Rationale Feedback

        Having had a tutorial in which the ideas I had outlined in my rationale were discussed, I felt encouraged and inspired by the feedback. While I had focused only on the possibility of creating a number of characters which inhabit the same world and the same story, it was suggested that instead I might create a variety of characters, from different worlds. This would be beneficial as it would allow me to demonstrate a range of styles which I am capable of working in, and potentially use different skills, techniques and materials, creating a more diverse portfolio of work. 

        It is an interesting prospect. Consequently I may end up constructing a puppet of Richard III, appropriately clad in Medieval finery, a wolf or even a raven (I am intrigued by the example set by Barry Purves' Plume, in which a pair of texidermy duck wings are animated beautifully) from Firebringer, and perhaps even continue with the Golden Dragon, for which I undertook a number of material tests in last year's PPP module.This range of characters presents a spectrum of different armature structures, from bipeds and quadrupeds, to the winged dragon, whose wings may potentially act as replacement forelegs. It would also require a long, articulate neck and tail. Each would also have a different surface texture: the humans would need skin, made from cast foam, latex or silicone, the wolf fur, the bird feathers, and the dragon scales. Each would have different properties and present different challenges, providing invaluable experience and knowledge. In short, this is an excellent opportunity to learn and make the most of my remaining time with the resources available in college.

        The possibility of working on multiple projects does however present the risk of taking on too much work, so if I did decide to embark down this track my tutor recommended that I work on no more that three projects, as each will require their own research and development work before I can begin work on the puppets themselves. Another suggestion which was raised was whether I would be interested in taking the opportunity to gain more experience in digital modelling, in either Maya or Mudbox (which I am told is like digital clay). These skills would be useful to me as aside from the ever increasing popularity of 3D CG animation, and the potential to branch out into creature effects, digital modelling has applications within the world of stop motion. Laika's rapid prototyping makes use of digitally modelled facial expressions which are then printed using a 3D printer. Similarly a 3D print can be mad of a full character, and then used to create a mold, as opposed to creating a clay or plasticine maquette. However, I feel that on top of multiple puppets, it may be too much pressure for me to undertake as part of this project, particularly as using Mudbox would necessitate learning a new piece of software. But I could do this as part of PPP.

        Other points which were raised included the option of searching for a competition or live brief which could form the basis of my self written brief. Although it may not be easy to find a brief which specifically relates to modelling and puppet making, some competitions may be flexible, meaning I could adapt the brief to my purpose.

        I also need to bear in mind the cost of this project. Working on three or four puppets, each with their own armature could quickly lead to escalating costs. It may be worth contacting Animation Toolkit and inquiring as to whether there is any way I might reduce this expense. Perhaps my puppets would work just as well with less expensive wire armatures. I also need to take into account the availability and accessibility of any workshops I may need to use, in order to avoid delays and obstacles in completing my work.

        Finally, although I do not intend to create a full animation, it would be wise to record some animation tests (as well as record some well posed stills), or even find another student who has a greater aptitude for the actual animation process, and entrust them with the puppets. This would enable me to see how successfully the puppets moved and whether they were capable of a vibrant performance.

Extended Practice Initial Ideas and Rationale

        My initial instinct for Extended Practice was to focus entirely upon puppet making, from the design through to the construction of armatures, sculpting, mold making, casting, painting, costuming et al. without the added pressure of having to storyboard, animate and edit an animation. As it is model and puppet making which interests me, that I wish to make a career out of, I need to build up a strong portfolio of work which demonstrates the range of my abilities. This is the perfect opportunity to do so.

        Last year, I discussed with my tutor how I might make the most of this module, and how I might write a brief which best suits my skills and ambitions. He mentioned the option of creating a cast of characters, for example that of a Shakespeare play, and perhaps even a set for them to inhabit. This would still constitute a significant body of work, and allow me to focus completely upon my area of creative practice. This is a concept which appealed and has stuck with me as I have been considering my brief. 

