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D978d Dutra, Leonardo Rocha.
Design de personagens para stop-motion : projeto e desenvolvimento de
esqueletos com articulações metálicas compostas [manuscrito] / Leonardo
Rocha Dutra. – 2012.
158 f. il. color. fots. ; 31 cm.

Orientador : Jairo José Drummond Câmara

Coorientador : Sérgio Antônio Silva
Dissertação (mestrado) – Universidade do Estado de Minas Gerais.
Programa de Pós-Graduação em Design.

Bibliografia: f. 147-154

1.– Desenho (Projetos) - Animação ( Cinematografia) - Brasil - Teses. 2.

Indústria cinematográfica - Desenho Industrial - História - Teses. 3. Bonecos -
confecção - articulações - Usinagem - Teses. 4.- Miniaturas - Animação
(Cinematografia) - República Tcheca - Teses. I. Câmara, Jairo José Drummond.
II. Silva, Sérgio Antônio. III. Universidade do Estado de Minas Gerais. Escola de
Design. IV. Título.

CDU: 778.534.6
Ficha Catalográfica: Cileia Gomes Faleiro Ferreira CRB 236/6
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Essa estratégia é tratada em 2.6.1 Jack Skellington, 2.7.1 Emily e 3.2 Projeto e Protótipo 1.0.
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FIGURA 1 – Design do personagem Victor Van Dort para A noiva cadáver (2005)
Vistas de semiperfil e perfil por Carlos Grangel e modelagem de concepção pela Mackinnon &
Saunders para o personagem Victor Van Dort. Fonte: MAIDEN, 2005.

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3
Em visita feita pelo autor aos estúdios de Mackinnon & Saunders em Altrincham, Inglaterra, em 6 de outubro de 2011.
 FIGURA 2 – Mecanismos de cabeça para os protagonistas de A noiva cadáver (2005)
Detalhamento dos mecanismos de articulação da mandíbula e movimento dos lados da boca.
Fonte: (a) fotograma do documentário (2006), disponível em: <http://www.
stopmotionworks.com/corpsebride/cb_head.jpg>; (b) Cláudio Santos (foto), em visita feita pelo autor
aos estúdios de Mackinnon & Saunders em Altrincham, Inglaterra, em 6 de outubro de 2011.
Sinalizações textuais do autor.

C D E F G H I J K L L M N E D L O I J C J H G F G J P L M

D E H G H N Q P F G L R S E S T D G L K E U J D S L

H J V W E N E E E H U E D L X L M M Y H J F Z E N

K J X D L K G O L [ G P \ E

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FIGURA 3 – Mecanismo de movimentação vertical para personagens com saias
Mecanismo de movimentação vertical dos quadris ao longo da caminhada para a personagem
Victoria Everglot de A noiva cadáver. Fonte: Compósito de detalhes de fotogramas do
documentário Making Puppets Tick (2006), de 04:34:00 a 04:44:21. Intervenção digital do autor.

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FIGURA 4 – Fotogramas de Dreams of Toyland (1908)
Fotogramas da cena com detalhado cenário em miniatura e inúmeras figuras animadas de Dreams
of Toyland, de Arthur Melbourne-Cooper, com a colaboração de Robert Paul, em 1908. Fonte:
Reprodução em DALTON; HARRYHAUSEN, 2008, p. 40.

5
Graças ao depósito na Biblioteca do Congresso em Washington DC, da George Kleine Collection, da Paper Print Collection
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FIGURA 5 – Fotogramas de The ‘Teddy’ Bears (1907)
Na linha de cima, uma sequência na qual um urso gira pelo pescoço, apoiado na cabeça de outro.
Na linha de baixo, o uso de borrado de movimento e de suspensão por fios. Fonte: Fotogramas
obtidos em DALTON; HARRYHAUSEN, 2008, p. 41.

