More than one person has asked me what exactly do you need for a simple puppet. The basic materials are foam latex, an armature, faces. The best place for me to buy foam latex is http://www.burmanindustries.com, or http://www.animationtoolkit.co.uk/, both are trustworthy. I prefer foam latex over clay, it's easier to use (after molded properly) although, it is somewhere around 15 - 20 times more expensive than clay, but if it will work for you budget it works best. The armature is sort of tricky, it depends on how much you use the character. For instance, all the puppets on Robot Chicken all have wire armatures, on the other hand with a feature flick like Coraline, all the armatures are ball-and-socket. I usually use a wire armature. You can buy the wire at a reasonable price here on http://www.amazon.com. The best way to make an wire armature is to use a drill to twist two strands of wire to create a heavy duty wire; then tie wires together for arms, legs, etc. Faces are a hard subject to talk about because everyone has there own way. There are three main types of face animation: replacement faces, cut out faces, and one animate-able face (this method was used in Fantastic Mr. Fox). Overall, that's the basics, you can buy most of it on Amazon, thanks for your time!
Interview with Samuel Lewis - Animator, Character Designer, and Sculptor on Stop Motion Short Film, "Lost & Found"
Knotjira, a clumsy dinosaur made of wool, as seen in Lost & Found . Photo courtesy of Andrew Goldsmith. “If I had to pick a starting point for my career as a stop motion animator I would have to say it was my obsession as a six year old with a book called ‘Playing with Plasticine’ by Barbara Reid,” Samuel Lewis – a London-based stop motion and 2D animator and director, whose most recent labor of love can be seen in his contribution to the Australian stop motion short film, Lost & Found – tells Stop Motion Geek. Upon reflection, Lewis explains that his love for the medium of stop motion began very early in life, and has merely managed to burn ever brighter in his fervor to master the craft. “I would spend countless hours fixated on sculpting tiny snails, fruit bowls and dinosaurs to the point where I would stay inside on family holidays sculpting a surfer in a beach scene rather than going to the actual beach that was only a short walk away,” Lewis recalls wistfully. “...
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