        While it might be rather over ambitious to aim to craft the entire cast of a Shakespeare play (some of which have many, many characters, both central and minor), I could select a few key characters from a story which could appropriately be adapted into a stop motion animation. The first possible option which came to mind was a story which I had already considered for a project in first year, in which I created a title sequence for a cinematic adaptation of a book. The Sunne In Splendour is a historical novel set during the Wars of the Roses, focussing on the life of Richard III. Although the cast of characters is large, it would be possible to select just the central characters, or indeed select a particular scene and construct only the relevant figures.

        Another option would be Firebringer, as a continuation of my work for CoP3, in which I aimed to design and construct the central character (a stag) as both a stop motion and theatrical puppet. While all the characters for The Sunne In Splendour would be humans (with the exception of possibly a battle horse) Firebringer would offer the chance to construct puppets which varied in shape, size, armature structure and surface materials, as the cast includes several species of deer, wolves, seals, crows and humans.

        With these budding ideas, I filled out an initial rationale, to inform my tutor of me plans, so that they might make any suggestions or voice and concerns.

Subjects and Themes

Broadly speaking what are you interested in exploring and why?

I wish to use this opportunity to focus entirely upon model making and character building, without the stress and worry of having to animate the characters afterward. I want to immerse and dedicate myself to the process of puppet making, and build up a comprehensive portfolio of work.

Rationale

What you want to do during this module? Be as specific as you can at this moment in time. If you plan on working on multiple briefs to demonstrate your practice, identify clearly each brief.

Either I could develop the work and research I have already undertaken as part of CoP3, and expand upon the cast of characters for Firebringer (which could include the villain, an antlerless, one eyed, dictatorial stag, a wolf, a raven, a seal, other species of deer) allowing me to experiment with various different shapes and sizes of puppet and armature. Or I could take the knowledge and understanding of puppet making and apply it to a new story. Other stories which I have considered are My Uncle Oswald (or one of Dahl’s Tales of the Unexpected. These have quite small casts, but perhaps I could also look at creating a set, using laser cutting techniques?), and The Sunne In Splendour, for which I already created a title sequence in first year. How many puppets would be considered an appropriate workload? The possibility of incorporating my interest in taxidermy into my puppet making has also been suggested.

This will develop my specialist practice by enabling me to spend a significant amount of time developing, refining and concentrating upon my puppet making skills, including sculpting, mold making and casting. As well as developing my existing skills, I hope to have the opportunity to work with new materials and put into practice some of the knowledge gained throughout the course of my CoP research, but did not use for that module, e.g. some of the techniques discussed by Animation Toolkit.

Resources and Workshops

I will need extensive access to the ceramics, and potentially metal, workshops. I will need to figure out the design of my characters fairly swiftly, so that I can ask for advice on which kits would be most suitable, and order and assemble them in plenty of time.

Will you be working on a group project or brief?

No, I am aiming to work individually, or potentially recruit the help of a fashion student to assist with costumes, and a photography student to help me capture the finished puppets to their best advantage.

Are there any stakeholders in your project?

No, unless the aforementioned fashion or photography students wish to use this to contribute to one of their own modules.

What, where, and when do you need to research? Identify artists, practitioners, companies or organisations that you will need to talk to. This could include conferences and events.

Barry Purves (find out who was the taxidermist he worked with on Plume, or I also have previous contact with relatively local taxidermists Mike Gadd and Dave Hornbrook, if I decide to pursue this route), Mackinnon & Saunders, Suzie Templeton, Animation Toolkit (Wes & Dan), Adam Wright (armature maker on Frankenweenie), Ladislaw Starewicz.

Books, Periodicals, Websites or other  reference material.

Brierton, T. (2004) Stop Motion Puppet Sculpting, Jefferson, NC: McFarland & Co.

Pribe, K. (2011) The Advance Art of Stop Motion Animation, Boston: Course Technology.

Purves, B. (2008) Stop Motion: Passion, Process and Performance, Oxford: Focal Press.

Purves, B. (2010) Stop Motion, Switzerland: AVA Publishing.

Shaw, S. (2003) Stop Motion: Craft Skills For Model Animation, Oxford: Focal Press.