Thursday, December 29, 2011

Tiny Tunes

Well, I tried hard to avoid it. But I must relent. The mushroom cafe party will have a band. This is the guitar, festooned with party flowers.

I had the misfortune to have the idea that the bug party needed a "No Lady Lady Bug" smoking a cigarette, with too much make-up playing the bass cello, legs akimbo, wearing torn stockings in her high sparkling red heeled pumps.

Got the cello going and her leg armature so that her toes can tap. Planning a tom tom tomato drum, grass blade xylophone, and twig clarinet as well. The rest of the players will be as simply rendered and plain as I can make them.


Crowning Glory

Had in the back of my mind a golden crown for the Queen Bee puppet to wear. Had loads of great crown reference images. But then I saw the crown that grows naturally on the top of my favorite food, pomegranates. I received a bunch of fresh poms off a local tree and one had a top that struck me like a perfect crown. I cut it off and stuck it in the freezer for several weeks to dry it out slowly. Then I painted it with frosty reds and golds, bejeweled it with real keshi pearl and gold spheres so tiny like could be pollen.

I left the sort of seedy bramble on the inside and painted each seed gold and added more tiny pearls.

The wonderful creature modelling the completed crown on the right is one of my most favorite possessions. It's a small sculpture by artist Jo-Ellen Trilling. A sensational creature, part bird, part lion, made of taffeta, painted fur, and feather, on its own upholstered plinth. I love him. And I'll love the new Queen Bee when she comes. I have her crown ready.

Wednesday, December 28, 2011

Architect's Brief: Memo to Charles

 
Hi Charles, I respect your gifts and talents as an architect tremendously as you know. Thank you for your offer to come to the studio and work on Halfland! I'd most love your help building the main set cottage porch!

It's built now only to the point you see above (top) with a plank base and two holes for branch posts. The three references below show the flavor I'm hoping to get when it's finished, half Victorian/half rustic-primitive/organic.

I'd like a little overhang just over where the uprights are. At one point I had intended the porch's roof to run along the length of planking. But Cirelle pointed out it blocked the view of the cottage door too much. I agree, so, building just over half of it seems better to me now.

We can use whatever materials I happen to have here when you arrive, redwood lathing strips, scrap wood, hole drills, bolts, etc. It doesn't have to be structurally sound, and should disassemble/come away in pieces for when I'm needing to get past it for filming the cottage interior.

FYI: Each panel of the roof and each wall of the cottage already slide out and away independently for filming from any angle inside.

Let me know if this is something you'd like to tackle during your visit (we should start at 11a for something like this). If not, we can plant landscape grasses that have been made by other fine folks, more casually, if you'd prefer (starting at 1p).

What do you think?! Should I save the porch project for you?!

 UPDATE: Here is Charles emailed reply:
"Yay. I love porches. Let's go for it! See you at 11."

(woo!)

Wednesday, November 09, 2011

6 Minutes in The Shop



Here's a random tour around the workshop taken on a recent cold rainy afternoon.

Come see just some of what's randomly in-progress on the tables and in the boxes in the workshop; snails, large-scale gardens being built with composite snail trails, message leaves reveal their answers, spiders in the attic, coloring book chickens, and more!

Next Tour: The completed fully-dressed set!

Friday, November 04, 2011

The Pinpillar

As Rana sits in the light of dusk in her cozy easy chair, with her stitching on her lap, we will see a large, striped, pincushion caterpillar slowly making its way up the arm of the chair toward her sewing box to offer his black-topped tailor pins.
This was a spontaneous addition to the cottage puppets, easily and quickly executed. It went from notion--seeing a hotdog shaped pincushion I had made looking like a caterpillar--to the installed critter in less than a day. upper left is the real life pincushion and a photo of a pillar along with the nubbly wooly shaped I'd sewn for something else on the project and abandoned. Below that, you see the progress after adding small dollops of crackle gel onto the heads of many 1/2" gold sequin pins, after painting them glossy black and securing each one into the wired shape with glue. I striped him after the fact with permanent marker which I do realize is the hard way as I had to touch up the pins afterward. But it was only after seeing him covered in pins that I saw he needed more cheer and color. He needed to read more like a caterpillar as well as a pin cushion. The stripes did that for me.

