FACTOR
01 / LINE
01 / LINE
ARCHIVE / L-12
The decision travels through the spine.
A clean directional pull lets the viewer find the figure’s intention before they notice any detail.
A working catalogue for embodied ideas
Give the figure
something to remember.
Jovareqini Motion Index collects the small decisions that give a character a physical point of view: a tilted ribcage, a delayed hand, a pause held just long enough.
PLATE / 001
Index navigationLook by action, not outcome.
This is a public notebook, not a production reel. The entries are designed to be handled slowly.
01 / pose reader
Turn one pose
through three lenses.
Choose a motion factor. Each reading points to a different place in the same archive entry, because a clear pose is rarely a single, fixed answer.
A small vocabulary
Three ways an idea can land.
Not rules. More like things to listen for when a drawn body needs to feel specific rather than merely busy.
01
Line
Which direction has the most pressure, and where does it quietly change its mind?
TRACE02
Weight
What touches first? A convincing load arrives before a pose explains itself.
ANCHOR03
Release
What keeps moving after the decision is made, and what can finally go still?
ECHOWall note / a borrowed rhythm
Hinges are tiny editors.
They allow one part to disagree with another. A shoulder can hesitate while the head commits; a wrist can arrive late and make a whole gesture feel lived in.
Act the beat
HINGE WALL / Keep the joints visible long enough to learn what they change.
Workspace / act the beat
Make a little room for the beat.
Before refining a drawing, act the moment with whatever is nearby: a chair, a sleeve, a cup, the edge of the table. The body finds an order that the plan did not know it needed.
01
Name the change. Not the action: the change in temperature, balance, attention, or resolve.
02
Find the first leak. A hand or knee often tells on the thought before the face does.
03
Leave a remainder. Let one piece of the action continue after the main impulse stops.
WORKBENCH NOTE / Do less, then make that less legible.
02 / animation-study rail
A rail of useful interruptions.
These studies are intentionally staggered. Motion does not arrive in evenly spaced boxes, and neither does an attentive working day.
Look away.
Begin the action with the attention leaving before the shoulders follow.
withdrawCarry the cup.
Make the object’s imagined mass write itself into the elbow.
transferAlmost speak.
Hold the breath at the lips; let the answer choose not to arrive.
suspendFind a door.
Give the hand a job slightly before the body knows the route.
searchSettle after.
Allow the clothing, fingers, or breath to finish the sentence.
release03 / maquette cabinet
Objects that keep a question open.
Each shelf holds a prompt, not a prescription. The point of a maquette is its stubborn physicality: it asks a pose to survive gravity, touch, and a change of angle.
Bring a movement
Circle under tension
A single open loop can suggest a pathway, a boundary, or the afterimage of a turn.
LOOP
Neighborhood of figures
Set related poses together so scale, temperature, and intention have something to push against.
SHELF
Repair at the wrist
A visible repair can be a useful reminder: the axis of a gesture is often less tidy than expected.
JOINT
Held reference
Put the figure back in a hand. The scale of attention changes what a pose is willing to reveal.
PALM
FOLD THIS INTO A POCKET BEFORE YOU DRAW.
04 / note dispenser
Bring a movement, leave with a question.
Need a nudge for a study? Pull a note from the dispenser. It is deliberately small enough to test in a page of thumbnails, a mirror, or a few minutes of observation.
“Where does the decision arrive a beat before the rest of the body?”
A final plate
The body does not decorate the thought.
It carries it.
When a character moves with an internal reason, the work becomes easier to read and harder to forget. Keep looking for the hinge, the delay, and the small brave choice of weight.
Reading room / FAQ
A few practical things.
Four answers for visitors using the index as a companion to their own motion studies.
It is for animators, illustrators, performers, students, and observant people who want a more physical way to think about a character. You do not need a finished project or specialist tools. A few thumbnails, a mirror, a scrap of wire, or a quiet five-minute observation can be enough to use an entry well.
Choose one entry and make a short, imperfect response instead of trying to copy its appearance. Change the character, situation, and scale, then preserve only the motion question. If the note is about a delayed hand, test that delay in three rough versions. Compare what becomes clearer, stranger, or more honest when you simplify the rest.
Yes. The contact form is for movement questions, references you are noticing, and suggestions for future notes. Describe the situation in plain language rather than asking for a finished solution. It helps to mention what changes, where the body seems uncertain, and what you have already tried. The form runs only in your browser and does not submit material to a server.
A maquette makes a drawing answer to space. It reveals whether a lean has an anchor, whether a turn has a route, and whether the silhouette changes when you move around it. The purpose is not realism or a perfect miniature. It is to let touch and gravity interrupt assumptions before those assumptions harden into a finished pose.
Archive desk / contact
Leave a movement at the desk.
Tell us what you are watching, testing, or trying to untangle. This browser-only form gives you a local confirmation and clears the page; it does not transmit your message.
FOR GENERAL NOTES
[email protected]
PLEASE DO NOT INCLUDE PRIVATE, SENSITIVE, OR TIME-CRITICAL INFORMATION.