Analysis: The Anatomy of a Pose

Milt Kahl’s magnificent creation, Madam Mim, from Disney’s 1963 film The Sword In The Stone.

“You have to have high standards. I think that’s part of any profession. If you don’t aim high, well you’re not going to get anywhere.” — Milt Kahl

When I last heard the great Marc Davis speak, he noted that of all the animators in the world, there was one whose work he believed held up better than anyone else’s and that was Milt Kahl. I wholeheartedly agree. In honor of Davis’ words, I liked to demonstrate a breakdown of only one of his drawings — a pose from one of my favorite and funnest scenes animated by him from The Sword In The Stone. Here, we will see that in just this one single pose, all of the fundamental principles are given careful attention culminating into a display of not only great animation, but great artistry in general.

Line of Action & Overall Shape:

Here you see how Milt’s use of a transitional (S shaped) Line of Action (LOA) creates movement and flow thru the entirety of the pose. The overall shape (OS), which is presented in the form of a wavy triangle, gives the pose an elegant yet dynamic design. Together, the LOA and OS hold the pose in complete and beautiful harmony.

Anatomy:

One of the most poorly neglected aspects of animation today is the lack of knowledge and lack of regard for the construction of a character. (Working solely with CG puppets tends to do that to an animator.) Understanding body mechanics means first understanding body construction. Here, despite using only lines, Milt’s animation clearly displays his knowledge of the character’s anatomy and how each body part relates to another in line, form and space.

Directional Forces:

As seen above, every element, both big and small, indicate a directional flow. The spine, limbs, hair and clothing all point and aim their force and form. This gives their actions depth and dynamism.

Staging and Design:

All great animation employs solid staging and design. Here, Milt has “designed” his character in shapes so that they hold both two AND three dimensional appeal. Mim’s bottom and her hair both have bulk and weight to them, while the tapered arms and delicately placed fingers display both form and elegance. Note how the face is strategically staged for both clarity and appeal.

Torque, Twist and Turn:

This animated Madam Mim scene as a whole is a marvelous demonstration of the kind of tension and force that’s possible in this craft. But despite being only a still image, this individual drawing denotes the animator’s careful attention in his application of torque, twist and turn — concepts of movement— that indicate effort and time. It’s in this awareness and application of such forces that enables the appearance of the resulting squash and stretch in the various forms throughout the body.

Overlap:

Overlapping forms and shapes give the illusion of depth and dimension to a character. Here it’s applied not only in the shapes but also in the movement, as one area of shapes lead another in its progression. Forms moving and pressing against each also give the illusion of substance, as in the case of the folds of cloth that taper at the fingertips or the contact of the heel against the flatness of the floor.

Drag and Follow Thru:

The concept of Drag and Follow Thru are essential for the believable presentation of weight in the body and in the materials. Here, Milt applies the concept all over, in the big parts of the body like the feet and hands, but also in the details like the hair, sleeves, dress and even in the daisy-like protrusions at the bottom of her saggy pants.

Summary:

Really understanding both pose and movement is a tall task FOR ANY ANIMATOR. And they’re not isolated things to be learned and then added together; this is not math. Here — in the work of a great master’s — movement (and thus life) is present in every single pose ultimately becoming part of a scene that’s full of creativity and fun-filled magic.

“Anyone worth his salt in this business ought to know how people move.” — Milt Kahl

Rules for Creative Living: Rule #10 — Empathy

Henri Matisse’s The Parakeet and the Mermaid. Throughout history art has displayed the ability to transmute its audience, breaking all divisions between human beings. Matisse’s magnificent cutouts are a perfect example of the capacity to unify and connect.

“Could a greater miracle take place than for us to look through each other’s eye for an instant?” — Henry David Thoreau, Philosopher

I live only for two things: creation and connection. The process of creation brings joy and connecting with the world around us brings meaning. Together they bring fulfillment. To do either requires an understanding of both ourselves and things outside of ourselves. The one enriches the other.

We know by now that the creative act binds us to what’s in front of us — we engage directly with whatever we are to analyze, reinterpret or create. So despite the casual appearance of making art being a solo adventure, it actually isn’t. If we’re drawing a person, we’re connecting with that person. And that very connection, for it to be valid, must have understanding. We cannot create authentically without understanding our subject.

“One cannot be deeply responsive to the world without being saddened very often.” ― Erich Fromm, Psychologist

In the Pixar film Inside Out it’s shown that sadness is as important as joy. Directed by Artie Mandelberg, Pete Docter & Ronnie del Carmen.