He attaches to the upholstered chair via matching-headed long needles as tie-downs (in silver so I can find them while animating him crawling.)
When we enter the cottage we will see him curled up in Rana's sewing basket on her chairitable. Then the next time you see him, he'll be moving on the chair. It's a small touch but it adds quite a lot of depth to the scenes. It adds to whatever is behind the other decorative pins in Rana's sewing kit which are made of ladybugs and flies as well as pearls and jewels. It adds another creature that is half organic/half inanimate; things that look like other things, etc.

And making it prompted me to have to actually install the other sewing kit on the arm of the chair, which included gluing in each of those pins as well. And sewing the shell box onnto the chair with thread that I then painted over to match where it lay. I had to stiffen up all the dangling threads on both settings and fasten them down.

I can count on one hand the number of things left to do in the cottage before it is ready to begin shooting its scenes.

Whether Vain or Not

I always wondered what the weather vane atop Rana's cottage would be. A rooster, a sun, a spider I thought. But when it came time to finish off the cottage roof and to really imagine what would be there, it had to be the Writing Mouse. He is a very important Halfland character and very close to Rana. He lives underneath the cottage in his own house and writes everything that happens down. The Answer Tree above them produces its wisdom on its very leaves and he is a crucial part of all of that.


I've tooled his image as a double-sided copper figure, gazing upward to the skies, pen and journal in hand, with white and spring green patina to reveal the detail.
Having to make this line art to use as a guide for the embossing, prompted making a color sketch of the Mouse. I used two squares of thin copper and various stylus tools to essentially draw the image twice, once flipped the other way, so they could be placed back to back to get a nice dimension.

Once these halves were matched up, seamed together as one, I set about creating the directional of leaves (actual directions don't matter at all in Halfland) finishing them of with thick medium and copper paint (so it would appear to be part organic blending from the metal hardware.

I used KS metal tubing to closely fit the figure into the base stem. It can swing freely with precise control, no wobble whatsoever. I used a wood doll chair leg as the wooden base on top of the cottage cupola. I liked how it looked like a bee skep.

Ah, I see we are expecting a lovely day.

Now That's Dirty

Got my close-up ground cover technique down: 1. foam roller brush on matte medium onto brown dyed fabric or direct set surface. 2. Dust with mulch (to the scale you need; sifted fine for micro scale or big chunks for macro), 3. Repeat once or twice more over that until coverage/scale desired is reached. 4. Then sit down like a fool and hand glue down stuff that's on the ground naturally, like leaves, berries, twigs, pebbles, rocks, etc.

The idea of making these cloth ground surfaces like the sand, grass, and dirt is very versatile. If I need a bit of set in a background, I can use any old things around, boxes or old drop cloths, to make a base and then throw one of the texture cloths over the top for an instant portable place.
Back in August, Halfland helper Esther brought her truly darling grandchildren to Halfland for the experience. I put them all to work of course. There's always crepe paper grass to plant here.

These kids were among the most intelligent and sincere people I've met. They don't watch television, they read, and I could tell the difference. It was dramatic.They delighted in seeing everything, actually helping on the set, etc. They were full of fanciful ideas for the film. I hope they'll be able to come again.

They better hurry, hopefully Halfland will be be all lovely and done before they graduate collage. :)

Monday, October 10, 2011

Dandy Range

Just a quick Note to show the range of dandelion sizes in the many Halfland sets. On the left, the micro-scale dandies in front of the cherry tree on the Writing Mouse's property (with my index finger for scale). On the right, the jumbo-scale dandies with an actual fly sitting on the flower (a real fly, not one of the handmade puppets) with a picture of a fly on the reference wall in the background.

There are a crop of cottage-sized dandies growing on Rana's roof as well. Where else will she be able to grab a hank of roots to throw in the soup pot?

Sunday, October 09, 2011

Lace Maker

I felt this spider puppet was a tailor. I knew I wanted the webs in 1/2L to be lace and fancier than our world's webs. I knew I wanted him in the attic space so that the window's twig mullions would cast a full web shape on the light fabric in the moonlight.

But how to show him making the Halfland lace?

It was so fun and easy. Much easier than I thought. I stacked and glued wood blocks to a small base that can be hot-glued down onto the attic floor like an independent set module. Covered the stack with a greatly textured woven fabric from a Mood remnant. First sewed a few corners of a cut up stretchy lace knee-hi down to that fabric to be the lace piece he will be making currently. And then glued down small iron tacks over those pull spots so it looks as though the tacks are holding the threads for him.

I invented micro lace-making spools and other props for him, like the dark wooden bowl of woven lace above, and a few larger lace-making tools to sit along side his set to make him appear even smaller.

