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! 🙂
I took the plunge and got a professional armature kit (from the helpful guys at http://www.animationsupplies.net/) and began remaking Trip from scratch. It really will make a huge difference to the animation, working with homemade twisted wire armatures is fun, but they are limited and break too easily. I’m really looking forward to animating with the new model. It also seems worth the investment since I plan to make some follow up episodes. It’s thanks to Brook for inspiring me to raise the bar on my animation, she had her armature from the get go and I could see how great it looked. It’s one of the wonderful things about about being in college is you are encouraged to push your work further by fellow students.
It was very fiddly to make this thing for the the first time and took me ages. I had to concentrate so hard to make sure I was getting all the bits right. I still made a few mistakes, but the next one should be easier! The articulation of these joints are awesome!
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!
Music by the talented Laura Stevens: http://laurastevenscomposes.blogspot.co.uk/
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.