To: puptcrit-AT-lists.driftline.org
Date: Fri, 16 Jun 2006 17:36:26 GMT
Subject: [Puptcrit] If you are going to tell a story at least tell the whole
If I were to tell the whole story of Jim Gamble's puppet career, it would take at least a book. He may have the best marketing abilities in the field, I hear his name wherever I have done puppet exhibits (sometimes he has performed in connection with events or exhibits---Everett, Washington for example or Atlanta GA--a pretty good geographical stretc with just 2 examples).
Luck or opportunity does not get distributed equally in people's lives. It DOES take smarts to recognize opportunities when presented, and I admire Jim for seeing them clearly and acting on them. If there were to be a book on his career, that would be a major theme" THE RECOGNITION OF OPPORTUNITIES" and we can all learn from such examples.
Artist Blanding Sloan (puppeteering in San Francisco in 1929, and later active in the early years of the Los Angeles Guild of Puppetry) used to say, "It takes an artist to recognize a happy accident"--and he incorporated aesthetic discoveries which arrived by accident (or LUCK) in his work.
Luck can occur on all levels, in the workshop, in the lab, in human interrelationships, in puppet shows. And it always takes a smart, creative mind to see it.
But the LUCK has to be there before it can be seen.
The opportunities for discoveries abound in puppetry, which is why it is so interesting for those on puptcrit.
ALAN COOK
-----Original Message-----
From: puptcrit-request-AT-lists.driftline.org
Sent: Friday, June 16, 2006 7:44 AM
To: puptcrit-AT-lists.driftline.org
Subject: puptcrit Digest, Vol 20, Issue 39
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Today's Topics:
1. Re: Inflatable puppets and staging (Joe)
2. Re: puptcrit Digest, Vol 20, Issue 30 (Jimsan777-AT-aol.com)
3. Re: Inflatable puppets and staging (Tim Giugni)
4. Apoxie Sculpt: testing (Mathieu Ren?)
5. Re: Inflatable puppets and staging and other stuff (Kismet)
6. what's the difference??? (Mark S. Segal)
7. Re: what's the difference??? (Kismet)
8. Re: Apoxie Sculpt: testing (Anne Schaefer)
9. Re: Inflatable puppets and staging (Adam Bennett)
10. Re: Inflatable puppets and staging (Jimsan777-AT-aol.com)
11. Re: lighting questions for shadow puppetry (Christopher Hudert)
----------------------------------------------------------------------
Message: 1
Date: Thu, 15 Jun 2006 21:50:08 -0400
From: Joe <joe-AT-dunfee.com>
Subject: Re: [Puptcrit] Inflatable puppets and staging
To: puptcrit-AT-lists.driftline.org
Message-ID: <7.0.1.0.0.20060615214523.01cdbdb0-AT-dunfee.com>
>I have long wanted to play with inflatable puppets
>as an aerial puppet show,
>Dan Vie
Take a look at this couple who do "aerial kite ballet". They use
light weight kites they can keep aloft by walking slowly.
http://www.indoorkiteflying.com/
On the left is a link to their online videos.
Joe Dunfee joe-AT-dunfee.com
Gordonville, Pennsylvania, U.S.A.
------------------------------
Message: 2
Date: Fri, 16 Jun 2006 02:01:28 EDT
From: Jimsan777-AT-aol.com
Subject: Re: [Puptcrit] puptcrit Digest, Vol 20, Issue 30
To: puptcrit-AT-lists.driftline.org
Message-ID: <3db.4662e7b.31c3a338-AT-aol.com>
In a message dated 6/14/06 9:02:27 AM, alangregorycook-AT-msn.com writes:
> It is curious that when Uncle Sam bailed out Chrysler Motors (which then
> was sold to German investors) that is OK. It is curious that Jim is a
> market-oriented puppeteer. yet he got his original self funding because the US Air
> Force trained him at Govt expense to fly planes, which he later did for
> Continenal Airlines before the cmpany busted the pilots union. Sure, some people
> luck-out more than others, but it is the peak of egotism to take credit for such
> luck
>
I guess its pointless to point out that I paid my own way through college
working several jobs including puppeteering every summer at a Colorado resort
to earn my keep. Then I spent a year in pilot training....as every US Air
Force pilot must endure to earn his wings and five years paying back Uncle Sam
with Service where ever he sent me. (Several of my trainee buddies ended
their careers in Viet Nam.) Alan was in the Army for a couple of years...I
spent 5 1/2 years in Military Service.
I love it when people (and Alan has been my friend since 1955 when both
attended PoA Festival...he was on leave from the Army, I was just out of high
school) think it's a matter of luck when people succeed in some endeavour. (I
also spent two more years earning a master's degree while working full time.)