When I showed the finished sub-set piece off to Cirelle last week, she was irked because she knows that all spiders we see in a web are female (!) and this fellow is truly a male. But I made her feel better by saying that in 1/2L the male spiders that make the lace are "fabulous" and talented. But then I explained for real that it's just a matter of my needing another male character around Rana as most of the main characters in the series are female. It was too weighted toward that gender for me.

When you make a world you can make up a reality however you like!

Up a Tree

One of the tasks I handled recently was something I had forgotten needed doing. Years back, I had attached all the Answer Tree's leaves with hot-glue but thought I'd get a brave volunteer to use flexible cement to hide the shiny glue and quickly sculpt more natural looking transition from branches to the stems.

After the set had been moved and fortified (!) I found it very easy to climb up there myself and swab on a mixture of paints to get the tree's taupe over the cement that had been made originally.
But as I got into it--literally-- I found that nearly every leaf stem had not been sculpted yet. So I zoned out and went to work on each stem all around the tree, from tip top to bottom.

Next I'll need to hit the new white stems with more taupe paint wash, which is thankfully very fast and forgiving work.

This job may not have mattered for long shots of the set. Heck, I hadn't even noticed it was undone. But it really is important that it be done for the close ups it'll be in behind Yanu, the moth man in the tree and other tree up-shot action.

(PS: Doesn't the sky look good (upper right)?!)

Party Over Here>

Here you see the taller cluster of cheerful micro-scale balloons on set during the daytime, which may announce where the party will take place that night. Yo. (You may also notice that all the walls on the cottage are now white-washed and textured with chopped straw.)


These balloons were much more tricky to make than I imagined. I made many many attempts at it, shopping the aisles of craft shops for candidates that didn't work.

I needed them to be the right size, round, transparent, lightweight, and to have a handmade look. Miniature glass Christmas ornaments worked (used two of them out of the five) with the exception of their glass openings being more broad than I'd prefer. I camo'd that with twine and cloth skirts as much as I could.

The other three were made from a child's toy packaging that I bought for a dollar. Gave the toys (to a happy Aedon) and glued the two haves of the bubble they came in together. I had to layer them with clear glue to level out the toy's name on both halves and the seam in the middle. The seam was further camo'd with hand-painted stripes.

After the clear balls were wrapped and glued with hand-painted shiny silk-cellophane fabric, they were attached to painted strong wire that was then wrapped around clusters of rocks that can be hot-glued to the party set. The balloon strings were festooned with tiny ribbons and flowers to make them more party-like/festive as well as to hide the joins of the wire strands.

I like these as the last element for the party decorations because they add a nice height to the set for the flying bugs to be seen with.

I made an additional one, a nice new shiny red one wrapped around the middle of one of the worms who will be arriving with only his stomach kept aloft from it as he inches along.

You're Invited to the Big {small} Party

Delighted to report that the Bug Party Decorations are Completely Completed. Above is a quick set up just to give the idea of how the party setting looks at night all lit up.
There has been a ton of great changes to the set in the last 2 weeks. One development from the activity was the the foreground set piece is now used elsewhere and the picket fence will now run here and there along the edge of the main landscape. I was delighted by the unexpected effect this change had on the Bug Party setting. As soon as I put the larger scale fence closer to the smaller bug set, it somehow made the bug set look as diminutive as it should!

I'm using this principle in other spots in the film as well...

Next up: Balloons!

Look at dat One>

Chandelier with six lighted candles finished and more importantly, affixed and installed inside the cottage. Now that the cottage roof is ohsoclose to being actually completely complete, I was able to attached the twig chandelier with wire on an eye hoof on the underside of the cuppola. I then smashed a lot of wood epoxy over the wire to prevent it from having any swing whatsoever. This will be covered with gathered silk to look like a Victorian ruched covering at the top.

I plan to use an add'l amber LED hidden in the middle to cast a warm glow on the ceiling (seen on bottom right). Each candle stick is fitted over slim balloon battery op'd LEDs with small handcrafted flames made from thread, florescent paint, and mica for sparkle.

During the interior night Act*, this light, the embers in the hearth, several other lamps, candle sticks, and mirrored sconces will add plenty of cozy warmth to the scenes.

Halfland will be divided into four Acts; Dawn, Day, Dusk, and Dark. The series ends with a bonus Scene in the dessert at Sundown.