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6
Segundo sítio do National Film Preservation Foundation, mencionando o periódico Moving Picture World.
7
Segundo Holman (1975) há controvérsia sobre a data entre 1908 e 1911, portanto argumenta como mais provável o
período entre 1910 e 1911 uma vez que nos anos de 1908 e 1909 Émile Cohl esteve engajado com o desenho animado,
baseando essa afirmação no livro Émile Cohl, technique et material, de A. P. Richard.
 ll

!
FIGURA 6 – Émile Cohl com os bonecos de Le tout petit Faust (1910)
Fotografia extraída do artigo de Pascal Vimenet, no n. 51 de CinémAction, de abril de 1989,
segundo o sítio Le Poignard Sutil, disponível em: <http://lepoignardsubtil.hautetfort.com/archive/
2008/03/07/retrospective-emile-cohl-a-la-cinematheque-francaiseohl.html>. Fonte: Fotógrafo
desconhecido.

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8
O subtítulo A Prehistoric Tragedy consta no sítio do detentor do filme, da Library of Congress (Biblioteca do Congresso
Nacional Estadunidense), disponível em: <http://lccn.loc.gov/00694020>.
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!
FIGURA 7 – Fotogramas de The Dinosaur and The Missing Link: A Prehistoric Tragedy (1915)
O “elo perdido” do título é Wild Willie, que em sua disposição de enfrentar dinossauros – mesmo
aqui sendo derrotado por um. Em termos narrativos e técnicos Willie é um “ancestral de [King]
Kong”, nas palavras de O’Brien Fonte: DALTON; HARRYHAUSEN, 2008, p. 55.

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FIGURA 8 – Detalhe de desenho de patente de Herbert Dawley

Fragmentos das duas plantas de detalhamento da patente registrada por Dawley. Nota-se que os
parafusos (indicados aqui pela cor magenta) apertam as duas peças (em ciano e amarelo) que
podem ser giradas no sentido contrário ao aperto, desfazendo-o. Fonte: Reproduções em
DALTON; HARRYHAUSEN, 2008, p. 46. Intervenção digital do autor.

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9
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!
FIGURA 9 – Modalidades de tie down
Fonte: Foto, elaboração e sinalizações textuais do autor.

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!
FIGURA 10 – Braço articulado para sustentação externa
Braço articulado para a sustentação externa de personagens com base de chumbo. Fonte: Cláudio
Santos (fotos). FAMU, Praga, República Tcheca, 3 de outubro de 2011.

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FIGURA 11 – Willis O'Brien animando em O mundo perdido (1925)
Willis O’Brien animando o que parece ser um centrossauro ou monoclônio, para O mundo
perdido. Detalhe de imagem extraída de DALTON; HARRYHAUSEN, 2008, p. 62.

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10
O próprio Marcel Delgado afirma terem sido construídas seis figuras de 18" (DELGADO apud TURNER, 1978).
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!
FIGURA 12 – Duas figuras animadas de Kong
A refeitura constante do build-up faz com que essa fotografia corresponda a um momento único
no estado das figuras, tornando o parâmetro de comparação inconsistente. Fonte: MORTON,
2005, p. 34.

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11
http://www.youtube.com/watch?v=bnmZsS7TR-Q
12
Lote 428, venda 5872, arrematada por £ 121,250 (na época, US$ 200.305,00). Disponível em: <http://www.christies.com/
LotFinder/lot_details.aspx?from=searchresults&intObjectID=5270732&sid=a7c36242-a1fa-4154-b021-bbe2bb8b07e9>.
 op

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!
FIGURA 13 – Dois esqueletos preservados de King Kong
Os dois Kongs nas mãos dos proprietários, Peter Jackson e Bob Burns. O conjunto de tórax do
esqueleto de Jackson está rotacionado, apresentando a estrutura que fica atrás. Fonte: Fotos por
autor desconhecido, disponíveis em: <http://monsterkidclassichorrorforum.yuku.com/topic/
30563/Two-original-Kong-armatures-meet-again>.
 iX

!
FIGURA 14 – Comparação entre espinhas dorsais de King Kong
Comparação da espinha dorsal em (a) Dalton e Harryhausen (2008) com (b) Hilchey/Jackson e (c)
Kellinson/Burns (composite à direita). Fonte: (a) DALTON; HARRYHAUSEN, 2008, p. 73; (b) e
(c) <http://monsterkidclassichorrorforum.yuku.com/topic/30563/Two-original-Kong-armatures-meet-
again>. Intervenção digital e indicações gráficas do autor.

