What are the References to the Design of ‘Big Hero 6’?

The plot of "Big Hero 6" is likely familiar to many, especially the endearing healthcare companion, Baymax, who became a sensation then. The film revolves around the teenage robotics prodigy Hiro, who, with the company of the medical assistance robot Baymax, swiftly overcomes the shadows of losing his brother Tadashi in a campus accident. They form a superhero team with their friends to combat evil villains.

Adapted from Marvel's comic of the same name, "Big Hero Six" underwent significant alterations, especially Baymax, who, in the comics, was a standard dragon-transforming antagonist, quite distinct from the cuddly and healing persona portrayed in the film.

Before creating the pivotal character of Baymax, the production team extensively researched robotics and drew inspiration from Japanese television advertisements. At the time, Carnegie Mellon University was developing a huggable robot—Soft Robotics—to make human interaction feel warm and extend mobility in confined spaces.

The inflatable and non-threatening ethylene-based arms of Soft Robotics, capable of performing simple tasks like brushing teeth, directly influenced the design philosophy of Baymax in the movie—soft, flexible, resembling a Japanese rice cooker in appearance—externally simple and cute, concealing a complex technological structure inside.

Furthermore, co-director Don Hall, who had previously directed a Winnie the Pooh theatrical film, brought rich experience in creating endearing characters. They also borrowed the bouncing penguin scenes, allowing Baymax's arms to swing on either side of its body, akin to a large swaying bottom.

Apart from its highly recognizable physique, Baymax's facial expressions are distinctive. It is said that inspiration was drawn from Japanese bells, especially the tiny holes at the bottom, which were seamlessly anthropomorphized. In addition to everyday companionship and healing, Baymax transforms into a righteous warrior, shaping its form into an inverted triangle and compressing its chubby belly significantly.

Another standout feature of the film is the imaginative and entertaining futuristic city design of San Fransokyo, blending numerous elements of Tokyo. These two cities have substantial visual symbolism and aesthetic differences, requiring extensive research before amalgamating their designs. For the architectural aspects of San Francisco, artists used real-life buildings as a foundation, making adjustments in design to ensure audience familiarity while allowing artists to simplify designs for a more narrative-appropriate aesthetic.

Real locations inspire many buildings and landmarks in San Francisco. For instance, Aunt Cass's café, as seen in the film, is an actual establishment named Aunt Cass's Café, discovered serendipitously during a research trip to the streets of San Francisco. Real architectural photographs were collected and passed on to the visual development team, undergoing subsequent adjustments and refinements to integrate seamlessly into the story world.

The protagonist, Hiro, a 14-year-old genius, required designers to imagine his inner world and philosophy toward surrounding elements. The chief character designer envisioned a prodigious child-like Hiro eating instant noodles, playing video games, and doing homework simultaneously. Hiro would wear basketball shorts, messy hair, and slightly crooked teeth, giving him an unfinished look.

With extensive experience in music videos, commercials, and editorials, costume designer Danny Flynn owns a high-end fashion store, Replika Vintage, in Little Tokyo, Los Angeles, specializing in avant-garde Japanese designer clothing from the 1960s to the present. With the rapid development of computer animation technology, the industry urgently needed more detailed and realistic costume designs. Danny Flynn naturally became the costume designer for the film, providing artists with inspiration and mood boards and offering costume knowledge to animators to create characters collectively.

For example, the vest worn by the character Hiro is made from self-made slipper material, and Gogo, as a tomboy, draws inspiration from 1980s off-road motorcycle uniforms, incorporating designs from the 1960s Pierre Cardin brand trends, with many prototype fragments at the bottom of the pants.

Chemistry genius Honey Lemon's platform shoes and retro bag enhanced her fashion sense, but the goal was to avoid making her look overly mature; overall, she needed a more Lolita-esque and playful appearance.

The villain Yokai's costume elements include a series of masks, helmets, and goggles. Fashion master Issey Miyake created many traditional Japanese warrior-style works in the late 70s/early 80s, ideally suited to Yokai's demeanor. Additionally, mid-70s men's suits have robust shoulders and menacing collars, evoking a sense of villainy.

As Danny Flynn provided the animation team with natural materials such as chloroprene rubber, plastic, zippers, zipper pulls, and buckles, the entire design of "Big Hero 6" is filled with more realistic and futuristic concepts than other works. The key to the overall aesthetic of this film lies in the extensive application of the general management and visual tone sensitivity found in live-action films within the animated world.