Knowledge (i.e. information) is important, and it’s the first part of understanding, but it’s not the most important thing. For deeper understanding, opening our minds up in ways unexpected (and often challenging) is necessary. This requires empathy.

Definition of Empathy:

1the action of understanding, being aware of, being sensitive to, and vicariously experiencing the feelings, thoughts, and experience of another of either the past or present without having the feelings, thoughts, and experience fully communicated in an objectively explicit manner alsothe capacity for this

2the imaginative projection of a subjective state into an object so that the object appears to be infused with it

Fundamentally, having empathy means the ability to understand and share the feelings of another. It’s about being kind and not just “nice” which is often surface level. It’s looking deeper and giving more deeply. Having an open mind means having an open heart.

“Be kind, for everyone you meet is fighting a hard battle.” — Plato, Philosopher

George Miller’s magical creation, Babe, is a wonderful story of a small and seemingly insignificant character whose heart is not only big and brave, but kind and gentle. Its central character, despite being “just a pig,” is arguably one of the most noble characters to have ever graced the  screen.

Empathy encompasses the application of almost all the other principles for creative living; honoring (i.e. respecting) others, acknowledging that our own understanding is limited, being prepared for difficulty and failure, having the discipline to do the right thing, detaching from our expectations and experiences so that we don’t judge so hastily, being attentive in the presence of others, and ultimately taking that giant leap of faith of trusting in ourselves and in people.

“I believe empathy is the most essential quality of civilization.” Roger Ebert, Film Critic

“At the Movies with Siskel and Ebert.” I’ve never cared much for critics. But Roger Ebert (right side) was always the exception. He understood film art. His knowledge and love of the craft along with his empathy for artists gave him a step up on everyone else when it comes to talking about movies.

I firmly believe that we would eliminate much of the angst, suffering and violence we impose on ourselves and others if we lived with greater empathy day in and day out. And I don’t believe we can be truly dedicated artists and good human beings if we don’t practice this principle. It’s all too easy to be lazy, judgemental and negative. Succumbing to ignorance and aggression reveals the worst of ourselves by confirming and strengthening our insecurities and selfishness. We become closed off and ignorant. Art is the opposite of that. It bridges geographical, racial, intellectual, and cultural barriers.

“Good looks fade. But a good heart keeps you beautiful forever.” — Meryl Streep, Actress

Meryl Streep (who carries a record 3 Academy Awards and 21 nominations) is arguably the greatest living actor/actress in the world. Her art, in my opinion, gives such an honest idea and feeling of what it’s like to be a woman that even a man (i.e. the opposite sex) can relate and understand.

This rule of empathy marks the final and most important of the 10 Rules for Creative Living. It’s also perhaps the most challenging to remember and act on regularly. Our innate need for survival — in a world obsessed with wealth and status, and troubled by fear and the lack of time — makes being generous and being genuinely thoughtful of others a very difficult thing to do. But it’s of utmost importance that we exercise it. Empathy enables our capacity — and the opportunity to display our courage — to be truly humane.

In summary, let us recap the 10 Rules:

  1. Honor: Find your truth and live it.
  2. Limitations: Devote yourself to only a few things.
  3. Preparation: Know where you’re going and have a plan.
  4. Discipline: Commit to excellence and consistency.
  5. Humility: Think big picture, small ego.
  6. Detachment: Act without desire, expectation or assumption.
  7. Stewardship: Take care of your mind, body and spirit.
  8. Faith: Believe in your gift and trust in the universe.
  9. Presence: Breathe deeply and live attentively.
  10. Empathy: Connect with kindness and understanding.

To live up to the rules here is a daunting task for even the best of us. Each one requires real awareness and effort. But in my experience, striving to live according to these principles is what defines a life worth living. It’s true “pursuit of happiness” — the act of living rather than the attainment of any one thing or ideal, which often ends up being superfluous. Ultimately, it’s a way of living that unites us with each other.*

“We heal up thru being loved, and through loving others. We don’t heal by forming a secret society of one.” — Jeanette Winterson, Writer

*Afterthought: It was a risk to write about these rules for the possibility of being misunderstood or mistaken for pretension or a sense of superiority. I shared these rules with you not to dictate or even educate, but to inspire you to find your own guidelines by which to live by. We all need structure; it’s too hard to live without some sort of path to follow. And it’d be a mistake to live by another’s.