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!
FIGURA 15 – Comparação entre pés dos esqueletos Hilchey/Jackson e Kellinson/Burns
Comparação entre Hilchey/Jackson (a) e Kellinson/Burns (b). Fonte: <http://monsterkidclassichor
rorforum.yuku.com/topic/30563/Two-original-Kong-armatures-meet-again>.

!
FIGURA 16 – Comparação entre crânios com imagem em Harryhausen e de Hilchey/Jackson
Comparação entre crânios com fotografia em Dalton e Harryhausen (2008) e imagem do esqueleto
Hilchey/Jackson. Fonte: (a) DALTON; HARRYHAUSEN, 2008, p. 73; (b) <http://monsterkidclas
sichorrorforum.yuku.com/topic/30563/Two-original-Kong-armatures-meet-again>.

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!
FIGURA 17 – Comparação entre crânios Hilchey/Jackson e Kellinson/Burns
Na comparação entre os crânios remanescentes percebem-se as diferenças de proporção,
principalmente observando-se as órbitas e narinas como referência para o comprimento do
focinho – mais curto no crânio Hilchey/Jackson. Fonte: <http://monsterkidclassichorrorforum.yu
ku.com/topic/30563/Two-original-Kong-armatures-meet-again>. Intervenção digital e sinalizações
textuais do autor.

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!
FIGURA 18 – Bloco de bacia, pernas e coluna vertebral de King Kong
Detalhe da conexão entre bloco de bacia, pernas e coluna vertebral. Fonte: <http://www.origina
lprop.com/blog/2009/09/23/christie%E2%80%99s-original-prop-%E2%80%9Cking-kong%E2%
80%9D-stop-motion-armature-high-resolution-photography>. Sinalizações textuais do autor.
 io

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!
FIGURA 19 – Conexão entre bloco de tórax, coluna vertebral, pescoço e clavículas
Visão geral e detalhe da conexão entre bloco de tórax, coluna vertebral, pescoço e clavículas.
Fonte: <http://www.originalprop.com/blog/2009/09/23/christie%E2%80%99s-original-prop-%E2%8
0%9Cking-kong%E2%80%9D-stop-motion-armature-high-resolution-photography>. Intervenção
digital e sinalizações textuais do autor.

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!
FIGURA 20 – Pés e mãos do esqueleto Hilchey/Jackson de King Kong
Nos pés não foram utilizados ou não sobreviveram as falanges distais (extremidades dos dedos)
Assim como estão ausentes dois dos cinco dedos em cada mão, em curiosa coincidência com o
relato da apropriação de dedos por Jim Danforth tomados do esqueleto Kellinson/Burns. Fonte:
<http://www.originalprop.com/blog/2009/09/23/christie%E2%80%99s-original-prop-%E2%80
%9Cking-kong%E2%80%9D-stop-motion-armature-high-resolution-photography>. Sinalizações
textuais do autor.

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.+$!.%.+$jD!

13
Essa questão, objeto da observação feita por Jan Balej, como já relatado em 3.1 O papel da visita técnica com
apresentação de protótipo é definidora no estabelecimento de marco referencial que veremos nos demais capítulos.
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!
FIGURA 21 – Projeto de King Kong
Recuperação e marcação em cores dos fragmentos ocultos pelo esqueleto Fonte: <http://www.
christies.com/LotFinder/lot_details.aspx?intObjectID=5270732&sid=>. Intervenção digital e
sinalizações textuais do autor.

