It's really the script I'm worried about. I really want to do a good job but...this is my mindset:
Friday, May 16, 2008
Feeling Behind
I want to start rehearsals for Momotaro in July so I have a little more than a month to finish the script, build a stage, make props and finish all the puppets. Here's where I'm at with the Gold Oni:
It's really the script I'm worried about. I really want to do a good job but...this is my mindset:
PUNCH Oh Hello! Hello! Hi! How are ya! Hello! Hello! Judy! Judy-judy-judy!
JUDY Here I am Mr. Punch now what is it you want?
PUNCH A Kiss!
JUDY A Kiss! I'm not going to give you a kiss in front of all these people!
PUNCH Why Not?
JUDY Why not? I'll tell you why not. Because they'll all laugh at me and make that terrible 'Woooo' sound!
PUNCH No they won't!
JUDY Of course they will.
PUNCH No they won't.
JUDY You think so do you? Well I'll prove it to you. And Ladies and Gentlemen this is your chance to redeem yourselves and prove me wrong, so no laughing or woooing! Very well, Mr. Punch, I'll kiss you but first I must blow my nose. (loudly blow raspberries while wiping nose on curtain. PUNCH makes gross noises) Here we go.
PUNCH Kiss!
JUDY Oh Mr. Punch I heard them didn't you?
PUNCH I must have missed it.
JUDY You missed it! How could you miss it? Very well I'll kiss you one more time and you better pay attention! Ladies and gentlemen this is your last chance, so no laughing and no wooing!
PUNCH Kiss!
JUDY Oh Mr. Punch you're worse than the postman!
It's really the script I'm worried about. I really want to do a good job but...this is my mindset:
Monday, May 12, 2008
Papier-mâché Instructions
Back in March of 2006 I talked about my papier-mâché. It’s a pretty through article including my recipe and everything. But not only does it bare repeating, but also these things change and evolve over time. So I think it is definitely time to go over it again.
Again, I must start out by giving credit where credit is due: it was Brian Kooser who taught me this style of papier-mâché. (Brian likes to start with a shaped Styrofoam base though…not clay or balloons.)
By the way, you can’t get this brand of vinyl wheat paste anymore—but there are others.
The first thing I do is get myself a whole bunch of paper grocery bags—preferably of two different colors. At Metropolitan Market you can get white bags. Next I tear off all cut edges and discard them—I also try to remove anything with glue on it (like the area where the handles are attached). I tear the pieces into approximately 5” by 5” sections.
Next, I take a flat bottomed bowl and mix maybe a teaspoon of wheat paste with water. I add water slowly until I get the paste to the consistency of gravy or hair conditioner. Then I add a generous amount of the Elmer’s Wood Glue—lately you can get brown wood glue. I use that now because if there is to be a color in the glue—I’d rather it be brown.
These days, I’m no longer using a clay head to start…instead I start with a water balloon (blown up with AIR). For two reasons really: Number one: I’m not usually making more than one copy of a head. Number two: Japanese paper clay has given me the freedom to add details after the fact and on top of the papier-mâché.
Once I have my balloon blown up to the size I want, I’m ready to begin. To start off, I take a piece of the brown paper and put it in my paste, cover the paper completely with paste, then wad it into a ball and squeeze out the excess paste. I’ll then un-wad the ball and wad it up again. This causes the fibers on the surface of the paper to stand up a little. Sort of like Velcro. When it’s placed on, the layers will grip each other better. I repeat these steps until I have three or four little waded balls ready to go.
Un-wading the first ball and tearing off quarter-sized bits of paper—not strips, I starting at the top and I work down from there. Little pieces are better than strips because you get more overlap that way which adds thickness. Once I cover the balloon completely, I hang it by its tied end on my Daiso sock drier to dry a little—be sure not to cover up the tied end!
For the second layer I use the white bags so I can make sure to cover it completely. With the different color, I can easily see holes. It helps to avoid thin areas. For the third layer, I go back to the brown again. Once the third and last layer is dry, I pop and remove the balloon (it rattles around in there if you don’t). A this point, I’m ready to build out with my cardboard, masking tape and sometimes rolled up newspaper to add neck, nose, chin, or whatever else I can do in broad scope. Fine details like eyes, ears and small noses I do with paper clay. Paper clay is heavy though, so as much bulk as I can add with papier-mâché I do.
With a marionette head, I might reconsider that. A heavier head would be more desirable in that case…heavier than just papier-mâché and balloon I mean.
An example of my use of cardboard, masking tape and newspaper:
Again, I must start out by giving credit where credit is due: it was Brian Kooser who taught me this style of papier-mâché. (Brian likes to start with a shaped Styrofoam base though…not clay or balloons.)
