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Animation Unit – John Ryland Library Gargoyles – Research 


“Carried over to England by the Normans, who were renowned for their prolific building of castles, cathedrals and abbeys, these grotesque architectural symbols remained a fascination for the British sensibility through to the nineteenth-century.”

“Gargoyles are loosely based on dragons, which were seen as a personification of the devil and evil. The more of these kind of features you had around you, the more interesting and intelligent you looked at that time.”
“>The person who created these gargoyles and placed them on the John Ryland Library goes by the name of Thomas Worthington who also helped design the ‘City Police Courts’ on Minshull Street in 1873. He created these grotesque, almost demonic statues as Victorians had a fascination with Gothic architecture, which slowly diminished at the end of the era. Gargoyles derived from the French word for throat – they were designed to disperse water from their mouths in an “elaborate form of drainage geared towards protecting the masonry”

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Model Maker – Stop Motion

Model Maker – Stop Motion

Sector: Animation

Department: Production

What is the job?
Stop Frame is one of several names used to describe animation that is created by moving models, puppets or any three dimensional objects frame by frame in front of a camera. Other terms that are sometimes used include Stop Motion, Model or Puppet Animation, Table Top or 3D. Nowadays 3D usually applies to Computer Animation.  
Stop Frame is a well established technique which is produced mainly for television. However, there are notable exceptions when the technique is used for feature films, including work from Aardman and Tim Burton.
Model Makers need to be all-rounders, able to work in several craft areas. These include Sculpting, Mould Making, Casting, Trimming & Seaming (Fettling), Foaming, Metal Working, Welding, Painting, Finishing, Costume Making, etc. In fact, a Model Maker’s particular strengths are likely to be recognised and they may be ‘cast’ for an appropriate job.
The precise responsibilities can vary depending on the technique and mechanics of the models or puppets involved, and on the scale of the project and the size of the team. Armature Making exists within the Model Making Department of some studios but, in manycases, armatures are produced by specialised outside sub-contractors.
On larger productions, Model Makers are briefed by their Supervisors or Team Leaders; they may also be required to liaise with members of other departments such as art directors, assistant directors, animators, riggers, etc. On smaller projects, Model Makers may be briefed by the Art Director and they are more likely to handle the entire process, from start to finish. In addition to their own work, Model Makers may be required to supervise more junior members of the team.

Typical career routes
Model Makers are most likely to have spent time in a more junior role within the department, acquiring the many craft skills that are required. There are many levels within the Model Making Department and the rate of progression depends on individual skill and talent and job opportunities. In some studios, a single prop maker is responsible for providing props for an entire series of 10 minute television shows.
Depending on their overall craft skills, leadership qualities and management ability, Model Makers can go on to become Team Leaders, Supervisors and, eventually, Head of Model Making.

Essential knowledge and skills
Model Makers need to have a broad range of skills in order to be sufficiently flexible and adaptable to work on different types of production.

Key Skills include:
• high level of various craft skills combined with artistic ability
• knowledge and use of a wide range of materials
• ability to communicate with colleagues and work as part of a team, keeping Supervisors or Production Managers advised of progress or problems
• ability to give guidance to morejunior members of the team
• ability to liaise with members of other departments
• ability to take direction and accept delegated tasks willingly
• ability to work without supervision and follow a brief;
• ability to be methodical and thorough, keeping good records and log sheets, if required
• ability to deliver on schedule, working under pressure if required
• respect for the procedures and requirements of a particular studio or production
• knowledge of Health & Safety issues, including use of PPE (Personal Protective Equipment) and COSHH (Control of Substances Hazardous to Health) regulations

Training and qualifications
Model Makers are likely to have an art or design-related degree, or training in a more technical discipline. The quality of their previous work will be of more value than academic qualifications and applicants will be expected to show a portfolio which demonstrates their expertise and professional experience. 
As Model Making involves a broad range of craft skills, a background in one of a variety of areas can be appropriate. These include animation, fine art, sculpture, jewellery, ceramics, graphic design, information design, metalwork, dress making, etc. Although Model Makers may have preferences for particular crafts, specialisation is not always an advantage because, particularly on smaller projects, they need to be qualified to deal with most crafts.

Where to go for more information
Creative Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of informationfor all jobs in the industry are the National Occupational Standards
Thinking of pursuing a higher education course in animation? The following animation courses have been subject to rigorous testing  from the animation industry and as a result have been awarded the Creative Skillset Tick for both the degree to which they prepare you for a career in animation and the high level of education they provide.