14
http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5270732&sid=
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!
FIGURA 22 – Detalhe da recuperação do design da clavícula de King Kong
Detalhe da recuperação e marcação em cores dos fragmentos ocultos pelo esqueleto. Fonte:
<http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5270732&sid=>. Intervenção
digital e sinalizações textuais do autor.

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15
Dalton e Harryhausen (2008) mencionam 4", 8" e 15", enquanto Hankin (2008) menciona 5", 10" e 15", o que nos parece
mais coerente com o argumento pelas escalas calculadas por relação aritmética entre polegadas e pés, (0,5"; 1"; 1,5" para 1
pé) sendo que 1 pé corresponde a 12". Também advogam pelas 4" no esqueleto menor (DELGADO apud ARCHER, 1993;
DELGADO apud TURNER, 1978).
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!
FIGURA 23 – Esqueletos de humanos para Mighty Joe Young (1949)
Em (a), esqueleto de um viking desenvolvido por O’Brien para War Eagles, com 6,5" (16,5 cm),
reaproveitado para o personagem Jill de Mighty Joe Young, em planos abertos. Em (b), esqueletos
desenvolvidos por Marcel Delgado para Mighty Joe Young – o menor para Jill (com 6") e o maior
para algum dos personagens masculinos (com 8"). Observa-se que nessas escalas não é possível se
utilizar soquetes duplos de placa (sandwich plates), pois são volumosos demais para uma
representação naturalista de membros. Fonte: (a) DALTON; HARRYHAUSEN, 2008, p. 90; (b)
HANKIN, 2008, p. 30. Intervenção digital e sinalizações textuais do autor.
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17
Neologismo adotado pelo autor em tradução de gorilahood.
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!

!
FIGURA 24 – Junta proximal de antebraço em soquete simples
Movimentos possíveis pelo uso de junta proximal de antebraço em soquete simples ou soquetes
duplos de placa (como é o caso do personagem em questão). Fonte: Elaboração do autor.

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FIGURA 25 – O gesto de indignação de Joe Young
Fragmentos de fotogramas de 53:18:19 a 59:57:21. Fonte: Mighty Joe Young, 1949.

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FIGURA 26 – Estruturas de ombro e braço de Jennifer
Esqueleto de Jennifer sob a guarda de Bob Burns, com descrição das estruturas de ombro e braço.
Fotografia por Yancy Calzada. Fonte: PETTIGREW, 2008, p. 463.

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18
Em estruturas ciliares – caudas e pescoços mais alongados – Danforth e outros aplicam o collet joint pelo fato dele
apresentar flexão lateral, para frente e para trás, combinados em um mesmo ponto, enquanto esses movimentos só são
possíveis alternadamente nas sequências de dobradiças (hinges).
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!
FIGURA 27 – Soquete e esfera com eixo transverso e collet joints
Em (a), detalhe de réplica do esqueleto de Jeniffer fabricada por Jeffrey Taylor. Em (b), juntas
proximais de fêmur por soquete e esfera com eixo transverso em esqueleto de Jim Danforth. Em
(c), cauda e pescoço compostos de collet joints para esqueleto do tiranossauro cômico de
Caveman (1981), dirigido por Carl Gottlieb. Fonte: (a) <www.8thwonderstudio.com>; (b)
WILSON, 1980, p. 27; (c) PENSO, 2002, p. 154. Sinalizações textuais do autor.

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FIGURA 28 – Réplica de Jennifer desenvolvida por Jeffrey Taylor
A nova Jennifer de Harryhausen, fabricada por Jeffrey Taylor a partir de planta levantada por Tom
St. Amand do esqueleto em posse de Bob Burns. Fonte: (a) e (b) <http://www.stopmotionworks.
com/news/index.php/413/ray-harryhausen-proud-owner-joe-young-armature>; (c), (d), (e) e (f)
<www.8thwonderstudio.com>.