Wednesday, September 28, 2011

Boys in my Hood


Boys in my Hood, originally uploaded by Nobledesign.
D's three (THREE!!!) boyz visited the art studio the other day.

While D helped me straighten out my set on a Saturday, his wonderful sons made many many drawings in crayon, chalks, and watercolors, drew on the floor in sidewalk chalk, tried to watch dvd's but got bored with that, played with exercise balls, ran around, made water balloons, and cooled down with watermelon.

At the end of the long day, they were charmingly delighted to take home all the art to show mom!

More on the BIG changes on the set shortly!

Thursday, September 15, 2011

It's My Bag, Man

My Grandmother gave me an old African? Afghani? Moroccan? pouch many many years ago. It was half the size of what you see above. Each side had the hand-worked pattern and featured five circles of mirrored glass. I covered the shiny blue mirrors with hand-painted paper flowers and sewed the two squares into one larger one. Backed it with lush woven linen and made a strap from vintage textile. Filled it with spent flower heads, flower petals, and a bundle of medicinal herbs wrapped in woven coth. I made the bag closure from a hand-carved bead (--with the EXACT petal shape motif running along it!) and miniature cloth tassel.

No one was more surprised than me that Urhu would have a medicine bag. And now it will sit next to him outside his tent on the mats while he waits for the troop to arrive seeking his help.

There's More Lute, Make a Bow!

I made two additional sacred nature instruments for the Urhu character to have inside the tent. This one connects the music he plays to the idea of things growing more overtly, with its neck being made of living vines with buds of blossoms emerging on it. I love the intricate way the strings interwove themselves. The strings turn to gold when the music is played (upper right). The bow for this one has a double arch to it. I don't plan to animate these props but in my mind's eye, I can see the mysterious way it is played.
A couple weeks back, Sherie came over for an hour between obligations. Just enough time to construct the curly twig bow for Urhu's primary sacred Erhu Lute (kindly modeled on the right by my very own precious wise man.)

Come Vis Me to the Casbah



New Writing Mouse Sketch

So this is odd, I had 12 different things I could have worked on today and what I did instead was sketch this mouse illustration. And it wasn't even on the list.
It feels like my first illustration for some reason. Maybe because it took me so many hours.

It started when I thought I'd do a quick Google search for a mouse silhouette to use as the basis for a template for the cottage's weather vane. I instantly had several options on my screen as if my magic. (I still can't get over the web's wizardry.) I tweaked the original on the left to use as the shape for an embossed copper vane, printed it out to size, and mocked it up on the (in construction) coppola (second from left).

I could/should have stopped there. But instead I added more character props and made him resemble the micro scale 3D puppet I've had for years; a little heavier, with whiskers, etc. (middle) Then I added texture and shading. I really liked how he looked (second from right) so I went further and added more surface texture and prop details. Ending the day (er night) with his costume kerchief.

Somewhere in the middle, I mocked up a little Halfland stationery with mirror image silhouetted mice and an acorn in the bottom corner. Here it is, in case you'd ever like to send notes from Halfland...

Sunday, September 11, 2011

It's Getting In-TENT-se Around Here!

Dear Friends, Much much much progress has been taking place in Halfland:

• The Macro Garden set (for close work on all butterfly actors and snail evening stroll scene) is nearly complete and exceeding my imagination for it by far thanks to Carol!

• The entire main set's White Paper Tree Forest Curtain Proscenium is also nearly finished (making the landscape of the cottage and tree like looking into a GIANT magical Easter Egg scene!) Thanks to Constance's help.

• Cirelle's been coming over Saturdays to finish the Cottage's Roof. It's genuinely at 99% done now! We just sized the dove coat to top it all off this afternoon.

• And the biggest surprise to me is that the Exterior and Interior Tent set (including EVERY thrilling prop for it) for the Serpent Sage Wise Man Musician has been built as well after Sherie started it all off only last week!!

Here's a little tease of the new tent interior for tonight as I'm so excited to show you all the action that's been going on...

Lots of process shots, design choice explanations, and details about the new builds forthcoming as soon as possible. Thank you all for your patience!

xoxo, s

Thursday, September 01, 2011

Rest in Peace, Jeremiah

Jeremiah's is gone. Here, several months back, he looked wonderful in a cabbage butterfly crown while sunning in the window in the shop.
Our sweet boy cat, Jeremiah, died on Saturday. We took him in his last hours to a good doctor who gave him a drug-aided death. We were with him the whole time. He died with the same noble grace and dignity he displayed all through his life and last couple weeks of failing health. Not a whimper, not a mess, no complaints.