By the way, you can’t get this brand of vinyl wheat paste anymore—but there are others.
The first thing I do is get myself a whole bunch of paper grocery bags—preferably of two different colors. At Metropolitan Market you can get white bags. Next I tear off all cut edges and discard them—I also try to remove anything with glue on it (like the area where the handles are attached). I tear the pieces into approximately 5” by 5” sections.
Next, I take a flat bottomed bowl and mix maybe a teaspoon of wheat paste with water. I add water slowly until I get the paste to the consistency of gravy or hair conditioner. Then I add a generous amount of the Elmer’s Wood Glue—lately you can get brown wood glue. I use that now because if there is to be a color in the glue—I’d rather it be brown.
These days, I’m no longer using a clay head to start…instead I start with a water balloon (blown up with AIR). For two reasons really: Number one: I’m not usually making more than one copy of a head. Number two: Japanese paper clay has given me the freedom to add details after the fact and on top of the papier-mâché.
Once I have my balloon blown up to the size I want, I’m ready to begin. To start off, I take a piece of the brown paper and put it in my paste, cover the paper completely with paste, then wad it into a ball and squeeze out the excess paste. I’ll then un-wad the ball and wad it up again. This causes the fibers on the surface of the paper to stand up a little. Sort of like Velcro. When it’s placed on, the layers will grip each other better. I repeat these steps until I have three or four little waded balls ready to go.
Un-wading the first ball and tearing off quarter-sized bits of paper—not strips, I starting at the top and I work down from there. Little pieces are better than strips because you get more overlap that way which adds thickness. Once I cover the balloon completely, I hang it by its tied end on my Daiso sock drier to dry a little—be sure not to cover up the tied end!
For the second layer I use the white bags so I can make sure to cover it completely. With the different color, I can easily see holes. It helps to avoid thin areas. For the third layer, I go back to the brown again. Once the third and last layer is dry, I pop and remove the balloon (it rattles around in there if you don’t). A this point, I’m ready to build out with my cardboard, masking tape and sometimes rolled up newspaper to add neck, nose, chin, or whatever else I can do in broad scope. Fine details like eyes, ears and small noses I do with paper clay. Paper clay is heavy though, so as much bulk as I can add with papier-mâché I do.
With a marionette head, I might reconsider that. A heavier head would be more desirable in that case…heavier than just papier-mâché and balloon I mean.
An example of my use of cardboard, masking tape and newspaper:
Wednesday, May 7, 2008
I don't know about this...
I've moved, yes. Why have I moved? There was just one bug too many on Yahoo 360. I was unable to post a comment on one of my friend's blogs there. If I can't comment on hers...then people must also have trouble posting on mine. That's a bug I just can't handle.
I do need to tell you all about the wonderful building session from last weekend. Momotaro is beginning to take shape. Look at this wonderful oni taking shape:
I just love his hair! He looks like a real bruiser, doesn't he? Just what sort of fighter do you think he will be?
So that's Red, Blue and Green Oni so far but...
I decided to start a new Oni. I realized the bad guys just can't be out numbered by the good guys. That just won't do at all.
So here he is with his second layer of papier-mache. He's going to be smaller and yellow/gold. The money grubber of the Oni crime family. Perhaps a bit of a chicken too--I mean--well--he is going to be yellow.
In other news...
...the location has been picked in the L-building of BCC. Frank and I met the president and his wife in the L-building a week ago. Frank was all business...he paced every location, took notes, drew a sketch and located all the outlets. This was no small feat considering that a huge function was going on. Luckily it was open to the public. There were many displays of interior design and everyone there offered their services unknowingly to help us determine how sound would move about the room. Nifty, huh?
I do need to tell you all about the wonderful building session from last weekend. Momotaro is beginning to take shape. Look at this wonderful oni taking shape:
I just love his hair! He looks like a real bruiser, doesn't he? Just what sort of fighter do you think he will be?
So that's Red, Blue and Green Oni so far but...
I decided to start a new Oni. I realized the bad guys just can't be out numbered by the good guys. That just won't do at all.
So here he is with his second layer of papier-mache. He's going to be smaller and yellow/gold. The money grubber of the Oni crime family. Perhaps a bit of a chicken too--I mean--well--he is going to be yellow.
In other news...
...the location has been picked in the L-building of BCC. Frank and I met the president and his wife in the L-building a week ago. Frank was all business...he paced every location, took notes, drew a sketch and located all the outlets. This was no small feat considering that a huge function was going on. Luckily it was open to the public. There were many displays of interior design and everyone there offered their services unknowingly to help us determine how sound would move about the room. Nifty, huh?
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