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19
Artigo do próprio Taylor publicado no sítio do construtor de esqueletos Lionel Orozco e disponível em: <http://www.
stopmotionworks.com/news/index.php/413/ray-harryhausen-proud-owner-joe-young-armature>. Tradução minha.
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20
Dados do fórum de discussão Robocop Archive, disponíveis em: <http://www.robocoparchive.com/board/viewtopic.
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!
FIGURA 29 – Esqueleto de Jack Skellington
Jack Skellington e seu esqueleto, desenhado por Tom St. Amand e fabricado por ele, Blair Clark e
Chris Rand. Fonte: THOMPSON, 2009, p. 129. Sinalizações textuais do autor.

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!
FIGURA 30 – Detalhes estruturais do Oogie Boogie
Detalhes estruturais da conexão bacia-pernas (rosa) e coluna (azul) do Oogie Boogie e de seus
175 componentes. Fonte: THOMPSON, 2009, p. 127, 126. Intervenção digital e sinalizações
textuais do autor.

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FIGURA 31 – Encadeamento de juntas do Oogie Boogie
Encadeamento de juntas de uma perna do Oogie Boogie. Os destaques em azul e laranja são
peças da perna e da coxa. Os em amarelo, verde e magenta são dos estágios do tornozelo. Fonte:
THOMPSON, 2009, p. 127, 126. Intervenção digital e sinalizações textuais do autor.

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21
Segundo o Internet Movie Database (IMDb), disponível em: <http://www.imdb.com/title/tt1623288>.
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FIGURA 32 – Detalhe do tórax e ombros de Victoria

Detalhe do tórax e ombros do esqueleto número zero de Victoria, identificado também por
adesivo holográfico. Fonte: Cláudio Santos (foto). Altrincham, Inglaterra, 6 de outubro de 2011.

! !
FIGURA 33 – Detalhe de clavícula e ombro esquerdo de Emily
Detalhe de clavícula e ombro esquerdo de Emily, em esqueleto e volume corpóreo. Fonte:
Cláudio Santos (fotos). Altrincham, Inglaterra, 6 de outubro de 2011. Intervenção digital e
sinalizações textuais do autor.

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!
FIGURA 34 – Pivotamento longitudinal nos protagonistas de A noiva cadáver (2005)
Detalhe de pivotamento longitudinal nas dobradiças de cotovelo e encaixes de mão e pulso dos
protagonistas de A noiva cadáver. Fonte: Cláudio Santos (fotos). Altrincham, Inglaterra, 6 de
outubro de 2011.
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!
FIGURA 35 – Merrick Cheney
Em (a), Merrick Cheney com seu equipamento de usinagem e desenvolvimentos. Em (b), esqueleto
pra o curta-metragem Rung (2008), de Chuck Duke e Jesse Brodkey. Fonte: (a) <http://www.
merrickcheneydesign.com>; (b) <http://rungfilm.blogspot.com.br/2008/01/anatomy-of-puppet-part-
1a.html>.
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!
FIGURA 36 – Soquetes hemisféricos de tornozelo para Coraline
Por Merrick Cheney. Fonte: Jeremy Spake (foto). Disponível em: <http://www.scarletstar
studios.com/blog/archives/2009/02/coraline_puppet_technology_with_photos.html>. Sinalizações
textuais do autor.

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!
FIGURA 37 – Detalhes de esqueleto utilizado em Coraline
Detalhes do esqueleto utilizado em Coraline. Fonte: Giuliana Danza (foto). Rio de Janeiro, 24 de
julho de 2012. Intervenção digital e sinalizações textuais do autor.