I never thought I could make a decision to "take" a life of a pet, preferring to leave big things like that to nature. But it became too clear very quickly that he was dying a painful difficult death, not from old age but from an undiagnosed major disease of some kind and letting him ride it out any longer felt more cruel.
It all started with his 100% feral/wild mother in Benedict Canyon in the hills above LA. Here she is in our backyard at the time, pregnant, standing in a tree above a couple of previous litter kittens who are eating. She was churning out kittens 4 at a time every few months and there wasn't enough food or clean water to nourish them all (not to mention the canyon was full of hungry coyote packs munching on cats at night).

Jeremiah, was a rare Lilac-point Tonkinese (Russian Blue and Siamese mix) in one of her litters. He was so small and precious and light-colored we knew he could not survive as a wild canyon cat for long. I asked Paul to capture him for us. He did, with a box rigged with a string and baited with food. After he calmed down over being inside for the first time, he started to play and splay his back legs like this. He was the cutest thing we'd ever seen.
Half-a-year later, we also captured his biological sister, from a subsequent litter, to give him a playmate and to save her life as well. They became inseparable as you can see.
We moved to several places after that and Jeremiah grew to be especially beautiful, strong, and agile. He had an amazing way of running to help another cat in distress instead of running away from the noise. For that I called him, "Fireman Cat". His jumps were breathtakingly graceful, even by a cat's standard, something to do with his strength and proportions. I noticed his "meow" sounded like the lilting ringing of a bell all his life. Yes, he was crossed-eyed.
We made a general house policy a few years ago, that we would stop spending hundreds of dollars on veterinarian care for our pets. We'd changed our financial approach and stopped using credit/debt for anything and decided that spending a great deal of money we didn't have on our animals would be unwise. So we bought the best quality food we could and let life go it's own way. They were animals after all, not people.

With Jeremiah's illness and death, however, we've come to a new understanding/learning. That if we are going to have pets we are going to have to be more responsible for their health care. With Jeremiah and his sister Isabella's being so wild (they never really tamed much) we thought taking them in for annual exams would be unnecessarily traumatizing for them. C'est la Vie, we'll take life as it comes. Not now.

Now we will take our pets in for annual exams and tests as part of their care. We still don't want to get every expensive test and medical procedure possible, and there's no guarantee that knowing what Jeremiah had would have given him more time, but we've decided to at least check them out as best we can and go from there.
Over the last year or so I can now in hindsight realize he'd been ill, he had taken to sleeping most of the day, needing way too much food (for a few years) and then more recently drinking more and more and having an oily coat. The last 3 weeks he lost all his flesh except for a bloated misshapen belly and finally could only drink water strained from fresh cans of tuna every hour. He'd look like death (no photos shown of that stage) and then would miraculously perk up and quietly cry when he heard a can being freshly opened to lap up the salty water.
Even though my mind saw that he was going and that there was nothing that could be done at this point, I still cried over his going. He was a good boy. And is missed everyday.

Dagoba, good boy.


Thursday, August 18, 2011

Urhu Erhu Lute

Another prop finished for the Desert Set. This, the sacred string instrument that the Serpent Sage Musician, Urhu, plays all day everyday by his painted tent in the desert.
Sherie was the "starter" for me on this (that's the designation for my wonderful project assistants who I assign to kick a prop or set off and then I can progress it easily. Project Rule #68; Rolling on a task someone has started with you is far easier than trying to start alone from nothing.) She and I decided the Sage's instrument should follow the petal-shape motif used in his tent design. After auditioning many possibilities, we cobbled together how it might work (upper left) using the bottom of an empty dishwashing liquid bottle and odd wooden shapes I had on hand, including chopped twisted chopsticks.

She started sanding and painting the basecoat on what we'd devised last time. We decided the strings would be golden to connote the sacredness of this spiritual being and his music. We made the center of the flower-petaled bridge a little window on another world by gluing a glass half dome over dried yellow dahlia stamen. Appropriate material to use, yes, but its effect is like a looking into a strange landscape in miniature. Perhaps it's a glimpse into where the character comes from (noted for future episodes in the film!)

It's a Halflandian cross between a cello, a mandolin, a snake, East Indian primitive culture, Middle Eastern primitive culture, Asian primitive culture, and a flower at essence.

