Apologies for the long delay between our last post and this one. We’ve been tackling some fundamental issues concerning the execution of the show, reconsidering the underpinning of the entire production. Ok. Mostly we’ve just been watching entirely too much of The Wire. That show shoulda been called Frown Town, for real. Now, here’s some work we did detailing the sets.
Here I am painting in the line wok to give our sets that cartoon edge that originated in Andy’s concept work. As always, the details make all the difference.
Because the cardboard’s all a bit wonky, we had to weigh each piece down while the glue dried. Fortunately I’ve a large collection of over-sized art books. Thanks, Friends of the Library Book Sale/Dad.
Once the individual elements were all glued down, we cut through the window panes to clear the way for Plexiglas.
As it came second hand from a junkyard, the Plexiglas was in perfectly terrible shape to begin with. Andy then spent the better part of an hour scraping flaky fake tinting off of it before we could glue it in place. This doubly ensured it was just the morass of scratches and cracks we needed.
Here’s a shot of how the stoop is shaping up. We couldn’t be happier with how the cartoon style’s been executed with 3d elements, but we’re begining to reconsider the viablity of our setup. These set pieces are taking longer than expected and physical limitations are begining to make themselves known. But don’t frown just yet — we’re scheming up a new system that could solve the sets, reinvigorate the show and get the puppets walking, talking and blinking in ways previously thought impossible. Stay tuned.