Feather laying experiment

I wanted to experiment with laying feathers in such a way that could mimic feathers on a birds wing, and noticed that they lay in line formation, overlapping each other like scales. I firstly organised all the feathers I was going to use by size; three piles of big, medium, and small. The big ones would go on the bottom, and smallest on top so they would all be visible and would have the correct layered formation I wanted to achieve.

The method I used was to first anchor the thread in place, then create a very small loop that the stem of the feather could be pushed through, then tightened. This would be repeated several times, until the feather was secured.

Prototyping the first wing: Maquettes and plush models

1) Image one shows the wire armature I designed to fit inside the wing. I figured out this specific shape and number of spokes needed for the puppet after studying real life wings and their forms. I feel that if I hadn't put this amount of study into understanding the 'mechanics' of real life bird wings, they wouldn't look as good in terms of shape, and would probably appear more stereotypically cartoonish. 

2) Once I'd glued together the wire skeleton using superglue (it had to be strong so it wouldn't fall apart inside the wing,) I layed it down on top of the wing shape that had previously been drawn out on calico.

3) I cut out these wings on folded fabric so I'd have an exact replica to sew together; forming two sides of the same wing.

4) A small piece of wadding that would fit the wing was cut out and pinned in place with one of the wing sides. 

5) I created several anchor points by glueing the wire to the fabric. This was so it wouldn't move around too much once the wing had been sewn up. 

6) The two sides of the wing were lined up together and pinned in place. 

7) These were then hand sewn together; I used the pin to push the stuffing down inside of the wing as I went, so it wasn't sticking out too much. Either way, this is first and foremost a prototype, so the messiness and experimentation I try to encourage within myself. This method could still be used in the final piece though, as fabric or feathers will be used to cover it. I'm also becoming more and more interested in the idea of 'unconventional fabrics.'

8) The wing is now poseable!  

Calico mask experiments

After experimenting with clay sculpts for the mask piece of the bird maquette, I decided to also look into a potential fabric choice. This could be a plush, or stuffed mask to go with the rest of the model, or perhaps this could be used as a base pattern for a small leather mask that could be moulded with water and left to dry?
I decided to experiment with calico, firstly to get the sizings correct which took a few attempts.
This took a surprisingly long amount of time, as the whole thing measures less than 9cm it was quite fiddly. Once the whole mask itself was finished, I attempted to put a back on it so it could be stuffed and made plush. However, after several tries at this, I realised this was not a method I wanted to use in the final piece,
I could still use this as a pattern if I wanted to try the leather route though, or any other path that required a correctly sized pattern.

Bird breed inspiration: Moodboard

The two different breeds of birds I've decided to base the shape of my model off of are the grackle and the jay bird. For the grackle, I've looked at both the male and the female variations in plumage, as I think that the patterns and colours between these two examples vary beautifully. I also looked at both the American blue jay as well as the British jay, as they have such striking appearances and colours to them. I love the stained-glass looking patterns of the jay, the velveteen sheen of the grackle and the mix of autumnal colours in the female grackle; these are all colour palettes I'd love to experiment with. 

I also chose breeds of birds that have distinguishing features, such as the pointed crest on the blue jays head, and the way the tail fans out on the grackle. 

I attempted to collect a range of photo that would display a range of angles and poses, in order to obtain the best selection of references.

Plaster bandage: Second section

Overall, the model took five rolls of plaster bandage to cover. I only want there to be one layer of this as modrock can get really heavy once it's dried and I can continue with paper mache, (a cheaper and lighter alternative) if I need more of this kind of consistency.

 I left the bottom of the wire bare and exposed for the time being, as I might use a different kind of material to give a floaty look about the piece, rather than having modrock all the way down to the base.
I'll now leave this to dry, then begin experimenting with different kinds of materials and textures for the cloak.

Plaster bandage: First section and kit

Kit used for modrocking over the chicken wire: Plaster bandage/ modrock, bowl of warm water, scissors used to cut the bandage into strips and squares, gloves.

After immersing the plaster bandage in the warm water, then using the edge of the bowl and my fingers to squeegee out the excess water, I placed the modrock over the chicken wire frame. It didn't take long to begin drying, but I left it to completely dry overnight before beginning to work on the second layer.
So far three rolls of plaster bandage were used.