The neck has faux ivory inlay details and a tuning peg near its carved scroll head stock. The body, shaped from newspaper and masking tape, was given a hollow wood instrument look by filling in the seams and cracks a few times with layers of wood filler, sanding, and painting with raw sienna acrylic. The final coat was clear natural paste wax for a soft polished sheen.

Sherie cut and fitted an oval of nude leather for the face which was later stained and tinted with Nova's rich transparent Indian Yellow acrylic, tinted, near its wood oval sound board in the middle, with walnut ink shading.

I used metallic gold thread for the strings which begin at the neck and travel around the tail piece underneath. They are held away from the body and separated by the wooden flower petal bridge.  It won't actually play any sounds. But in the film will be resonate like a cello as the strings of the bow are drawn slowly across them.

Sherie is slamming on the Desert Set progress. Next time she comes over I'll ask her to make a start on the bow!

Tuesday, August 02, 2011

Reflecting on Halfland Posters

Starting to sketch up concepts for Halfland's posters and other collateral materials.
My dream of creating ambigram lettering of sorts for the logo titles for the project began in earnest yesterday when I came across artist Rowena Murillo's profile photo at random (lower right). She had a school logo on her shirt and that got me thinking about making Halfland's lettering reflect in a mirror.

Wikipedia on a search turned me onto the beautiful rorschach ambigram paintings (a couple bottom center) by John Langdon that I roughed onto her shirt. I found that there were automatic ambigram generators online and that the very best, based on my results was Flip Script. I'm still refining what raw ambigram I'll use, but when I do, I plan to purchase the high res art to use as the basis for the rest I'll do to it from that site. So far, I've used screen grabs of the various free previews, edited their positions and added insect and human artifacts to them letter forms (above).

Here's the thing, ambigrams, a term I hadn't known before yesterday, generally read the same at 180ยบ angles, right side up and upside down. I wanted the lettering to read when reflected in the mirror, yes, but not just that. It really also needs to be somewhat communicative without the use of a mirror, viewing right side up. So my results below are very satisfying for me. They do the trick for me.

I have since gone back to the Flipscript generator and tried all sorts of approaches to trick the code into giving me lettering that will read as "Halfland" when viewed from every direction with a mirror. Somehow I cracked the code and did it. So those results may show up in t-shirts or other items.

But in the meanwhile, I completely enjoyed experimenting with various project imagery to begin to see the world being created coming together at long last...
Some of my favorite 1/2L images are the underwater shots of the Koi of Enlightenment. Here I've paired one of them (liking how my hand is visible with it) with some of the layered painted clouds and cyc sky.
Here's a rather dark and strange collage of the character Tarn and two distinct landscapes representing her two aspects, the moon at night and the healing desert, with a vertical lettering treatment.
Bosq the Snoring Cat dreams a languid dream of Halfland as if submerged in the smeared syrup of sleeping.


PS: If you happen to have a mirror nearby you, try holding it up to the screen, either above or below any of these sketches lettering horizon lines. If you wait a moment your brain should find the language pattern in the lettering and reveal the name of our secret place anyway you reflect on it. 

Tuesday, July 19, 2011

Getting Funky

One of the background guests at the night time Bug Party in Halfland wanted to get down and then get on up again. This smooth jazz cat asked for blings on the wings and hot pink fuzzy shades. I personally wouldn't smoke anything (well, actually I probably would if it had no ill effect on health) but this guy has some kind of cigarette in a twig holder. He'll chill during the bash and groove to the music, food and wild bug company that will be celebrating all around him.
Here you can see the wool fiber smoke tendrils unedited on the end of his white wire cigarette, a close up of his painted silver head of a pin belt buckle and translucent specs lenses. It took me quite a while to figure out that two joined cells cut from aluminum mesh filled with clear glue lenses (colored with permanent marker ink once dry) would make such tiny scale shades. I kept changing the colors of his costume as he developed so the antennae got a few coats and too much texture (it's ok). The trickiest part was attaching pieces of wire to the sides of the glasses and then get them to act like over-the-ear arms over his antennae (works). Then the frames were black, then painted silver, then flock over with pink because I didn't dig the uneven texture of the silver. Couldn't get any smoother at this micro scale.

His groovy attitude came about after I positioned his legs and arms in this position. Once that happened, his character screamed to recline and kick back. You can just tell his moves on the dance floor are fierce. This Party is going to be fun.
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