How to makedo – extended from MAKEDO on Vimeo.
I’d love to have a play with these cool Makedo reusable connectors!
materials
Desirée, my dear dead manta ray
This is the big dead manta ray prop that I made for the Street Theatre’s production of Jacques Brel is alive and well and living in Paris. Sadly Desirée – my name for her – was cut from the final production, but I loved making her. Manta rays are such awesome creatures!
Because she had a wingspan of over 2 metres, I decided chalk on the floor was a good way to start drawing up a pattern. I also bought myself a little plastic model of a manta to refer to, which turned out to be useful.
From this I traced a pattern onto butcher’s paper and from there onto sheets of polystyrene which were then built up and glued into a block.
I also decided to insert a strip of thin plywood into the underside right across the width of the wingspan, so that the wings would be protected from breaking, especially at the tips. I also did that with the fins that I added.
Then much shaping with a really sharp knife, a narrow power belt sander, and sandpaper. I decided to keep the surface a bit rough, which often makes it easier for an audience to read.
When I use polystyrene that will just have a painted finish I skin it with muslin first. Here you can just see some of the muslin draped over the spray adhesive can on the right.
I usually add a little bit of latex to the first coat of paint to help make everything stick to the styrene.
Then it’s on to colouring; for the final shading I used spray paint so that the colours merged softly. It was tricky to seat in the eyes (painted and glossed wooden door knobs) and get the shape of the upper eyelid right.
There are a few more in-between photos in my photoset at Flickr.
Fantastic new His Dark Materials puppets!
I noticed a flurry of searches on my blog recently for puppets from Philip Pullman’s trilogy His Dark Materials but only realized that there was a new production by Blind Summit Theatre when I read on Stitches and Glue that Paul Vincett was one of the makers of the new puppets, along with the puppet designer Nick Barnes, and Billy Achilleos.
I’m really excited by the exquisite aesthetic of these puppets. Take a look at the showreel slide show or the album of stills. They suggest the essence of the creatures with the simplest of lines – just beautiful!
Blind Summit Theatre was founded in 1997 by Nick Barnes and Mark Down to make new plays with puppets for adult audiences. His Dark Materials is on at Birmingham Rep: 13th March – 18th April; and then at the West Yorkshire Playhouse : 28th May – 20th June.
There is some great puppet making information on the Blind Summit site, too, though not specifically for this kind of puppet.
Plastic dummies in Galeries Lafayette
Galeries Lafayette in Paris has more dummies than you can poke a stick at. I liked these ones, made out of something like polypropylene sheeting snapped together. Maybe you could make interesting puppets with this construction?
A dearth of koala noses
I’ve been phoning around the crafts shops asking if they have any large koala noses, as you do. Only one person spluttered with laughter; she gets a big tick of approval. But it turns out there is a dearth of koala noses. What can have happened?? Where can they be? Are they living it up, kicking up their heels somewhere, free at last?
Later:
I got to thinking what a strange word dirth was, and tried looking it up. There was a derth of dirths but eventually I found that its obsolete, obscure and spelt derth, making for a derth of derths, as well as dirths and koala noses. (Still later: Okay, it’s dearth. I got there in the end.)
Pasha at Project Puppet in comments below found one loafing around (thanks Pasha!), confirming my suspicions.
Fancy having to send to the US for a koala nose.
All the wild little horses
I loved making these two little horses recently for an up-coming theatre production, Emma’s Dynasty, by Jigsaw Theatre Company. They are based on an earthenware Chinese Han Dynasty horse that is here in the Australian National Gallery collection, but they are tiny in comparison, only 17 cm high at the head. I really like how stocky and wild the horse is, and how he looks like he has come to a screaming halt.
A while ago Andrew at PuppetVision linked to a super sculpey sculpting tutorial by Peter Konig, and it was really useful to me while I was doing the horses – thanks to you both! The tutorial is much more detailed than what I am going to write here – no sense repeating – and I can really recommend it.
The first steps were to make an armature using armature wire. In this case the strength the armature gives the legs and tail is particularly important. From the nose to the tail is one wire, and then the legs are separate wires, wired on with fine wire (Peter has close-ups on how to attach them), and set in place with Knead-It, a Selley’s two-part epoxy. You knead the parts together, and it sets as hard as a rock in five minutes – invaluable stuff!
I also used wire and Knead-It to attach the armature to a firm stand. I struggle with being too impatient at the beginning of a project to go to the trouble of making a firm base like this, and I often regret it – and know I’m going to regret it, what’s more! However, I’m getting wiser about this, and decided to follow Peter’s advice, even though the horse was small.
Another tip that I appreciated was to make a cardboard cutout of the silhouette of the horse to use as a reference while sculpting. I usually sculpt by eye, but this allows you to check how you are going.
I padded out some of the bulkier parts of the body with aluminium foil, as a way of saving how much super sculpey I needed to use later. Wire is wound around the armature wires to give something for the modeling clay to grip onto.
