
1) 観る人の目は、キャラクターの周囲を滑らかに動く。
2) 押し込む力、引っ張る力が働いている部分を見ると、
These are the tools that create the feeling of life and real movement. Not the anatomy, not the cute faces.
これらは、鑑賞者に、
Frank Frazetta.
フランク・フラゼッタ
Frazetta's works always have a sense of life and power behind them. In his rough sketches it's really his shorthand that sells the pose. We don't have to make super polished works to convey the energy and impact.
フラゼッタの作品からは常に、生命感とパワーが感じられる。
In this ruff sketch of an arm at the top we see simply an arm with it's anatomy. But below we can see the graphic accents which show the relation of the forces in the arm.
このラフスケッチはどちらも腕だ。上は、
In terms of how this can relate to the human body we can see the how the forces push out defining the contours of the body.
これを人体に関連付けて考えるには、
Below is an example of my sketching process of the graphic above.
上に掲載したドローイングのプロセスを動画でご覧ください。
