So, this happened right at the beginning of the week…but it actually was very fortunate because I was accepting the fact I had accidentally made the right leg a little longer than the left, so I could file it down and make sure the threaded ball joint screwed all the way on this time. Once I fixed him up, off we went starting with the end scene. I can’t tell you how much I love this armature! It’s so brilliant to animate with, makes a huge difference, it has weight and brings personality and flexibility beyond what I anticipated. Totally worth the money. And so, the following day…
I re-sculpted Trip’s head too. I’ve made around 15 now, but none of them really looked like the drawings I did, some had eyes like a goldfish, and others looked too alien-like/Munch’s The Scream… this one (at the top) is the closest so far. I’ve got two versions the same now, I used a slightly different modeling technique this time it seemed to be more effective! 🙂
A few of us have our Shakespeare animations on the BBC/Art Council website THE SPACE. We also did interviews that you can see on the website too. Nice to revisit that project it was such a great collaboration. Thanks a lot to The Space, The RSC, Jo Morrison, Darryl, Steve and Birgitta!
The last 2 weeks we had lectures from Phil Hunt from studio AKA and director Ben Hibon, not only were they lectures brilliant their advice and observations on our work was really accurate and very helpful. They were both really clear about what they thought needed changing to improve the story.
Thanks to them and Steve I’ve made some quite big changes to the story and I feel it’s really taking shape now, the improvements have helped me figure out exactly what I was trying to say with this film and I feel I’ve got some renewed confidence about the idea.
I also got more help from Ioli and she was so encouraging and really payed attention to the new idea, bringing new possibilities not just for the acting but for all the elements. She has a really great eye and was really positive about me retaining my personal style, experimenting and making the most of my strengths rather than worrying about my weaknesses.
The new animatic shows Trip, still having a bad time at school, but in the new version he is the only puppet and everyone else is 2D. The tattoo is his first attempt to be more 2D, and eventually his connection with tattoo artist Pepsi is what brings him from an isolated stop-motion world into the 2D world. I want to keep the 2D world loose and sketch with the essence of my line drawings. I hope I will improve my stop-motion animation by focusing on the single puppet, rather than spreading my attention too thinly over several puppets.
I feel I need to spend the money to get a more professional armature because I know there are definite limitations with my home-made versions, I’m stalling slightly because of the cost, but I know it will be worth it.
the school set as it is now…. Arrested development because I need more fake grass and fake bricks. Darryl has been brilliant, setting up all the things we need for our stop-motion studio and aplogies to Steve for encroaching on your office space!