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!
FIGURA 38 – Esqueletos de Coraline e A noiva cadáver comparados
Esqueleto completo com variação de pinça de pivotamento, esqueleto da “outra” mãe de Coraline e
fêmur direito de Emily. Fonte: (a) Giuliana Danza (foto). Rio de Janeiro, 24 de julho de 2012; (b)
<http://www.scarletstarstudios.com/blog/archives/2009/02/coraline_puppet_technology_with_phot
os.html>; (c) Cláudio Santos (foto). Altrincham, Inglaterra, 6 de outubro de 2011. Sinalizações
textuais do autor.

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22
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23
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divergente de armadura, na forma como remete a estruturas externas, e como armação não suscita relação a movimento e
capacidade especial de reposicionamento. Assim, optamos pelo termo anatômico, mesmo que estejamos usando-o para algo
que é metaforicamente além: a combinação da função muscular com a esquelética.
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24
http://jspake.blogspot.com.br/2011/05/welcome-back.html
25
http://textbookindustries.com/armatures.html
26
http://www.youtube.com/watch?v=mcESvy3XRis&list=UU0uHxCl9DtDX8VGutEHs_JA&index=10&feature=plcp
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!
FIGURA 39 – Detalhes de esqueleto fabricado por Jeremy Spake
Dobradiça por abraçadeira de Jeremy Spake em trabalho de seu portfólio autoral. Fonte: <http://
textbookindustries.com/armatures.html>. Sinalizações textuais do autor.

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http://www.youtube.com/watch?v=mcESvy3XRis&list=UU0uHxCl9DtDX8VGutEHs_JA&index=2&feature=plcp
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FIGURA 40 – Joelho com dobradiça por abraçadeira de Norman
Interstitial joints que funcionam: dobradiças por abraçadeira nos joelhos do personagem-título de
ParaNorman. Fonte: Detalhes de fotogramas do featurette “ParaNorman – Making Norman”.
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EHs_JA&index=2&feature=plcp>. Sinalizações textuais do autor.

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!
FIGURA 41 – Soquetes fabricados por John Wright
Características dos soquetes duplos e simples de John Wright. Fonte: Ricardo Souza (fotos). Belo
Horizonte, 2001. Sinalizações textuais do autor.
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!
FIGURA 42 – Estudo de caminhada do Were-Rabbit
Fonte: Wallace and Gromit – Making of The Curse of the Were-Rabbit. Disponível em: <http://
www.youtube.com/watch?v=qW5X1S6VKQ8>.

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FIGURA 43 – Esqueleto do Were-Rabbit
Visão geral e detalhes do esqueleto do Were-Rabbit. Fonte: (a) LANE; SIMPSON, 2005, p. 71; (b)
frames de Wallace and Gromit – Making of The Curse of the Were-Rabbit. Disponível em:
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28
É por isso que os soquetes duplos de placa são chamados sandwich plates nos países de língua inglesa.
29
http://www.stopmotionworks.com/ohspics.htm
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!
FIGURA 44 – Esqueleto tcheco típico
Fonte: Leonardo Dutra (fotos). Estúdio Hafan – Jan Balej. Praga, República Tcheca, 4 de outubro
de 2011. Sinalizações textuais do autor.

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!
FIGURA 45 – Antebraço com pivotamento e extensão em esqueleto tcheco
Fonte: Leonardo Dutra (fotos). Estúdio Hafan – Jan Balej. Praga, República Tcheca, 4 de outubro
de 2011. Sinalizações textuais do autor.

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30
Em depoimento feito na visita ao seu estúdio – o Svon – em Malesov, República Tcheca, em 4 de outubro de 2011.
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!

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Fonte: Leonardo Dutra (fotos). Estúdios Svon e Hafan – Jan Balej. Praga, República Tcheca, 4 de
outubro de 2011. Sinalizações textuais do autor.

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FIGURA 47 – Fotogramas do filme Pád Aka The Fall (1999)

Na melhor tradição do leste europeu em filmes para adultos com conotação política, mas com um
tratamento poético, apresenta aspectos de crônica sobre a desumanidade da burocracia no
período socialista. Livremente baseado no conto infantil Pad A Vypadavajici stareny (Falling Old
Ladies), do poeta russo do absurdo Daniil Kharms. Fonte: <http://vimeo.com/2370597>.