Now the best bit, the modeling! I’ve only recently started using Super Sculpey, and its a real pleasure to work with, because it remains soft for a long time and takes detail so well. Peter says to check it’s soft when you buy it, in case its been on the shelf a long time, and to keep it in a zip lock plastic bag.
So she kneaded it and punched it and pounded and pulled till it looked okay… You can use mineral turpentine to gently bush the surface detail to smooth it, and almost model the tiny detail with the brush.
Into the oven to bake. I had trouble fitting it in my oven still attached to the stand, and ended up putting it in on its side. I thought trying to cut off the support before the horse was baked might risk the horse getting squashed. Maybe next time I should make it so it unscrews instead.
Sawing the support bolt off was a little tricky, but manageable. There were a few small cracks, but I gather this is quite common, and took Peter’s advice to fill them with sculpey and blast it for a few seconds with a heat gun, only in my case it was with a hair dryer. Instant glue is effective for mending breaks. Then, on to the second horse.
Super sculpey takes acrylic paint very well, and I used a dappled mix of greys and terracottas to get the final finish.
There are more photos here. I guess I got a bit carried away, but sometimes that just happens.
Flying ducks
I’m working on several projects at once at the moment. One is making a set of those flying ducks that people had as wall ornaments when I was growing up. I’ve been lent a couple to model from, and looking at them up close I can understand their attraction, despite their kitsch reputation. Since the ones I am making are theatre props they only have to look like the real thing. Inside, they have an mdf structure, and I have bulked them out with polystyrene. I like carving styrene, except for the mess.
The next part of the process is covering the shapes with a commercial paper mache pulp. It starts as a dry mix, and when you add it to water it turns into a thick paste, which can be smoothed on and sticks to most surfaces. Here I’m half way through adding the paper mache to the big duck:
The pulp takes a couple of days to dry, but I’m always impatient with things like this, and I have been hurrying it along by putting the ducks in the sun,
and the oven:
I’ll have to add more detail to the shapes, like the eyes, tails and feather patterns, and then its a matter of getting the surface smooth and painting it to look like china.
We have four beautiful white pet Indian Runner ducks, and it was funny to see them charging across the back garden in a line just as I was photograhing these in the kitchen.
FantiSea: Giant sea creatures in Esperance
(Cool festival image by Haylie Michelle)
Over in Western Australia, designer and maker Bryan Woltjen and animateur Karen Hethey have been engaged for the last few months on the huge task of designing and building 8 giant puppet sea creatures for FantiSea, which will be held on 22 March as part of the Esperance Festival of the Wind. The festival was at first an art-themed celebration of the positive energy wind brings to the town, and has now evolved into a celebration of ‘community, art, culture and shared fun’.
The building of the giant marine puppets is one of those great projects in which the participation of number of community groups, schools and individuals is integral. The festival’s Workshop Gallery has photos that were taken during the first phase of the build at the end of last year, when the ‘unskinned‘ puppets were built, and some of them were used in the inaugural Christmas pageant in Esperance. You can see how the frameworks are made from a mixture of bamboo and cane, with wire and gaffa joins. I love this picture of the unskinned eel! I would really like to be involved with making puppets of this sort sometime…
More recently during the second phase, the puppets have been skinned with muslin, dipped in diluted PVA, and dyed. Also, Karen Hethy is now teaching performers how to animate the giant puppets and doing stage rehearsals in conjunction with local scriptwriter, Derek Clarke.
Lurk, the shark:
Lighting up Ziggy, the leafy sea dragon:
The gorgeous Dame Agatha, octopus:
The crab (love this one!):
The workshop shed full of finished puppets:
You can click the photos to see them enlarged, and there are more photos here. I think they are wonderful! Thanks, Bryan, for sending me the photos and telling about it all, and I hope to be adding more photos of the actual event.
Update: Photos from the event have now been added.
Giant cross-section flower
My third project for Floriade was making a giant model flower in cross-section, to be the central display in CSIRO’s Division of Plant Industry’s information tent. I really enjoyed making this, too. Some projects go really easily and this was one of those!
The petals were the main challenge, but I decided pretty quickly to use a molded felt technique that I had previously tried with some masks. Essentially you saturate felt in white PVA glue, mold it to the shape you want, and then let it dry. It adopts the shape and becomes fairly hard and plasticised in a way. You can paint it, too, and the way the paint bleeds through the felt can be used in different ways, some quite sensuous. In this case, I made a petal shape in clay and each petal had a double layer with some aluminium flat bar running up the middle to give it extra rigidity. The interesting thing about the technique apart from the obvious texture, is that the felt can be stretched and pulled but remain in one piece. In this respect natural wool felt is much better to work with because it pulls and moves much more than synthetic felt. But synthetic is okay if you don’t have a choice.
I think the flower may end up being displayed in the CSIRO Discovery Centre, where some of my insect models are too; I hope so.
