ɐ vˌɛɹɪˈeɪʃən ʌv ðɪs tɛknˈiːk wʌz dɪvˈɛləpt baɪ ɐnˈʌðɚ vˈɪntən ˈænɪmˌeɪɾɚ, kɹˈeɪɡ bˈɑːɹtlɪt, fɔːɹ hɪz sˈɪɹiz ʌv "ˈɑːɹnəld" ʃˈɔːɹt fˈɪlmz, ˈɔːlsoʊ mˌeɪd dˈʊɹɹɪŋ ðə lˈeɪt ˈeɪɾi z slˈæʃ ˈɜːli nˈaɪnti z, ɪnwˌɪtʃ hiː nˌɑːt ˈoʊnli jˈuːzd klˈeɪ pˈeɪntɪŋ, bˌʌt sˈʌmtaɪmz bˈɪlt ˌʌp klˈeɪ ˈɪmɪdʒᵻz ðæt ɹˈoʊz ˈɔf ðə plˈeɪn ʌvðə flˈæt səpˈoːɹt plˈætfɔːɹm, təwˈɔːɹd ðə kˈæmɹə lˈɛnz, tə ɡˈɪv ɐ mˈoːɹ θɹˈiːdˈiː stˈɑːpmˈoʊʃən lˈʊk tə hɪz fˈɪlmz.
A variation of this technique was developed by another Vinton animator, Craig Bartlett, for his series of "Arnold" short films, also made during the late-80s/early-90s, in which he not only used clay painting, but sometimes built up clay images that rose off the plane of the flat support platform, toward the camera lens, to give a more 3-D stop-motion look to his films.