Some interesting quotes I found relating to my question on blocking/posing:
"My approach tends to be feeling first, anatomy second. In other words, I like to draw everything that has a sense of give to it, and a sense of life and everything that will support the idea of a pose, and then build the anatomy on top. I think part of the difficulty with CG these days is that you're already starting with anatomy, and so you're already somewhat limited in how you can engineer everything to support a point or to support a thrust, so on and so forth, because you're already dealing with kind of boned and hinged characters."
"There's very little that I draw without at least some loose framework underneath. And I tend to start, you know, with what I think are the most compelling aspects first. I will almost always start with the face... The first thing I draw is the bridge of his nose, and his eyes sitting on top of it, and then the mouth underneath. That eyes-nose-mouth combination is the central focus, and I can put the eyes in any shape and expression that I want... THEN I draw the cranium behind it."
"Typically in CG, you layer things: you do the gross body movement, then you put the facial on top, and the legs on top... it's one reason a lot of CG walks don't work very well. It's because they do the torso first, and add the legs, which is crazy! It means that no walk actually has a push-off, and so all the walks look floaty. As opposed to the way you would do it in hand-drawn is actually conceiving the push-off thrusting that torso forward. And so, it's the kind of thing where it's kind of bass-ackwards, if you will, in the way that CG is done a lot of times, although strides are being made in making it more organic, definitely. But it's not a natural thing for CG to do unless you conceive it that way from the outset."
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