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The Original Brief: Stop-Motion pre-production  Fabrication process and techniques An in-depth look at the fabrication process for the pre-production of stop motion animation, and the influence the character of a puppet plays on its fabrication and construction. Why?  (Purpose &

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Here's the compilation of test shots and animations I'll be handing in as part of my assessment work this week. Evaluation coming soon, and feedback appreciated!    

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Just had a bit of a photo-shoot for some printable images of Ratman, turned out to be a bit of a nightmare as he was on his last legs, joints popping out limbs falling off. Managed to get a few

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Finally got to do a little something with Zeke's face, getting him to emote a little and try a few different expressions and facial movements I had intended from his very construction, things like the neck and jaw displacement, eyebrow deforming as

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Not just because it's a combination of two of my favourite things, but isn't this wonderful? Gorgeous little puppets holding onto their handmade characteristics. Expressive and beautiful. This really should have been made into a full film.

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Working the movement from the base of the tail as suggested by Ben, it's much improved over the last attempt. Dope sheeting required in future methink if other bits will be moving too, it'll be hard to keep track of

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The animation is a bit choppy but it was interesting to work with something that was to be a loop-able cycle and having to meet up with a pre-defined starting point. I think the feet look good, its just the

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Just another little test, with a bit of sound, seeing how it goes for now and trying to get some more testing done.

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I love these behind the scenes peeks at the usually very secretive work of stop-motion studios. It's great to see some of the scales of the sets they work on, as well as the sheer numbers they have to work

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And here's some of the feedback grouped together so I know where it is: And a still from setting up, just because:

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Another artist I wanted to look at for good character references is an illustrator called Travis Millard. His mostly monochrome medium is more often filled with moving, meaningful monstrosities. From pages of eye practice to expressive yet simply designed monsters. These kinds

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A Suzie Templeton interview from Don't Panic Magazine: Your adaptation of Peter and the Wolf won the Oscar for Best Animated Short Film last year. I think it's charm comes from the exquisite model making and decision to make it

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After ordering a few more pairs of the 'helping hands' I dismantled the lot and had a look at what sort of components would come in useful. Turns out, nearly all of it was, and I was able to build myself some

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Sanding the ball joints to a rough finish helps keep them tight and grippy Doubling up the side portions of the ball joints makes them much less likely to deform under pressure and therefore much tighter Replacing the desk clamp

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Getting the stage I'd built earlier on ready, I decided it'd be best to glue some non-slip mats to the bottom of it just to reduce the chances of it moving while filming, even though it'll be clamped down. I'd

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Finish up the model, final coats of latex, making sure the fur is the right length. Next up is taking Ben Whitehouse's advice and adding some dirt and skin blotching to keep the flesh looking real. I'm still not 100%

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When it came to rigging I was looking around and the best I could find was a £49.99 piece. I thought I could do something similar myself and had a good idea how to go about it. First step was

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The past few days have been taken up with various bits of work, but one of the main ones is the completion of the hands and feet for the "Ratman" model. Here's how it went:  First step was to model

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