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.