Websites Good American site giving news, information and lots of links 
Animation World Network (AWN) Animation industry news and many links 
Animation Magazine 
Skwigly Animation Magazine 
Shooting People

Cracking Animation: The Aardman Book of 3-D Animation by Peter Lord and Brian Sibley. Pub. Thames & Hudson
Stop Motion: Craft Skills for Model Animation by Susannah Shaw. Pub. Focal Press.
Stop Motion Armature Machining: A Heavily Illustrated Construction Manual
by Tom Brierton. Pub. McFarland & Company
Stop-Motion Puppet Sculpting: A Manual of Foam Injection, Build-Up and Finishing Techniques by Tom Brierton. Pub. McFarland & Company

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Set Design – Stop Animation 

How to Create a Set for Stop Motion Filming

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The following instructable will tell you how to set up some basic sets for filming stop motion animation.×250&output=html&impl=ifr&scp=id%3DHVH8CVK0S3&ifi=1&adf=1407880317&nhd=1&adx=0&ady=996&oid=2&adsid=NT&jar=2017-12-11-11&gdfp_req=1&sfv=1-0-14&u_sd=1.3312500715255737&is_amp=3&amp_v=1512677960104&d_imp=1&c=298333528709788&dt=1512992276865&biw=361&bih=618&u_aw=361&u_ah=642&u_cd=32&u_w=361&u_h=642&u_tz=0&u_his=7&isw=361&ish=618&vis=1&


Items you will need

  • Large piece of sheet paper
  • Black Marker
  • Sheet Metal
  • Tape
  • Large object to use as background.

You should start by marking the areas where the camera will go.
You may also add a line, or dotted line where the characters/items you are filming will be.
The line isn’t a necessity, however it does make it easier to show where you will be filming.×250&output=html&impl=ifr&scp=id%3DHVH8CVK0S3&ifi=2&adf=1700034588&nhd=1&adx=0&ady=2393&oid=2&adsid=NT&jar=2017-12-11-11&gdfp_req=1&sfv=1-0-14&u_sd=1.3312500715255737&is_amp=3&amp_v=1512677960104&d_imp=1&c=298333528709788&dt=1512992276870&biw=361&bih=618&u_aw=361&u_ah=642&u_cd=32&u_w=361&u_h=642&u_tz=0&u_his=7&isw=361&ish=618&vis=1&


Slide the sheet metal underneath the paper you are using as the ground for your set.
This will be so that characters with magnets in their feet can stand up on it.


Tape what you are using as a background to the wall or whatever you have behind your set.
Tape behind the corners
And tape the sides, so that it will stick to the wall.×250&output=html&impl=ifr&scp=id%3DHVH8CVK0S3&ifi=3&adf=2574147806&nhd=1&adx=0&ady=4080&oid=2&adsid=NT&jar=2017-12-11-11&gdfp_req=1&sfv=1-0-14&u_sd=1.3312500715255737&is_amp=3&amp_v=1512677960104&d_imp=1&c=298333528709788&dt=1512992276874&biw=361&bih=618&u_aw=361&u_ah=642&u_cd=32&u_w=361&u_h=642&u_tz=0&u_his=7&isw=361&ish=618&vis=1&


Next, I will show you how to make a grassy set.
It will require:

  • Green construction paper, for a base
  • Sheet metal
  • Grass prop

You may also want a background that would be blue, or another color that fits with the green ground.


Place the grass props wherever you wand them to go on the green base piece.
You will want to keep some blank so that the characters can stand on the set.


Like with the other set,
Simply slide the sheet metal under the base, so that characters can stand up on it.
If the sheet metal isn’t as big as the base, then you should try to put it under the parts where the characters will stand (i.e. where there is no grass)


You can now make sets for your own animation.
You could also tape the grass down to the base, but that would require a tape the same color as the base and the prop (grass)


Also Camouflage

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Time based – Filming – Art and Design 

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  • Student-work-anim-show-2012_bannerStudent work at the Animation and VFX Showcase 2012

    Assistant Animator (Stop Motion)

    Personality type:
    Production | Stop Motion

    The lowdown

    • Supporting the Animators and helping the work of the department to run smoothly

      Is this role right for me?

      To do this role, you will need to:

      • have a feel for movement and timing together with observational and acting skills 
      • be able to work in a range of stop motion animation techniques, including very good sculpting skills (if working in clay)
      • have a good understanding of the principles of animation
      • have good communication skills
      • have good team-working skills, including an appreciation of the duties of other members of the crew
      • have good organisational skills
      • be methodical in your approach and pay close attention to detail
      • be able to maintain and clean up models or puppets during shooting, if required
      • be able to take direction and accept constructive feedback
      • be able to deliver on schedule, working calmly and efficiently under pressure
      • show respect for the procedures and requirements of a particular studio or production
      • have knowledge of the requirements of the relevant health and safety legislation and procedures

          What does an Assistant Animator (Stop Motion) do?

          Assistant Animators in stop motion animation support the Animators and help the work of the department to run smoothly.

          Stop Motion, also called Stop Frame, describes animation that is created by moving models, puppets or any three-dimensional objects frame-by-frame in front of a camera to create the illusion of movement. Other terms used are Model or Puppet Animation, Table Top or 3D, although nowadays 3D usually applies to computer animation.

          They must make sure that the models or puppets are on set, completely equipped, clean and ready to shoot. They need to ensure that the costumes, props and sets are correct and that continuity is maintained.

          To do this, they need to acquire a thorough knowledge of the project and work with other departments, such as rigging and model making. They may need to keep records and take responsibility for delivering accurate log sheets.

          As they progress, they may do secondary animation on production or test animation during the development stage. In doing this, they develop knowledge and skills which, combined with talent, enable them to become Animators.

          The Assistant Animator grade exists in some studios; in others, this work is done by Trainee Animators or Junior Animators and the title Assistant Animator may not exist.

          You could also apply to be an Animation Trainee through Trainee Finder, which gives you hands-on experience in the industry and helps you build those all-important contacts that are essential when competing for a job