Another loop of the stop motion donut puppet I made for Zombie Cat Studios a while back. Tiny donuts by Rachel Gitlevich, animated by Brian Lonano and Tak Masuda.
To get the metallic effect, I dusted the mold with Magic Cast powders before pouring the resin.
I sculpted the original plaque out of Monster Clay, a nontoxic material that never hardens. After texturing the background with a rock, I used a printout of the design and a needle tool to layout the text.
Here’s a shot of the finished edition of 21 plaques. There’s something satisfying about all the repetition, both visually and in terms of the process. Working in multiples forces me to refine my techniques into easily duplicated steps. It’s a puzzle of sorts, where the outcome is both predictable and surprising.
These plaques are for a local bowling league–The Royal Order of Water Buffaloes! They’re 4 3/4 inches diameter at the widest point, cast in resin with metallic powder and painted details.
I made this needle felted stop motion puppet a few years ago for Zombie Cat Studios. I used wire, mesh, and epoxy clay to build the armature, then sewed felt over it to give the loose wool something to felt onto. Tiny donuts by Rachel Gitlevich, animation by Tak Masuda and Brian Lonano.
Felting needles have notches that grab the top layer of fibers and tangle them inward as the needle enters the wool. Over time, this creates a near solid form. Magical. I used black bobby pins for the eyes, trimming them to fit her head, and sculpting the sockets.
After I finished shaping the face, I used soft pastels to tone her cheeks. All the individual pieces of hair have wire in them to give her more articulation.
To start the head, I used silicone putty to create a socket that allows the head to be popped on/ off and positioned without wobbling. I embedded wire mesh into the silicone for the wool to be felted onto.
When needle felting on top of an armature, I start by sewing felt over the whole piece. This gives the wool I’m adding something to grab onto. I’m using roving–wool that’s been cleaned, combed, and carded so that the fibers are loosely oriented in the same direction, making it easier to work with.
This is a close up of a needle felted spoon stop motion puppet I made for Zombie Cat Studios a few years ago. I created the wire armature from wire, epoxy clay, and aluminum mesh. I needle felted on top of the armature and made the arms and hands out of liquid latex. Animation by Brian Lonano and Tak Masuda.
Detail pic of Peggy. I used soft pastels to add blush to her cheeks.
I just finished making this stop motion puppet for an upcoming short by Molly Coffee at Zombie Cat Studios, in conjunction with the Atlanta Film Society and Hartsfield Airport.
I needle felted on top of a readymade ball and socket armature, adding wire in the hair, hands, and skirt for more movement. Looking forward to seeing Peggy come to life in Passing 66!
There’s always a little bit of extra resin left after every pour, so I use the run off for art experiments, like this sparkly strawberry!
After I finish a sculpture, I photograph it from as many angles as I can. It’s a great way to explore perspective and composition.
Getting some quick nighttime casting done. I do a lot of process based artwork, which means there’s a lot of waiting around between steps. I find the process moves faster if I’m working on a few projects at once. It allows me to rotate what I’m working on if something needs to dry or cure.
I made this hairy weirdo for the Free Art Friday Secret Santa gift exchange. Everyone made such cool gifts!