Whilst reading through Drawing for Animation, I noticed the work of Peter Parr. Unlike Quinn's work, where the soft pencil lines flow together to create fluid movement, Parr's life drawing sketches are made up of bolder, shorter lines. Rather than sketching the body as a whole, Parr's lines construct a figure in motion, creating more of an impressionistic expression than a fully realised drawing. In this way, he manages to give a detailed depiction of motion as well as physicality and the presence of the figure.
Despite the more impressionistic style of his sketches, Parr manages to capture the volume of his subject through carefully considered mark making. By varying the intensity or lightness of the line, Parr suggests weight and form, while maintaining the overall simplicity. Parr's work is also successful in communicating the characteristics and gesture of his subject, the latter being an important tool for expressing attitude and feeling, and giving life and depth to animation.
By not over working his life drawings, Parr allows himself to focus on the performance and motion, while his energetic strokes capture the rhythm of a movement, which form the basis of natural movement. Yet behind the ostensible simplicity, Parr's has vast skill in drawing and understanding the human form, that can only be achieved through practice. Without this skill and knowledge, it would be difficult to imbue the line with such meaning and presence, and so seamlessly record the energy of his subjects.
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