In Chuck Jones case, it is just some detail found on a model sheet of Porky Pig. There were no personal computers, and this side of sculpting a maquette [see post no. 116], this was the best way in its time to make sure that he was understood. Jones, who had more formal art training than most of his contemporaries in animation at the time, wanted to make sure his animators grasped something subtle about Porky's jowls. He created what in an art school is called a contour drawing--imagining a series of parallel lines that follow a surface and thus define that surface in space.
|Unlike a wireframe rendering, Chuck Jones' contour drawings have lines going in only one direction,|
but the intent of precise understanding of a shape is the same.
We were told to draw a leg or a torso or some inanimate object by this method, thus defining the subtleties of its surface without resorting to tonal (shaded) technique.
In the cel animation world of linear drawing, this was an ingenious yet simple way of conveying his instruction.