top of page
Concept Development and Digital Sculpture Creation
The process begins with the analysis of client-provided concept art. Utilizing this artwork as a foundational reference, I developed a digital sculpture that serves as a detailed three-dimensional representation of the animatronic design. This digital model will subsequently provide critical volume specifications for the mechanical design team, facilitating the construction of the animatronic’s armature.
Concept art by Laura West
Concept art by Laura West
Model Preparation and Joint Design
Upon finalizing the digital sculpture, I proceeded to prepare the model by reducing its overall thickness. This adjustment ensures adequate space for the fur costuming that will envelop the final 3D-printed shells. Additionally, I designed ball-and-socket joints tailored to facilitate the specific movements outlined in the client's design requirements, ensuring the animatronic’s functionality aligns seamlessly with the artistic vision.
Fur Interfacing
At this stage of the creative process, based on input from the costuming department, I begin laying out fur costume attachment points around key areas. This phase focuses on translating the design into a functional structure. The primary objective is to create a full-scale costuming buck, 3D-printed in PLA. This buck allows the costuming team to accurately pattern the character. It is essential that the 3D print reflects the full range of motion, as this helps the costume lead predict how the fur overlay will behave when the animatronic is in motion during the performance.
REV A
_JPG.jpg)
Surface Developement
While the mechanical armature is being developed, I begin the surface development of the character. At this stage, the sculpture is transformed into shells that will be made from 3D-printed nylon or fiberglass casting. With input from the mechanical design team, I establish mounting points on the interior of each shell, as well as the methods for securing them together, either through magnets or mechanical fasteners. It is also at this point that I start dividing the character's surface into smaller, more manageable shell segments. These splits are made strategically, taking into account factors such as the audience's point of view, the placement of costume zipper seams, assembly, and maintenance access.
bottom of page