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Friday, January 20, 2012

Thinking Small

      On the backpacker circuit, puppeteers have a problem that no other performer seems to encounter, to whit: no obvious means of showing  off.
      In any random group of international travelers, there tends to be a large number of creative open minded people, exactly the sort of people who it is fun to compare notes and possibly collaborate with. The kind of people most likely to be favorably impressed by my odd career choice. The fact that many of them are attractive young women is entirely coincidental. The trouble starts when it comes time to actually show what you can do. The chances of anyone having a good usable puppet with them are extraordinarily slim. Musicians never have this problem. Someone always has a guitar. Jugglers usually come fully equipped. Actors, dancers and vocalists never even have to think about it.
      The practical result is that either you have to explain as best you can and  leave everything up to the imagination, or spend a great deal of your time abroad frantically sourcing materials and hurriedly attempting to build a shadow show. Time, I hasten to point out that could better and more constructively used for drinking rum in a hammock.

    The problem is further compounded by the fact that my natural tendency as a puppeteer is towards grandiose theatrical  ideas best executed on a full sized stage. I want to build the next "Lion King" or "War Horse". This is terribly difficult to do without financial backing. Instances of Broadway producers stepping forward to offer me large production budgets have been rare. Casual observers have commented on how frequently this doesn't happen to me. My natural inclination for working large also has the unintended side effect of needing to find storage in my apartment for stuff like this:
Minotaur 1999-2000. Mixed media.




As an intellectual exercise, I've decided to change gears and deliberately design and build a series of smaller puppets that could neatly fit into any given carry on bag. For my first piece I thought I would build a rod puppet that could be manipulated by one hand with finger rings. Here is the system I originally designed. It worked, but I found for practical purposes, it limited the range of motion the puppet was capable of. I changed to simple rods in the final version.







The puppet was carved out of maple. Maple while beautifully grained is ordinarily a wood that I'd consider too heavy and dense for puppet building. One of the advantages to my size limitations is that weight became much less of an issue. I was therefore able to use an attractive piece of maple that I had on hand. Here are the blocks that I used.






....And here is the finished product! He is finished with coffee(one of my favorite wood finishes! more on that later) and jointed with leather. His ears, paws,eyelids and tail are also leather. the eyes are polymer clay with a high gloss finish.






















       
 As a special added bonus, here is a minute of test footage that is now up on Youtube! :
This was a fun exercise. I like how it turned out. I may have to do more small scale work.

Tuesday, January 10, 2012

Fiction: Border Crossing Part III

                                                                III
The Manticore’s eyes burned with mad ferocity, His all-too-human face was empty of any expression apart from raw, vacant hunger. The monster’s gaping maw hung slack and slathering revealing rows of sharklike teeth within. Ribs protruded from his gaunt lion body. The beast’s ragged panting echoed across the barren rocks and gnawed bones of his lair. His breath was fetid and foul smelling. From the hair of his matted threadbare mane to the poison dripping tip of his scorpion tail, the manticore was a creature of anger hunger and want. He was quite possibly the most terrifying thing Connor had ever seen
Alba’s hand drifted carefully towards her blade’s hilt. With infinite care she drew the sword from its scabbard.  To Connor’s shock, she deliberately set the weapon down beside her. She began to croon softly to the ravening beast in Russian. Connor didn’t understand the words but the tone was unmistakably gentle and even affectionate, as if coaxing a frightened child. The manticore rocked uncertainly for a moment on its haunches, the chitinous, segmented tail cocking like a squirrel’s. He lurched to his feet and began padding towards them.
“What the hell are you doing?” hissed Connor in panic “Don’t call it!”
                “Shut up and let me concentrate,” she rebuked without changing tone or looking away “watch!”
At first Connor thought he must be hallucinating. The Manticore appeared to be walking forward without moving. Then he realized that it was shrinking as it came nearer.
“How are you doing that?” He gasped
Alba scratched the ears of the rust colored cat that stood in the manticore’s place.
“It wasn’t me,” she told him “the enchantment is the Light Queen’s”
The cat purred appreciatively at Connor’s caress. Connor laughed with relief.
“It was a harmless cat all along?” he chuckled, incredulous.
“It would be more accurate to say he’s still a manticore” sniffed Alba. Connor hastily withdrew his hand. The cat butted his leg affectionately.  
“Wait, What? How?” Connor demanded
Alba sighed wearily.
“It’s all about perception”, she explained as she absentmindedly stroked the animal. “If we had fled, he would have chased and devoured us. Had we fought, we would have been faced with an invincible foe.  He reacts to the way he is treated. The Queen loves enchantments like this. It’s her style”

