Stop-motion, stop-animation, classic special effects, puppets, masks, costumes, props, models, sets, matts, production illustrations, production design...


Puppets, from sketches to animation

Puppets, from sketches to animation: Santa (1)
One thing simply has to be considered when creating a major character:
such characters usually has to act more and "paint" more emotions on their faces, than supporting ones. It's upon this particular expressions to determine the design of the puppet and materials used. Santa's face, for instance, can't do a thing except blinking, everything else has to be accomplished with facial hairs. Three little girls in the orphanage had to cry and yell, therefore needed faces with replaceable lower portions. The Prosecutor, the Judge, and the Toy-factory Director/owner/main-share-holder had to open their mouths and talk. To do that, even if it'd be not quite understandable, their faces need full array of replaceable lower parts, just as if one has to read from their's lips. Other characters, all the ones that don't open their mouths, can be produced simpler and easier, as fixed faces. Some of them can have, just like Santa, some facial hairs that can be animated, and most of them can at least - blink.

Final Santa design wasn't neccesarily tenticle-armed, the effect just happened in 3D. I liked it and "translated" it in puppet's armature
Puppets, from sketches to animation: Santa (1)
_1 The ARCTIC PIRATE index
_2 Color chart development, coloring and light tests
_3 Storyboards, shooting plans, concept arts, sketches
_4 Puppets, from sketches to animation : 4-A - Santa (1)
_5 Vehicles of all sorts
_6 Houses and exteriors, from sketches to final sets
_7 Interiors
_8 Small props
_9 Graphics and maps for posters, banners, press, signs etc.
10 Shots against all odds
11 Simple shots, confined spaces
12 Basics: workbenches, tools, logistics, etc.
13 Miscellaneous