Performance Drawing for animators: Breaking conventions and exploring experience | Intellect Skip to content
Volume 3, Issue 1-2
  • ISSN: 2042-7875
  • E-ISSN: 2042-7883



In this research Campbell challenges the dominance of Disney styled classical animation and its associated drawing principles that are dictated as part of a teaching process. Campbell’s learning and teaching approaches come from a practitioner perspective, and are about maintaining a wider and more applied version of drawing in a digital age in which the construction and manipulation of images can be done in so many various ways. It stems from the idea that in order to create the illusion of performance (which Campbell defines as ‘emotion through movement’), an animator has to be able to experience the performance (personally, or through observation or imagination) first, and then produce drawings that are based on a more personal relationship to the performance.

Results so far are more obviously intuitive and more allied to emotional as well as observational empathy, and crucially, come about through apprehending motion as it happens. The application of this method is also more aligned to developing personal research and creative development methodologies for animation practice, even when working as part of a team.


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