I do some of my best work intuitively. That doesn’t mean I don’t plan things or ignore the details… after all, the devil be in those details and they should never be ignored but I can really get paralyzed if I try to design something right to the end before starting a build. So when it came to this set I went a little crazy and started scrawling on the walls with no defined plan other than CHAOS. Seemed like the right way to go when dealing with graffiti and as it turns out, it has lead to a really solid look. I’ve resurrected Clarke from BROKEN for these test shots … and he seems to have disappeared on me.



staypuff 1

I did a lighting test on the first set to make sure I was getting it right. Thank you Stay Puff Marshmallow Man for agreeing to stand in for a few pictures. This is a forced perspective set which can be a little tricky to build, there’s math involved. With the right lighting it looks like it goes back quite a distance but in reality the set is only 7 feet deep. The illusion is pretty effective and I am very pleased with the result. Now I can start detailing the walls and floor which will not take very long. As I’ve said before … I have ideas.

staypuff 2



This was the most challenging skeleton I’ve ever built. Almost 4 weeks of work. It’s actually not significantly different from other human shaped puppets I’ve made in the past but it does have some interesting modifications and is very sturdy (because of his performance needs the sturdy factor was a MUST) Standing 32 cm (12 inches) he is similar in stature to Clarke from BROKEN. Clarke was a horror story to animate … such a bad skeleton. I’m confident that this puppet will be able to perform the way I need it to without the frustration I went through with Clarke. Next up and the last in line is the skeleton for my star character. His skeleton will be almost identical to this one so it should be an easy build now that I’ve gotten all the bugs ironed out. The only real difference will be the need for a fully articulated face. The day is quickly approaching when all these puppets will be going into the oven and getting their skin. Is animation far off?



The support structure for the first set is up and ready for the real work to start. It may not look like much right now but it won’t take me long to turn this very basic box into something interesting. I have ideas. Work is also continuing on the final two skeletons which are proving to be quite a challenge. These last puppets are larger than the others which mean their joints have to be strong … but the tension in the joints can’t be too strong/tight. I don’t want to be fighting the puppet trying to get it to move and seeing as one of these last skeletons is the lead puppet (who is in nearly every shot) I have to get it right or I’ll be contemplating my fate on the tree of woe.