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31
Filmová a Televizní – Fakulta Akademie Múzických Umění V Praze (FAMU) – Escola de Televisão e Cinema da Academia
de Artes de Performance de Praga. Sítio: <www.famu.cz>.
 YYX

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!
FIGURA 48 – Visita à FAMU
Detalhe à esquerda: sinalização com os nomes dos notórios professores do departamento de
animação da FAMU. À direita: Jan Klos, Aurel Klimt e o autor em análise do Protótipo 1.0. Fonte:
Leonardo Dutra (foto). Praga, República Tcheca, 3 de outubro de 2011.

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FIGURA 49 – Modelagem, cópia de moldagem e esqueleto

Três estágios da construção de um personagem mostrados por Aurel Klimt no estúdio Zvon:
modelagem, teste de moldagem e esqueleto. Fonte: Leonardo Dutra (foto). Malešov, República
Tcheca, 4 de outubro de 2011. Sinalizações textuais do autor.
 YYY

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!

!
FIGURA 50 – Fotogramas do filme One Night in a City (2006)
Fonte: One Night in a City (2006).

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32
Segundo notícia de 18 de maio de 2009 (FALVEY, 2009).
33 Sítio do filme disponível em: <www.jednenoci.cz/indexen.php>.
 YYW

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!
FIGURA 51 – Avaliação do Protótipo 1.0 por Jan Balej e Patricia Ortiz Martinez
Fonte: Cláudio Santos (foto). Praga, República Tcheca, 4 de outubro de 2011.

!
FIGURA 52 – Esqueletos de personagens no ateliê do Hafan Film
A mesma formulação de esqueletos comporta personagens de diversas proporções e configurações.
Fonte: Leonardo Dutra (fotos). Praga, República Tcheca, 4 de outubro de 2011.
 YYl

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FIGURA 53 – Esqueletos de Victoria e A noiva cadáver (2005)
Em (a), a cabeça de Victoria e seu criador ao fundo, Peter Saunders (desfocado). Em (b), a
anatomia diferenciada de A noiva cadáver para os ossos expostos (partes em preto) e Victoria por
Merrick Cheney – Mechinations. Fonte: Cláudio Santos (foto). Altrincham, Inglaterra, 6 de
outubro de 2011.

!
FIGURA 54 – Ian Mackinnon, Peter Saunders e Barry Purves
Em (a), Ian Mackinnon. Em (b), Peter Saunders, Barry Purves e o personagem acabado de
Tchaikovsky (2011), filme de Purves – em primeiro plano o esqueleto de Victor e atrás o
Protótipo 1.0. Fonte: Cláudio Santos (foto). Altrincham, Inglaterra, 6 de outubro de 2011.
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!
FIGURA 55 – Articulações compostas adquiridas pela Mackinnon & Saunders
Peças de pequena escala gentilmente cedidas por Peter Saunders ao autor, de procedências
diversas. São adquiridas em volume pela Mackinnon & Saunders. Nas pontas, soquetes duplos
(sandwich plate) e ao centro, soquetes simples (U-shaped). Fonte: Leonardo Dutra (foto). Belo
Horizonte, 16 de dezembro de 2011.

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 YYq

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FIGURA 56 – Encaixe de haste e parafuso de aperto em soquetes e esfera modulares
Ponta dos soquetes simples com furo para encaixe de haste e parafuso para rosqueamento.
Parafusos e porcas de aperto das articulações em soquete e esfera, duplas e simples. Fonte:
Elaboração do autor.

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FIGURA 57 – Padronização de dimensão de nichos
Padronização de dimensão de nichos e distância entre eles e o centro dos soquetes nas
modalidades simples e duplo. Dispositivo de fixação das peças de juntas para furação e
alargamento hemisférico. Fonte: Elaboração e foto do autor.

