I made some new merchandise, paper-cut Flyboy bunting. Some of you may already be familiar with the story, Flyboy and the Wicker Cat, sometimes we sing it in our shows, or you may have bought the book from the sadlucy shop. Now I turned it into some summer bunting:
The bunting is machine-cut, but it is mostly home-made as the machine is slightly hit-and-miss in what it cuts out and I have to finish it all off, it is about 2-3 metres long, and tells the whole story of Flyboy and the Wicker Cat. While the sun is still shining why not get some for your garden or kitchen window.
I've been picking up some new things recently, painting again out in the street, I met a new artist / friend and have been working with him. I picked up a new word. noncanonical. I've been using it a lot, it's a good way to dismiss you own work if the project hurt you and other forces from within the project tried to control your hands too much, more than you would like, too tightly to let you do a very good job. I've had a couple of projects like that recently, in the last couple of years, but now they're done with, the bruises on my wrists have faded and they're noncanonical. We did a bit of voodoo last year to purify the process a little, we burnt everything that was left over, all the unused plans and unused puppets, and some sage. The sage bush died over the winter but now I've got a new one . . . for next time.
Oh yeah, I picked up the new word from my new favourite podcast! The Flophouse. Check it out! Actually I have two new favourite podcasts but I'll talk about the other one next time . . . The Flophouse is a bad movie podcast, and it's very very good. Ugh. I really like it. I wish I could talk as well as they do, especially Elliott. And he makes up songs. If you want to listen to a podcast that isn't alpha males shouting at you about annoying stuff they like, well...I'll say this...here are just some funny, nice, clever guys, it's like hanging out with your older brother and his fun friends. Except I don't have an older brother. Subscribe to it, it's very good. Oh yeah so . . . noncanonical. One of them (Stuart or Dan) applied it to Muppets from Space, and then to any Muppet film that was made after Jim Henson died. And that made sense to me and now I use it.
Here are some canonical things though: I have been learning about collaboration, painting some collaborative paintings with Matthew Randle in the countryside, working on the same picture at the same time, painting and re-painting, moving around, mixing colours together, until we get the picture right, he taught me to play chess too and that's what this painting feels like. . . Matthew's work is amazing, he is an inspiring person, he is teaching me a lot and you can learn from him too if you look at his pictures, check him out online . . .
here are some of our pictures from Cornwall this weekend, in St. Ives and Porthtowan:
I've been trying to come up with a way of making the landscapes and buildings that the characters live in. Trying to find a system and a kind of code - what is a silhouette in this story and why is something a silhouette? what should be made out of something else, like chalk, and how many new ways of drawing something am I allowed to bring into the film before it looks too crowded. Sometimes you want things to recede but at the same time create atmosphere, sometimes you want them to be a strong element of the storytelling.
The moon here is a big cut-out piece of white card, and the trees are silhouettes, but the stars and Peter's bedroom light are pieces of chalk drawing, and so hopefully it begins to set up some sort of storytelling hierarchy that is consistent through the whole of the film.
The outdoor night-time scenes are easy though - everything looks like a silhouette at night, so the decisions mostly make themselves. Now I've been filming the scene in the tea-shop and there is suddenly a lot more to question. What are the walls made of, can they just be white? but then how do I suggest depth? Am I allowed to blur things to help this? What are they sitting on? Black card or chalk? What are the tables made of? they can't be black cut-outs because it's important to the story that we see what happens on the table.
Here's how I've created it, in a system of layers, the table is paper, but white sugar-paper so it has some character of its own and also lets the shadow puppets make their own shadows through it:
This is the basic animated scene and is what gets filmed frame-by-frame. Here it is as a single cell:
The rest can then be added on top . . .
The chairs and table legs (chalk drawings):
. . . and then wallpaper (photocopied chalk and line drawings, equivalent to the earlier scenes with clouds and rain):
I'll tweak it all a bit, but here it is all put together in this roughly cut-together edit of the scene:
If anyone is handy with .raw files and After Effects please get in touch as I need some advice . . .
So . . . I haven't worked on my animation for a few weeks . . . you can watch my latest video diary to see what's been going on in my life . . being self-employed is hard, to continue to remain motivated day after day means working hard on maintaining your self-esteem, and this can be easily destroyed in many ways - reading what critics think of your work, for example, can be really stupid and pointless, but I always end up doing it . . . it's pointless to be hurt by the opinions of someone that has turned up for 45 minutes, taken one glance at what you've been working on for maybe 9 or 10 months, and not bothered to engage any further with the rest of your work or even try to begin to understand what you are doing, they don't ask any questions, or discuss your work within any interesting context . . . it'd be like me judging their lives just based on their little byline photographs (which, of course, I do) . . . but yet I can't wait to read these things, and I get upset every time. Critics never really like my work, never, and although I basically understand this is ultimately a good thing I still get upset for a few days (or weeks) and imagine how I can avenge myself. Hmm. So it's been an un-healthily mental few weeks. Then I remembered my own advice about how just getting on with your work is GOOD FOR YOU, and I started to get on with animating again and went for one of the more complicated scenes. And this week has gone by very fast and I haven't seen any daylight. I only left the house to see John Prine last night, one of the most life-affirming people I have ever spent time in the presence of, he sings and you realise nothing else matters apart from getting on with what you want to do. Check him out if you already haven't by now.
This is scene where Peter gives Lily a little present he's made for her, a clockwork motorbike with the two of them riding about happily on its back. I've always been inspired by automate makers like Paul Spooner and Tim Hunkin (you might have seen their work at the Science Museum, the Eden Project, London Zoo, Southwold Pier or at Cabaret Mechanical Theatre exhibitions) and this is a way for me to pay tribute to their influence (in an oblique way, as they don't make clockwork toys that run around the table . . . )
To achieve a convincing clockwork key-turning effect within this 2D cardboard world I have been using a system of replacement cut-out pieces, photographing them in a sequence, to make it look like the key is turning in the machine as it rides around. I could have just cut out the key 7 or 8 times in different positions and swap them over one at a time on the same bike as it moved around, but to look like it was really anchored in the bike toy it was better and more convincing to also cut out a new bike for each position of the key turning. This had the benefit of the motorbike looking slightly more charmingly home-made (as if by Peter) as little imperfections and difference occur each time I cut the bike out and get played out as it is animated.
I made 7 bikes to complete the winding key cycle:
and then I tested it and it didn't work.
And also I noticed that I hadn't even properly finished cutting out all then pieces even, I hadn't cut out all the mouths and so looked like they were gulping a bit weirdly.
When I cut out the keys I thought I had observed the real-life key turning really accurately, from this guy:
but it just was all wrong. This is the thing about films and animation - if it doesn't look right it just isn't right, you can't deceive yourself that it'll look fine once all the other fancy stuff has been added, it won't. So I had another look at the robot (actually is it a martian?) and cut it all out AGAIN. This time it worked . . .
You can check out my video diary below, it's quite a long one, and I've got a little more to say about this week's work, I've been building up the physical layers of the animation to create the room settings and furniture so I'll continue writing this later to show you some of that. Meanwhile, thanks a lot for reading.
It's almost Valentine's day and maybe you are looking for special something to tell your beloved exactly what you think of them . . . well, what could say "I love you" more than my new paper-cut pop-up Valentine's card!
Available now in the sadlucy shop this is a limited release cardboard moonlit forest scene, and if you want I can even add a little personal message, just advise me when you place an order.
If you want to see it in motion check out my little advert on youtube:
