“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.”
Today we’ll be talking about puppets and ventriloquist figures with artist Barry Gordemer. Barry will talk about the creative process, NPR, puppets, ventriloquism and much more!
