“The same nose made of polymer clay would be heavier. Not a lot heavier because it’s, it’s such a small piece. Now I’ve stuck this on. I want you to notice anatomically what I have done here. The laugh lines on a person’s face, radiates out from the corner, the top of the nostrils. I see some people when they do dismiss a technique as they put the nose on top of these lines. All the laugh lines, all the demarcation of the cheeks goes underneath, but it should radiate from these corners down. So if we look at the photograph of George’s face, and this is true on, all people, the laugh lines radiate from the top of the nostril outward. So to get your anatomy, right, and yes, we are doing puppetry cartoony kind of things, but you have to be sort of remain true to certain anatomical, features that feature.”
“There. So I’ve got an iPad pattern here, and I think this is going to be too big for George’s eyes, but I think it’s going to be perfect for doing the eye sockets, which should be a little bigger than the eye. There’s the center line. It looks like a man for back. When yeah. Yeah. A creepy, creepy Sheriff that here and there. But again, here, I’m really trying to keep that narrow, Clooney head and I was worded and I put it up here and then the top of the head would start to get a little bulbous compared it probably would have been okay in retrospect looking at it now, but I thought, ah, let me go ahead and trim it and see where that happens. So we’ve got the eyes in there. They’re roughly straight enough. And so I’m going to mark a line about halfway through there, and then we’re going to poke through here with our scissors and snip the front half of the foam all the way through that’s where the big sitters kind of help it’s back there.”
“And we’re just going to do a little piece, right about in the front there. This is a quarter-inch cable cord. And it doesn’t really matter if it’s nylon or something like that. It tends to really frame the stuff around the edges once you cut it. So I go in there with a little bit of hot glue and stop the firing and I get my fingers in a little water to avoid the pain. And then we can just go roll that around. Nice and neatly there. So a lip that will go right about there. That’s a little big, I think I’ll just get to take a little off the side there. It doesn’t need to be very big. So I, use rope for creating thing, little accents, like lips and, wrinkles. If I want to do it like a wrinkly forehead on something rope works really great for that.”
“So what’s going to happen here is this foam piece is going to go in inside the puppet there, and then the fingers will go underneath there. And so that’ll do it. And then this piece of foam core is going to go on the top because just my fingers in there, it’s going to cause that foam to push up and the foam core will give it just a little bit of rigidness sort of grips. But remember now I shortened the edges. We shorten those inside edges, to make this face a little more narrow. So I think I just want to shave a little off that inside back edge. So we keep those proportions nice and tight. Take taken off about a quarter. Won’t seem like much, but a quarter of an inch, five millimeters, add them together and it adds up to a half, an inch, 10 millimeters. Then you are talking about a significant noticeable change in the, in the features of the face.”
Learn to make puppets that look like people you know. You’ll learn techniques for identifying and creating the shapes make up an individual’s facial features. Then you’ll learn how to reproduce those shapes three dimensionally in foam rubber and fabric. Understand the differences between a likeness and a caricature. You’ll also learn how to create unforgettable faces that burst with expression and life.