Bird Masks: Further sculptures and experiments

Above: Three finished experimental sculpts, all done with a tin foil core and based off of different breeds of birds. 

I decided to try and use tin foil as a base for these head sculpts, as a means of saving time and materials. While the experiment was successful in that sense it was really difficult to get symmetrical sculpts, as can be seen in the last image above; the tin foil was naturally uneven, so the sculpt was too. In terms of mould making this imbalance may not matter so much, but if I were to go ahead and cast this I think that aesthetically it looks unprofessional and lop-sided. 

Above shows how the eye holes are uneven, and also some texturing and smoothing I had been playing with.

Bird mask practice sculpt

I sculpted this mask from chavant by eye as a small prototype. Experimenting with symmetry and using the grid of masks I drew out (posted earlier) as a reference, this didn't take too long to do, and could potentially now go on to be molded and cast in  resin, ready to be painted up.
I based this mask shape on a small garden bird or budgerigar.

As opposed to the last sculpted project I had, which was the three character faces for stop motion puppets, this was sculpted entirely 3D rather than having a flat back to it. I think this did make a difference to the end result; this mask is more curved and has more attention to the sides I think. I was easier to see the direction the sculpt was taking during the sculpting process, and I didn't have to remember to keep turning it in order to examine the side profile, as it was constantly in a state of being moved.

Wire Structure

Once the wooden framework was finished, I was able to move on and begin the chicken wire base. This will be the foundation of the mod rock, fabric, plastic etc. I begin to work with.
I cut the two meters of wire into manageable chunks using wire cutters, then started arranging and stapling them into place. At first I considered using hot glue to secure the wire in place, but realised this would be messier and a lot more time consuming. Staples worked surprisingly well! And anything I couldn't staple, (e.g. panels of the wire further up the sculpture,) I could attach together using small bendy lengths of wire; looping them through the two sections and twisting.
For creases, folds or bends I wanted to achieve with the wire I used the same technique of pulling two sections of chicken wire together, then using a smaller cord to hold the manipulation of material in place.

Large Maquette: Inner Support Structure

Using the measurements from the previous drafts of this structure (90cmHx80cmW) I began to piece together the framework.
1) I started with the base materials and cutting these all to the correct shape and size. The pole was attached to the flooring piece using a hand-drill to make holes in the bottom of both pieces. I then dabbed wood glue to each section, allowed to dry slightly then screwed together for a more secure hold.

2) I added the supports after this, simply using wood glue to keep them in place after figuring out the sizing for these triangular pieces.

3) Once these were secure, I screwed them all in place using a hand-drill; The screws went all the way through into the central wooden pole so the whole thing was secure and strong. This construction would now be strong enough and the correct shape to support the wire and materials I'll be layering up on it later. Everything was finished off with hot glue and wood glue in the more delicate or susceptible places.

It was only in retrospect that I decided that a third, bigger triangular support should be added to the pole after finishing the two smaller ones. Having that reinforcement from behind means that the pole is a lot less likely to fall, adds to the strength of this skeleton, and also stops it from being as wobbly in general; before it could still potentially be snapped forwards or backwards as opposed to it being secured in place now.

Structure Plans

After figuring out a support structure constructed of wood, (I realised the metal pole would've been more expensive and an unnecessary cost in simply holding up chicken wire) I took measurements and begin to visualise the dimensions of this model.
As I was previously torn between costume design and puppets, a tutor suggested I create the puppet at a half scale size to be able to experiment with both these mediums. Because of this, I'll be making it at a 1:2 scale; this way I can create the characterisation but center a focus on the materials being used.

Prometheus Model Update

Leading on from last terms work, I pulled up the turnaround to consider what the best way of turning this character into a model could be.
As this character has a very bulky shape but moves in a fluid and liquid motion, I feel that making this a non-moving maquette would be the best approach, especially if I'm figuring out how to make the bird puppets move; I have the opportunity to experiment through mobility with those characters.

The purpose of this maquette is to experiment with materials, sculpting and characterisation. I want the cloak especially to look as if it were moving, made from shadows with an ethereal feel about it.
The kind of materials I'll be using consist of chicken wire, modrock, tissue paper, fabric, plastic etc. What I want to avoid is accidentally making it look patchwork and messy; there should definitely be a flow to this piece,
Below I've begun to plan out the structure of the piece. At the moment this is just an idea and I've yet to take measurements, I'm currently just figuring out a way to uphold structure through a support system.

This would be created out of chicken wire (the grey area) and a wooden base with a metal pole supporting it.

Model practise maquette

Before making the large model, I decided to practise shaping the overall form and composition by making a miniature maquette. I made this from wire mesh, PVA and tissue paper, then doing a quick sculpt of the mask in chavant, making a silicone mould from the top of a lid and casting in fast cast. I then painted the whole thing with acrylic and watercolors.

Mister Finch: Textile Artist

An artist that continues to inspire me in my work, and has an especially clear presence within this project is Mister Finch. I've been studying his bird pieces especially in order to begin figuring out what kind of form and pattern my own birds could be constructed to.
The general structures seem relatively easy, with a simple seam running down the chest of the bird and techniques of embroidery and use of wire to give texture and accentuate limbs. What makes Mr Finch's work stand out so much to me is how real these creatures seem; especially the ones that are posed as if they were dead. The poses and stiffness of sculptures add to the realism here, they almost look like taxidermy.
One thing I won't have to worry about in my own work are the faces, as these will be covered with either cast or sewn masks.
My birds will hopefully also have a wire armature running through the legs and wings, and so instead of being immobile sculptures they could hold the potential to move and be posed.

Prometheus Development: FMP

Another character I'd like to develop into such a stage where I could finalise it as a model or sculpture is Prometheus. I've already experimented with this character and its form a little when I tested out the tin foil and chavant process. The left image shows a quick refreshed doodle of the hands and mask, then to the right is a potential design for a maquette featuring a more humanoid appearance. I also moved that cloak back to the shoulders here, as opposed to having the full body masked by it.
Which shape I decide to take forward I'm not so sure yet; neither am I certain whether I should focus on the move-ability of the puppets or the sculpted structure of them instead, but with these two designs, either is possible.

Costume tutorial: Padding a mannequin

1) Its quick and easy to use wadding in order to pad a mannequin, however you can achieve a more precise and subtle pad by halving the wadding sheets you're using, especially if they're thick. Padding is used to make the mannequin more realistic to the model you're sewing for. Pin close to the body; the proper way to pad is to pin at first then herringbone stitch the padding afterwards once you're happy with it.
2) Layer up the padding depending on how much you need. 

3) For the waist you can simply wrap wadding around the mannequin to layer it.  

1) For the breast area, use wadding of different sized circles. This will maintain a good shape of a body and stop it from looking boxy. With wadding it's possible to get quite defined and harsh lines, so taking thinner pieces of wadding and using them to blend in the bigger pieces is a good way of creating smoother curves. 

2) In the case of creating fat suits, you would gradually build up the places you would need the extra weight. Rough circular shapes are good for both fat suit padding as well as breast and bum pads; they don't need to be perfect! The most important thing is to measure constantly! Every time a layer is added you will need to check measurements against the models own to ensure you haven't gone over, or if you still need to add more. Always remember to smooth lines as you go too!
Another good tip is to make shapes out of the wadding to match the part of the body you're padding, e.g. ovals for the bum and belly, and circles for the chest etc.

Pleating the padding is an option if you're dealing with a difficult corner, like a shoulder. Underwear like corsets and bras can be out on top of the padding to achieve the shape you want, just remember to re-measure every time! And always remember to use a herringbone stitch to attach layers together; it allows for movement but still keeps the layers flat.

Masked Bird Characters.

These were a set of characters that I didn't get the chance to experiment with during my last project, but I feel have quite a striking presence and strong look about them. As part of this model making project I'd like to take the opportunity to develop these further. I've begun by experimenting with different breeds of birds and therefore varying the mask shapes and overall designs.
Creating these as plush, soft sculpted pieces with either small leather masks or cast resin ones will be an interesting route to take, as I could also test out wire skeletons in order to make these pose-able pieces, which could then be used for small experiment animation pieces. This would also require multiple making processes; sewing, pattern making, potentially casting and mould making too, as well as sculpting. Overall I would be honing skills I already have, as well as trying out new things.

Sassetta St Francis; Architecture Paintings.

Classic art examples shown to me by a tutor when we were discussing architecture of the set and city that my narrative is based within. The concept art I previously drew out last term reminded them of this artist, so I put together a few compilations of his work after doing some research on the artist.