By Christopher Hart
This drawing educational from best-selling writer Christopher Hart indicates artists easy methods to draw exaggerated musculature of super-sized figures in motion poses.
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Extra info for Drawing Cutting Edge Anatomy: The Ultimate Reference for Comic Book Artists
E pictures are meticulously rendered, McCay’s drasmanship never more evident. ey are beautiful but not playful. In 1918 McCay produced an animated editorial cartoon, recreating the sinking 18 INTRODUCTION of the RMS Lusitania. Where once he brought mischievous dinosaurs to life, now he resurrects the victims of the German attack to fan the ﬂames of patriotism. e ﬁlm is an astonishing achievement but assuredly not playful. McCay’s magic has been press-ganged into the service of the real. Millhauser, writing about his ﬁctional McCay, evokes a sadness that plays around the edges of the ephemeral escape that is the promise of the cartoon: “e animated cartoon was nothing but the poetry of the impossible—therein lay its exhilaration and its secret melancholy.
E two ﬁlms position the artistﬁgures at their center as both industrious and magical, and both ﬁlms simultaneously mystify and demystify the activity of artistic creation. e next two chapters each take up one term of the labor/anima dialectic. “Disobedient Machines” continues the discussion of those rambunctious, rebellious cartoon characters whose every move, paradoxically, is programmed in advance. e chapter moves beyond McCay to consider animation (the creation of life) as a trope in diﬀerent kinds of ﬁlms—cartoons, horror, and science ﬁction—and it moves beyond animation to locate a similar disobedience or resistance in other genres.
One image in particular leaps out: aer we see Somnus pawing the ground, clearly eager to be oﬀ, she is depicted in full gallop, bearing Nemo toward the wonders of Slumberland. McCay has depicted the horse in what can only be described as the Muybridge position, with all four legs lied from the ground. Nor is this the only image that recalls the pioneering work in motion capture performed by both Eadweard Muybridge and Etienne Jules Marey. Indeed, the evenly sized panels, arrayed in a graphlike conﬁguration, presenting the successive stages of a horse’s gait, could hardly be more clear.