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FIGURA 58 – Comparação de proporções entre diâmetros diferentes
Comparação de proporções entre os designs de soquetes duplos e simples para diâmetros de
esferas diferentes. Fonte: Elaboração do autor.

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34
Encadeamento de componentes rotativos da fresadora: eixo-árvore é a estrutura de rotação retificada, o cone morse é o
dispositivo de troca de fixadores de ferramenta e o porta-pinças é o fixador das pinças que se fecham ao redor das fresas –
os instrumentos de desbaste propriamente ditos.
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FIGURA 59 – Dobradiças com encaixe modular de hastes
Dobradiças nos diâmetros de 4 e 6 mm e possíveis configurações. Fonte: Elaboração do autor.

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FIGURA 60 – Articulação proximal de clavícula
Articulação proximal de clavícula, como planejado. Detalhe do sulco de travamento. Fonte:
Elaboração do autor.

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FIGURA 61 – Detalhamento de articulações do braço em escala 1:6
Projeto de humanóide em escala de 1:6. Detalhe dos braços. Fonte: Elaboração do autor.
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!
FIGURA 62 – Vista geral do projeto 1.0 em escala 1:6
Projeto de humanóide em escala de 1:6. Fonte: Elaboração do autor.
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!
FIGURA 63 – Vista geral do projeto 1.0 em escala 1:8
Projeto de humanóide em escala de 1:8. Fonte: Elaboração do autor.

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!
FIGURA 64 – Fotogramas de teste de rotação de ombro
Animação de rotação do ombro gerando rotação da clavícula. Fonte: Elaboração do autor.

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FIGURA 65 – Animação de flexão plantar do pé e dorsiflexão do calcanhar
Fonte: Elaboração do autor.

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!
FIGURA 66 – Furos para desbaste dos canais de dobradiças fêmea
(a) Furos para desbaste dos canais de dobradiças fêmea; (b) canais com paredes sem paralelismo
das peças de tórax como usinadas; (c) peça de tórax como executada. Fonte: Leonardo Dutra
(fotos).

35
É indicado o Inox 316L ou o 304L para uma melhor usinabilidade.
 YlX

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 YlY

!
FIGURA 67 – Articulação bifuncional de soquete duplo adaptado
Articulação bifuncional de soquete duplo adaptado como soquete e pivotamento. Fonte: Leonardo
Dutra (fotos).

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FIGURA 68 – Perfis de variação de espessura do Projeto 1.0
Fonte: Elaboração do autor.

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FIGURA 69 – Estratégia de usinagem por fatiamento de perfis
Fonte: Elaboração do autor.
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FIGURA 70 – Retificação de paredes inclinadas pelo corte a laser
Fonte: Elaboração do autor.

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FIGURA 71 – Vista geral e detalhes do Protótipo 1.0
Os pés são detalhados nas FIG. FIGURA 9 e FIGURA . Fonte: Leonardo Dutra (fotos).
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36
Se algum projeto especial demandar soquetes simples, eles serão confeccionados a partir das medidas de suas outras
ocorrências, como a dupla de soquetes simples, para compatibilizá-los com as dimensões de capture plates feitas para essa
articulação.
 Yln

!
FIGURA 72 – Peças do Projeto 2.0 para esferas de 6, 5 e 4 mm
Soquetes duplos, soquetes simples com pivotamento e dobradiças com pivotamento. Fonte:
Elaboração do autor.
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!
FIGURA 73 – Vista em corte do perfil de soquetes limitados por corte cônico
Fonte: Elaboração do autor.
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!
FIGURA 74 – Comparação de volumes nas juntas por soquete e esfera
Fonte: Elaboração do autor.

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37
Mais informações em <http://www.animaking.com>.
38
Histórico disponível em <http://www.sapienspark.com.br>.
39
Imagem disponível em <http://coalafilmes.prosite.com/40838/302908/main/bonecos-para-animaco>.
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41
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