Stop Motion: Craft Skills for Model Animation

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  • Edition: 2nd
  • Format: Paperback
  • Copyright: 2008-04-03
  • Publisher: Taylor & Francis Group

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To make great animation, you need to know how to control a whole world: how to make a character, how to make that character live and be happy or sad. You need to create four walls around them, a landscape, the sun and moon - a whole life for them. You have to get inside that puppet and first make it live, then make it perform. Susannah Shaw provides the first truly practical introduction to the craft skills of model animation. This is a vital book in the development of model animation which, following the success of Aardman's first full-length film, Chicken Run, is now at the forefront of modern animation. Illustrated in full colour throughout you are shown step by step how to create successful model animation. Starting with some basic exercises, you will learn about developing a story, making models, creating set and props, the mechanics of movement, filming, postproduction and how to set about finding that elusive first job in a modern studio. Susannah Shaw is Programme Development Manager for the Animated Exeter festival. She was head of the Bristol Animation Course from 1996 to 2000 at the University of the West of England and former camera assistant at Aardman (working on 'A Close Shave' among other films). * The best-selling full-color practical introduction to the craft skills of model animation * Benefit from the advice of top international animators such as Nick Park and Tim Hittle * Discover everything you need to know to be a model animator in a modern studio!

Author Biography

Susannah Shaw is an Animation Training consultant and has developed Animated Exeter, an annual UK festival

Table of Contents

Acknowledgementsp. ix
Introduction - playing Godp. 1
What is stop motion?p. 1
Nature and caricaturep. 5
What this book is forp. 7
Getting equippedp. 8
What do you need?p. 8
Choosing a camerap. 9
Lensesp. 12
Animation software/frame grabbersp. 12
Tripodsp. 15
Lightingp. 16
The animator's toolkitp. 18
Editing/soundp. 18
Glossaryp. 19
Getting animatedp. 21
Animating familiar objects as a first approachp. 21
Setting up for the first timep. 22
Notes on movementp. 25
Timing: single frame or double frame?p. 27
Squash and stretchp. 29
The dope sheet/X-sheetp. 30
Planningp. 32
Keep it simple - developing your storyp. 35
Idea - script - treatmentp. 35
Planning your shots - basic film grammar/composition of shotsp. 38
The storyboardp. 43
Editing - animatics and story reelsp. 47
Coat-hangers for armatures - making your own modelp. 51
Character designp. 51
Working with modelling claysp. 54
Making your own puppetp. 57
Simple wire and plasticine puppetp. 57
Durable clothed puppetp. 65
Model makers - the professionalsp. 76
The maquettep. 77
Ball-and-socket armaturep. 78
Mould making - hard and soft mouldsp. 83
Castingp. 88
Coloringp. 93
Costumes/dressingp. 93
Model-making masterclass - ScaryCat Studio and the Duracell bunnyp. 95
Glossary of model-making materialsp. 100
Four walls and a sky - sets and propsp. 102
Research the lookp. 102
Design and building of setsp. 103
Interior setsp. 108
Exterior setsp. 109
Forced perspectivep. 110
Making propsp. 111
Riggingp. 112
Glossary of materials for setsp. 113
Sound advice - the voice trackp. 114
Pre-productionp. 115
Recording dialogp. 116
Sound breakdownp. 117
Lip syncp. 119
Music and effects copyrightp. 124
The mechanics of movementp. 125
Studies from observationp. 125
Posing the modelp. 128
Timingp. 129
Weightp. 131
Anticipation, action and reactionp. 134
Walking and runningp. 139
The illusion of speedp. 142
Animal and bird movementp. 143
Animation masterclass - Teresa Drillingp. 147
The modelp. 148
On what creates a characterp. 150
First positionp. 150
The extreme downward positionp. 153
On Vinton'sp. 154
Beginning the upward movep. 154
Slowing down at the top of the movep. 158
Settling into the final positionp. 162
The performancep. 166
Character animationp. 166
Comedy and comic timingp. 169
Subtle character animationp. 173
The production processp. 176
Lightingp. 177
Health and safety issuesp. 180
Setting up the camerap. 181
Shooting with a rigp. 184
Special effects - tips and hintsp. 188
Final checks before you hit that buttonp. 191
Interview with Tim Allenp. 192
Glossaryp. 193
Post-productionp. 195
Timecodep. 195
The picture editp. 196
Soundp. 197
Titles and creditsp. 199
Exporting your final filmp. 199
Getting the job - the business of animationp. 200
Know where you standp. 201
Different work, different studiosp. 201
Commercialsp. 201
Seriesp. 203
TV specials and featuresp. 206
Applying for jobsp. 209
Your showreelp. 209
Starting out as a runnerp. 210
Festivalsp. 210
Sending proposals to commissioning editorsp. 211
Bibliographyp. 213
Software and recording equipment suppliersp. 215
Manufacturers and outletsp. 217
Calendar of animation festivals and film festivals incorporating animationp. 221
Animation courses that include or specialize in stop motion, and related organizations and websitesp. 235
Indexp. 247
Table of Contents provided by Ingram. All Rights Reserved.

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