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A single asana is listed for each main pose, whether or not there are variations. Thus for Sirsasana (Yoga headstand), only one pose is illustrated, although the pose can be varied by moving the legs apart sideways or front-and-back, by lowering one leg to the floor, by folding the legs into lotus posture, by turning the hips to one side, by placing the hands differently on the ground, and so on.
The fast pace of gesture poses helps an artist "loosen up" to avoid a stiff drawing style. The artist who undertakes gesture drawing also receives the benefits of self-training their drawing ability. This kind of very rapid drawing of the figure builds (through the act of frequent repetition) an instinctive understanding of human proportions ...
Pose implies an artistic, aesthetic, athletic, or spiritual intention of the position. Attitude refers to postures assumed for purpose of imitation, intentional or not, as well as in some standard collocations in reference to some distinguished types of posture: "Freud never assumed a fencer's attitude, yet almost all took him for a swordsman." [2]
The pose is illustrated in half-tone in the 1905 Yogasopana Purvacatuska and named Dhanurāsana, quoting the Gheranda Samhita's description. [ 6 ] It is unclear whether the asana is medieval, as although the name is used, the intended pose might be the sitting Akarna Dhanurasana rather than this backbend.
Straight ahead action scenes are animated frame by frame from beginning to end, while "pose to pose" involves starting with drawing key frames, and then filling in the intervals later. [12] "Straight ahead action" creates a more fluid, dynamic illusion of movement, and is better for producing realistic action sequences.
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Pose to pose is a term used in animation, for creating key poses for characters and then inbetweening them in intermediate frames to make the character appear to move from one pose to the next. Pose-to-pose is used in traditional animation as well as computer-based 3D animation. [ 1 ]
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