*************************************************************
The tiny tailor cast an appraising eye over his handiwork. His push-broom mustache twitched.
“That will do nicely” He concluded
“I’m not wearing this, I look like a clown!” groused Connor.
“You must dress not to draw attention to yourself on the Other Side, Sir”, the tailor chided. He reminded Connor of his neighbor’s geriatric terrier. “this way you will not draw attention to yourself”.
Connor gazed at his own reflection. He couldn’t imagine any situation where this outfit wouldn’t stand out
“I want to see!” Alba’ voice demanded. The dressing room door burst open. Connor had never seen anyone actually fall over laughing before.
“No! Absolutely not!” She wheezed with mirth.
“All the Bards of the realm dress in this fashion, Lady”. The tailor’s watery eyes were full of reproach.
“No they do not” she fired back, still giggling. “How do you expect him to walk all the way to the Queen’s court in those stupid curly toed shoes? Get him a decent pair of boots, for heaven’s sake! While you’re back there, put that quilt he’s wearing back on your bed and get a travelling cloak that isn’t made of patchwork. Brown or gray would be best.”
The spindly tailor drew himself up with dignity.
“As the Lady wishes, but how will people know the gentleman is a bard?”
“He’s not a bard, he’s just a musician” Alba corrected “If it comes to that he can tell them. Now go get a more practical cloak and boots. I need to change.”
“Wait a minute, what about the hat?” Connor demanded pointing at the gigantic black floppy creation with it’s yard long maroon feather.
“That, we’re keeping” Alba grinned wickedly and disappeared into the next stall. The tailor bowed formally before vanishing into the back room in a cloud of unhappy muttering. 
“If anyone asks, we’re on our way to a costume party right?” she reminded him from the other side of the wall.
“Won’t that sword in your garment bag be a problem?” he asked
“It was made in the Realm. Most people on our side can’t see it. Also, unlike most metal it can be carried over the border. You remembered not to bring anything metal right?”
“Just my mandolin strings. You said that was okay. Will I need a weapon?”
“You don’t know how to use one, so no”, her accurate diagnosis was muffled by a rustle of fabric Instrument strings are fine as long as they aren’t iron”
“Why do I need the mandolin in the first place?” The tailor re emerged and began to make the changes to Connor’s costume.
“It’s custom to bring a gift to court. The Queen likes music. You’ll play for her.”  Alba’s voice explained.  Connor glanced back into the mirror. He had to admit the new boots and cloak were an improvement.  The door swung open again.
“How do I look?” Alba twirled in front of him. She looked as though she had just stepped off of a decorative beer stein and was about to start yodeling. Connor had never seen anyone looking less like a warrior.
“Fine” he told her gruffly. The tailor obviously didn’t feel this was sufficient.
“Your Ladyship looks very fetching. If I may advise, though, the fashion is to wear one’s hair loose these days.”
Alba patted her tight French braids
“It’s out of the way like this.” she decided after a second of inspecting her reflection. The tailor produced two carved wooden lockets from his vest pocket. She placed one around her own neck before putting one on Connor.
“What’s this?” he asked
“Soil from here. It’ll keep you grounded”
“Seriously?”
Alba nodded. 
“Time moves differently across the border. You never know if you’ll come back five minutes after you left, or a hundred years. If you carry a bit of earth from your side with you, it keeps the connection stronger. You won’t lose more than a year with this on. Now let’s get moving. We have a long way to go.
As they left Alba pressed a few large golden coins into the tailor’s palm. He made one more valiant attempt to place the hat on Connor’s head.
“I’m not wearing that! She was joking!” Connor protested, ducking out the door.





Saturday, January 7, 2012

Self Portrait Volume I


Detail from a page of animation notes probably circa 1999.

    Every artist at some point in their career feels the need to do a self portrait. perhaps it is a simple desire to leave some record of our existence, or maybe it's a desire to truly know one's self, or to reflect on our true nature look as it were at the view from outside our bodies. Or, it could just be simple narcissism. 

Whatever the case I used to have  an annual tradition of doing a self portrait every New Years day (Or at least within two months of New Years!). During recent years I've let this ritual slide. There is no good reason for it aside from simple inertia and a slight reluctance to sit in front of a mirror for hours, swearing at drawing implements. As I have decided to start this tradition anew, I thought it might be fun to take a look back at some of my past efforts. The results were....interesting. I will not publish everything I found  because, well because it's MY blog, and I can do whatever I want with it! (Trans: some of them are awful). There are a few random pieces that had nothing to do with the annual effort  and seriously predate it. So, here goes!:
1992 block printing project
1993.Fun fact: In high school,apparently I was perfectly adapted to subsist on a diet of termites
1998 Oil on canvasboard. I was big into the idea of totems then



1997 I remember drawing this.I was sitting in the big front windows of my college on a bright , sunny day, and I cast a shadow. This might be my favorite in this collection
2000. I think this was the first of the yearly drawings


Sketchpad cover from 2002-2003 (I think. I really ought to put dates on stuff).
2003 This was drawn in a hotel room somewhere. 
"The Suspect Was Last Seen...."
 I don't remember anything about this. let's just move on, shall we?
2004 I think. I was going through a phase with terracotta colors







I've since learned that Facial Hair is not my friend


 I look a little like my father here. 

Vampire novels started to get really popular in 2006...
Just sayin'
2007 so I got a little lazy, sue me



these may or may not have been preparatory sketches  for the next one


Ink on watercolor paper. I want to say 2008 but I don't know
editorial commentary on a page of random doodles
I hope you aren't as sick of looking at me as I am by now. Stay tuned for the upcoming 2012 edition in a little while!