I love the study of the figure, human or animal, in motion of any kind. Gestures and gaits tend to be characteristic of particular species, and I look for that nuance of movement that will draw the eye and define that creature in the viewer's mind. Initially, I do rough sketches that are probably intelligible only to me. These drawings are usually rendered in spurts, often while doing something completely unrelated.

This sheet of writing paper contains the seeds for nearly a dozen sculptures, and was doodled in about 15 minutes. I don't bother with form at all; I'm just recording random ideas so I don't forget them. Then I select whichever piece interests me most at the moment
and begin to play around with it

I do alot of thinking about a piece - just thinking. It's a bit like having CAD CAM in my head. I picture the piece from all directions, turning it around, changing and adjusting it, and doing most of the principle design work in my mind. It saves on paper.

I don't use reference material as the source of ideas to develop. It's more difficult to find suitable material to help flesh out an original concept, but it's far more interesting to me. The process of research should start where original design leaves off.

 

At this stage, I'm interested in concept only. Anatomical and technical detail will come later. I want to know that the idea will give me the flow of movement I am looking for from every angle and I keep the drawings very loose. When I'm happy with the layout I start gathering good reference material and then proceed with more accurate anatomical drawings. It's vital to ensure that design and anatomical accuracy will not conflict.

 

Studio Page 2, Gathering Reference Material; the use of photograhy in art

Studio Page 3, Knowing Your Subject; authenticity and accuracy