What is Stop Motion Animation?

Stop motion is an animation technique that captures motion by combining individual frames (still photographs) between movements of an object, person, or puppet to create an illusion that it is moving independently.

For example, a common frame rate in many films is 24 frames per second (24 fps); that would require an animator to take 24 still shots to combine them for just one second!

NEW BLUE PRINT ARTICLE COMING SOON

The Art of Puppet Making

The Puppet Blue Print 1:

There is more than one way to make a puppet! Without formal stop-motion animation training, we did a lot of research when planning the build of the puppets. We researched the best materials and methods of building stop motion puppets that were within our budget.

First, we bought and had a professional-grade stop motion metal armature built for the skeleton of the puppets (figure 1). This was important because the joints in the metal armature allow for the puppets to move smoothly when moving between frames.

Next, we worked on the design of our main character, Hearst Creux (figure 2). We knew our number one struggle was going to get the movement of the eyes. The professional puppet eyes had holes in the back, unlike other ones that we came across in our research that had them in the front.

Figure 1 - Hearst's metal armature body standing on a flat metal magnet.

Figure 2 - Hearst Creux Sketch

by Brittney Gallagher

Method of Trial and Error:

We researched and tried a number of methods and ideas building the head around the accessibility of the eyes. We discovered that the best course of action was to build Hearst's head in two parts: the front, 1/3 of the bottom of the back of the head, and the other the 2/3 top of the head. The two parts would be connected by small magnets and the head taken part to move the eyes between shots (figure 3). We tried a number of methods of controlling the eyes and decided that for precision to put them on separate wire posts.

Figure 3 - Hearst Creux Inner head. Red dots show magnet placement.

Once we figured out the plan for the puppets, we got to sculpting it! We used Super Sculpey translucent polymer clay and aluminum foil. Gallagher sculpted the face, and then ears separately. We baked it in the oven, and then added more fine detail (i.e. wrinkles), ears, eye socket ledges, and baked it again. The foundation for the face was ready to go (figures 4, 5, & 6).

Figure 6 - Hearst Creux Forehead

Figure 5 - Hearst Creux Elf Ear

Figure 4 - Hearst Creux Face (without eyes)

Puppet Expressions

Now that we had the foundation of Hearst's face ready, it was time to create his lips and eyelids. After sculpting the eyelids, we had to figure out how to connect them. We first tried connecting them using wire posts. We created holes above his eyes to hold the eyelids connected by the wire posts. During a test shot, we discovered that the posts were damaging the area around his eyes and it was chipping (figure 7)! We quickly decided that we would replace the posts with magnets, cushioning them with styrofoam. We made 3 different eyelids to close his eyes (figure 8).

Since we decided to bake the face, the lips became all the more important in order to communicate emotion. We started with the basic emotions and plan to sculpt the in-between transition lips later (figure 9).

Figure 7 - Hearst Creux Post hole damage

Figure 9 - Hearst Creux Lip Expressions

Figure 8 - Hearst Creux Eyelids

The Fine Details

With Hearst's inner workings in order, it was time to camouflage the magic and put the rest of his face together. We hand-drilled into the clay and placed 2mm x 3mm magnets on both parts of his head so we could easily get into his head between shots to change his eyeline (figure 10 & 11).

Figure 10 - Hearst Creux Magnet attachment

(front view)

Figure 11 - Hearst Creux Magnet attachment

(sideview)

Next, we cut and glued on artificial English ivy often used for fake bouquets for hair and covered the seam between the two parts of his head where the magnets connect (figure 12 & 13). We then glued on dried moss for sideburns (figure 14). Lastly, we sculpted eyebrows from dark green polymer clay and pressed moss into them (figure 15).

Figure 14 - Hearst Creux moss sideburns

Figure 12 - Hearst Creux head seam (side-view)

Figure 15 - Hearst Creux's polymer clay and moss eyebrows

Figure 13 - Hearst Creux hair (backview)

Stop Motion Animating

Now that we had Hearst's blueprint down, it was time to start animating with him! Our film is 24 frames a second, so that means we would have to have 24 shots to make a second. Upon our research, we discovered that animators often double the frames, so we decided to try this technique.

We used the program Dragonframe to help us record and put together the frames into a video.

Hearst Creux Eyelid Test Shot