Contextualisation

Going back to the purpose of the pieces I've created, working with predefined characteristics when fabricating a model or puppet is a constantly shifting process. Pre-planning and measuring is essential.

Looking at the "Ratman" character I created from a Don Kenn illustration, I think I managed to get an almost exact build of the model, with only a few minor differences in, but nothing that affected his character. The main one is the eyes having pupils, but my version can be animated with or without them, I did so with them so that I was able to do a few more animation tests. The major flaws in it are due to some fabrication choices on the joints leading to no-so-great durability, but that's a lesson or two learned.

See the images below for the original illustration on the left and my completed model on the right:

Keeping the principals of animation in mind was one of the major aspects of each build, and working out how to incorporate anticipation, exaggeration, etc within a solid model construction, and without losing any aspects of the puppet's original character design.

For example, without enough flexibility and control a puppet would not be able to move incrementally enough to  be able to use timing efficiently. This was the case with 'Ratman's' legs, as they were very short it was hard to make sure there was enough wire and bone structure in them to keep their shape but without limiting them. As a result they ended up being far too stiff to animate, which resulted in higher pressure to manipulate them, and eventually the led to one of them snapping off. He lasted for as long as he needed with these tests and photos, but from a more substantial project a new method will have to be worked out.

One of the greater successes of this project was 'Zeke's' Head. This was a latex build up of a fairly complex face armature that allowed for movement of (both upper and lower) maw in all directions, as well as eye rotation, eyebrow deforming and movement, ear deforming and movement and neck movement. Because of this I managed to get a massive range of expressions out of him. This is a fabrication method I'll be using in the future, as there seems to be so much mileage in it, especially for more caricatured and expressive characters:

From the uncertain start of this project, its fleshed out into in a great education for me on the implementation of character within the stop-motion puppet character base. Figuring out how to reach certain goals in terms of emoting and characteristics such as fear, determination, etc was a real challenge to the fabrication process. But, with the correct planning and implementation was more than achievable, and I think my final animations and photos reflect the characters and emotions that I'd set out to achieve well. Any areas of failure were ideal situations to learn from it, and try a new technique.

Also looking at other working examples from the people at Laika, Aardman etc were fairly good resources for my own work, as well as independents like Suzie Templeton and Ray Harryhausen. Seeing the wide range of techniques used, each for different styles and types of puppets and sets, made me realise that there is no 'right' or 'wrong' way to fabricate a piece, but just whatever works for you and the visual aesthetic you're going for.

It's been a real inspiration on what puppets to try next and to see where I can go from here.

  

Here's the compilation of test shots and animations I'll be handing in as part of my assessment work this week. Evaluation coming soon, and feedback appreciated!

   

Finally got to do a little something with Zeke's face, getting him to emote a little and try a few different expressions and facial movements I had intended from his very construction, things like the neck and jaw displacement, eyebrow deforming as well as movement. Also a few techniques I learnt from previous feedback, such as boiling the fur (while he was angry/growling), which I think turned out great and really added to the emoting.

I still feel it all goes by a little too fast, but definitely getting there in turns of the timing, plus working on 24 frames per second, the minimal amounts are so hard to judge, onion skinning on dragon helps a fair bit with that though. I think the best way to improve this is up the scale on things. At the moment Zeke stands at about nine to ten inches tall, but I think with a slightly larger puppet, smaller movement would be much more manageable.

  

Working the movement from the base of the tail as suggested by Ben, it's much improved over the last attempt. Dope sheeting required in future methink if other bits will be moving too, it'll be hard to keep track of what's going where.

  

Just another little test, with a bit of sound, seeing how it goes for now and trying to get some more testing done.