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Stop Motion Animation - Coggle Diagram

- - - - "The original idea came from our product designer Shannon Tindle. He originally pitched the project to me as this stop-motion samurai epic. I was really intrigued."
    - - "The first step in realizing the build, then, would be to have the skeleton manufactured by the rigging department—usually responsible for large props or things that move in Laika films"
      - "traditional puppet building department that relies on hand-crafted and 3D printing techniques"
        
        "Having mastered the art of rapid prototyping and 3D printing for its smaller-sized stop motion puppets, Laika had to abandon those methods for the Giant Skeleton. Or so they thought. It turned out there were companies that could print and cut high-density industrial foam into any form, which had the added benefit of being as light as possible. This was used in particular for the skeleton ribs, while other parts relied on more of a papier-mâché approach."
      - "Rigging also collaborated with the art department which would design and also dress the final skeleton puppet."
      - Clip of painting and assembling the skeleton puppet
        
        "The answer [for animating the skeleton] lay, instead, in motion bases or hexapods typically used in amusement park rides or as film special effects gimbals"
    - - Trivia Page
        
        "The puppet fabrication department had 50-60 artists and craftspeople of different skills, including painters, sculptors, wig-makers, mold-makers, costumers, armature makers, and more"
        
        "The armature is a metal skeleton that allows the puppet to stand upright and hold a pose as it is manipulated by the animator. Each armature is custom made using ball joints, hinge joints, and swivel joints of varying sizes, all of which are designed by our in-house team and machined out of tool steel"
        
        "Set construction is where many of the talented and innovative artists at LAIKA -- including carpenters, model builders, riggers, scenic painters, landscape artists, and set dressers -- came together over a period of roughly 18 months to create dozens of unique locations for Kubo"
      - ‘Kubo and the Two Strings’: 3D Printer Key to Puppetry
        
        "Brian McLean, was also recognized with a Sci-Tech Award by the Academy just last year [2016] for his work in rapid prototyping."
        
        “Kubo” also features massive amounts of water and smoke or mist and skies that tie in with the overall action of the film, something that can be notoriously tricky even in a film not featuring stop-motion animation. There’s also a lot of clean-up work to be done on the puppets to make them look as seamless as possible. VFX supervisor Steve Emerson and his team used VUE and Photoshop for some of these processes and then comped them in Nuke.
        
        “We worked very closely with the art department and the production designer Nelson Lowry,” Emerson says. “We ended up using things like garbage bags for the in-camera tests for water and the art department will create clouds from things like tulle netting.”
      - Article on artistic inspiration behind film
        
        Kiyoshi Saito, printmaker
        
        "Saito's poetic view of the rich history of rural Japan struck a note with me. His artwork was a great place to start in the development of Kubo," adds production designer Nelson Lowry. "Our characters are stylized. The world they travel through needed to support that. During the development process we started adding some of this texture into set pieces and clothing. Rather than depicting every grain of sand and snowflake we used a woodblock like texture across most of the surfaces in the film to imply detail. The technique gave the film a slightly grainy look evocative of Saito's work."
        
        KIYOSHI SAITO, VILLAGE WITH PERSIMMON TREE. "'VILLAGE WITH PERSIMMON TREE’ RESONATED WITH ME," SAYS LOWRY. "IT HAD A DISTINCTIVE SHAPE LANGUAGE AND LOVELY TEXTURES WITHIN THOSE SHAPES. SAITO USES TEXTURE AND COLOR TO SUGGEST DETAIL RATHER THAN SLAVISHLY RENDERING THEM. WE SAW THIS AS A WAY TO ILLUSTRATE THE WORLD OF KUBO."
        
        EARLY
        SAITO-INSPIRED CONCEPT ART BY TEXTURE ARTIST DAN CASEY