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But I feel like you can improve your learning much more quickly and you can get much more rewarding results if you know what to ask when you go into your reference. And that's essentially what we're looking at in these series of videos where we're going, okay, how do we break down a figure? What are the questions that we're asking? Because as soon as you do, you'll find that the answers are right there waiting for you. So let's start with waiting gesture. And these are two things that I think that anatomy we don't think about enough because you know we're thinking about the muscles and maybe the bones and whatever it is. But of course it's related to anatomy because it's how a human body holds itself. And if those two things aren't convincing then our work is not going to be convincing. So let's clarify what we mean by weight ing gesture. Weight is obvious. Does the figure feel like they're holding their weight because if not, then they're going to be falling over and that's going to be a problem unless they're supposed to be falling over. With gesture, a little bit more complicated. A lot of time people just aren't thinking about gesture and then when they do, maybe they think, oh yeah, it's how much stuff is moving and like really having the lines dance and whatever. And it's not quite that. Gesture, at least in the way that I would define it, is what is the story that is being communicated? And the gesture is related to that. So whether a gesture is good or not is basically, is it communicating that story? And if you have a figure that is supposed to be standing up and the weight is off, then it means that your gesture is not communicating the story correctly. So you can see that these two things are always tied in. You can't have good gesture if your weight isn't conveyed convincingly. Let me clarify this a bit with Pedro here. Pedro, could you give us a side view please? So the gesture of a healthy, upright, vital person from the side view is that the head leading into the neck is angling back towards the rib cage and then we come forwards again and then we come back for the hips and then we come forwards again. This rhythm carries on down the body but let's just focus on the torso for now. This is a beautiful gesture but it's related to the weight. That's the only reason why the chest is like that. So the neck here is angling backwards because the starting point of the neck where it attaches to the head is halfway across the head. If you look at the front portion of the spine here, this is halfway across the head. Why? Well, because if you want to support a weight, you kind of want to be in the middle of it. much more difficult to support a weight that's further away from you. And the human body is made for efficiency, so the spine is attaching to the head halfway. And then it comes back here as it attaches to the rib cage. And then after the rib cage curves back in again, why? To support the weight of the entire body, right? Pedro, could you put your arms behind your back, please? So if you're looking at a lean person, the front of the spine here could be as far as halfway across the body, again, to support the weight of the body. Because if you have the spine at the back, which is a mistake that people make all the time because of course you think of the spine as being at the back of the body, well then you start to break this gesture and it would be an inefficient way for a human being to be constructed. Because then you'd have the spine at the back and it would be having to support all of this weight at arm's length. So instead the spine comes under the body so it can support all of this weight. So the gesture, very, very beautiful, this forward, backward, forward, backward, and we want to capture that. But it's not a case of just finding a cool and interesting movement. The gesture is like that because of the weight. And the end result of that is it communicates a young, healthy, upright human body. If you look at this relationship in a quadruped, for example, you're not going to get that movement. And you wouldn't want to look for that movement. Because on a quadruped, the weight is distributed across four legs. And so you don't have this upright feeling. So you can follow the head across the spine to the rib cage, to the hips on a quadruped, to much straighter movement, and the gesture should be kept relatively straight. You start to play that like you do on a human, you have a more exciting line, but it's not better gesture because the gesture doesn't relate to the thing that you're wanting to communicate. It's not just different between humans and animals, it's different in every human. So Pedro, could you sort of throw your weight forwards like you're an old person and yeah, you're just kind of walking down the street like this. So now this is a very different gesture, right? But it's not a less correct gesture. It's just a gesture that describes either the same person in a different position, like they're leaning down to pick something up or in the case of an old person, they're just starting to lose that fight against gravity, right? And just getting pushed down more and more. So now we don't have that S movement, we have more of a C curve through here, and so that's the gesture you want to capture. So whether your gesture is good or not depends completely on what the thing is that you are looking to communicate. And this, like I say, is inseparable from weight. So Pedro, if you go upright again please. What I want you to take a look at is Pedro's hips as he reverts back to that position. So could you lean forwards again? You see how the hips are kicking back? Why is that? Well, as his head, shoulders and rib cage go forwards, he's going to fall over unless he has a counterbalance. So the hips come backwards to counterbalance that. And that's the weight and it's the gesture. If the hips don't go backwards then he's going to fall over. Sometimes in an old person or a young person as well you might see the opposite. So in this case could you lead with the hips? Warm here? So it's the same thing, right? If the hips get pushed forward for him not to fall over the upper body needs to come back to counterbalance that. And you see some people walk kind of like this, right? And as they do, it's not just the hips going forward, you have to have that counterbalance and the gesture here becomes about that movement. So again, the gesture is the thing that you are looking for that conveys the correct character and the correct movement. Let's take a look at the same idea but from another pose. So Pedro, could you give us a front view please? And put your weight very evenly on both legs. So here we've got the weight very much evenly distributed on both legs, meaning that the center of mass or the center line is right down the middle of the body, right? That seems fairly intuitive, fairly easy to find. But as soon as we start to move the pose, that center of mass is going to move. And in order for you to be able to convey the weight convincingly, you need to be able to keep track of where that center line is. Eventually you'll just get a feeling for it. You'll just be able to look at it and go, it's there. But in order to train that, one tool I would recommend that you use is you just kind of look at your figure as just abstract mass and you just find the line where 50% of the mass is on one side and 50% of the mass is on the other. And that becomes your centerline. And then you want to go like, is that centerline supported? So in this case, 50% of mass here, 50% of mass there, centerline is here. It's obviously supported by both of the legs. But let's say that Pedro puts all of his weight on one leg. You're able to do that. Notice that the whole body shifts. Could you just do that movement a couple of times? Just going from here and then going putting it on one leg again. Notice there is a shift in my direction as soon as he puts the weight on that leg. What's happening there? Well, the body is adjusting itself so the center of mass is over this single point because there's now only one point that's supporting the weight. Again, if you want to support weight, you want to be in the middle of it. Very difficult to support weight if you have it at arm's length. So Pedro, could you try and stand on one leg but not have your body directly over that leg? It's doable because Pedro has got skill, but it's very difficult and you can see it's requiring exertion, it's requiring muscular effort to do it. And so this is what will happen to your poses if you get that weight distribution wrong. So again, if you go to one leg, this foot is pretty much going to line up with this point here because if we draw that line, we will see we've got 50% of the mass on that side, 50% of the mass on the other side. If his body was too far over that way or too far over the other way, then that center of mass is going to move and it's going to move away from the foot. And that's going to mean that he's not carrying his weight very well. So this is something that you can do on any of your poses. Of course, if it's someone jumping, someone flying any of that, then you don't have the weight problem. You still have the gesture problem, right? Like if they're doing a, I don't know, they're jumping through the air and they're gonna punch someone, like, you know, how twisted back is that? That's the gesture. Because if you don't capture that full twist that's gonna punch through to there and you have it like that, then your gesture is not conveying the full strength of the story that you need it to. So these two things always, always tied in together, except for when weight isn't an issue.", + "language": "en", + "duration": 631.04, + "timestamp": "2025-11-26T17:57:35.510114" + }, + "timestamp": "2025-11-26T17:57:35.526538", + "processing_time_seconds": 212.52751398086548, + "full_course_name": "FN_FundamentalAnatomyforSculptors_DownloadPirate.com_03_HowToStudyTheFigure_Part1_Weight&Gesture.json" + } +} \ No newline at end of file