If you're going to tell a story, at least tell the whole truth. Sincerely,
Jim Gamble
------------------------------
Message: 3
Date: Fri, 16 Jun 2006 00:42:53 -0700
From: "Tim Giugni" <octorilla-AT-gmail.com>
Subject: Re: [Puptcrit] Inflatable puppets and staging
To: puptcrit-AT-lists.driftline.org
Message-ID:
<36468f8c0606160042k518a0878jf1950ff7f9cd6578-AT-mail.gmail.com>
Or view "Fred Garbo" http://www.fredgarbo.com/ an interesting show.
Tim
Il Teatro Calamari
On 6/15/06, danvie-AT-lightspeed.ca <danvie-AT-lightspeed.ca> wrote:
>
> I have long wanted to play with inflatable puppets
> as an aerial puppet show, and am curious, too, about
> anyone producing work on this scale.
>
> The puppets could be illuminated for night show,
> incorporate shadow play, etc.
>
> "Air" as a building material is a great way of
> going very large scale. An inflatable puppet could
> easily be the contender for the world's largest puppet.
> This topic came up on puptcrit about a year ago...
> figures were bandied about like '60 foot head'
> and '200 foot body'...
>
> still wondering how large a puppet is humanly possible
> (on earth, not in space) and what size of crew is needed to
> effectively operate an upside-down marionette as a kind
> of escalated bunraku? Could a 100-person crew be
> choreographed to manipulate body movements? In my case,
> I've made parade figures so heavy that 30 people are
> REQUIRED to carry them, which has its own kind of charm.
> Was blown away by the Royal DeLuxe act, of course.
> But I'm talking about LIGHT stuff now.
>
> The Diva of West Coast inflatables, Evelyn Roth,
> began her nylon experiments in the '70's; she has
> since located to Australia - have a look at her
> "Nylon Zoo" for interactive staging environments
> beyond the level of 'oogly boogly':
>
> evelynroth.com
>
>
> for staging, have a look at this (seriously):
>
> inflatablechurch.com
>
>
> Dan Vie
> Vancouver BC
>
> _______________________________________________
> List address: puptcrit-AT-lists.driftline.org
> Admin interface: http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
> Archives: http://www.driftline.org
>
------------------------------
Message: 4
Date: Fri, 16 Jun 2006 04:10:29 -0400
From: Mathieu Ren? <creaturiste-AT-magma.ca>
Subject: [Puptcrit] Apoxie Sculpt: testing
To: <puptcrit-AT-lists.driftline.org>
Message-ID: <003a01c6911c$562eb050$2234f3c7-AT-critter1>
I finally started using Apoxie Sculpt.
I am making small hands for the marionnetes I am building for the movie.
The subtle smell is very easy to endure, and similar in "flavour" to PC-7, the epoxy paste sold in harware stores (which I stopped using because it was too slow to set and way too liquid while setting. However it was a strong adheive for glass onto wood).
Apoxie is very strong so far, and can accept fine details, but it is real hard to control small details with gloves on. I refuse to work it with my bare hands, as I have read too many bad stories about people developping bad skin reactions with it overtime.
bleding is hard to do over a flexible armature. Once the first layre is dry, I expect extra pressure willhelpe make the seams disappear.
So I am working in stages. First, covering the fine wire armature to give the main shape and the rigidity. Then when cured (24 hours), I can add the rest, like knuckles and extra muscle, and smoothing.
The test hands will be submitted to heavy testing, to see how strong this stuff really is. so far, it looks VERY promising. Much stronger than Super Sculpey, and possibly than my strongest re-enforced paper mache pulp. The fingers are really thin, and will be ideal for testing against brittleness and chipping.
Concrete floors and walls will be my assistants...
I'll keep you posted.
Mathieu Ren? Cr?aturiste
Marionnettes, Masques, Etcetera...
Puppets, Masks, Etcetera...
www.creaturiste.com
creaturiste-AT-magma.ca
(514) 274-8027
------------------------------
Message: 5
Date: Fri, 16 Jun 2006 20:02:36 +1000
From: "Kismet" <kismet-AT-bigpond.net.au>
Subject: Re: [Puptcrit] Inflatable puppets and staging and other stuff
To: <puptcrit-AT-lists.driftline.org>
Message-ID: <015a01c6912b$fefdb960$0100000a-AT-brainlesstwit>
reply-type=original
Yeah Id love to have a play with giant inflatable puppets too, just haven't
had the time or an excuse..Have used smaller scale inflatables from time to
time..A useful resource is the Inflatable Cook Book...out of print and rare
but they come up. Fisher and Park have done some work with large inflatable
puppets as well as inflatable venues. Submarine was one of their earliest
creations (Late 60's early 70's?) in which the cast was placed inside a
large clear plastic tube on the back of a parade truck and began splashing
paint around.....
We are looking at replacing the tri truss / scaffolding of our 3 metre by 6
metre shadow/projection screen with an inflatable one but the air pressure
for an unsupported 8 metre span may be too much.
One of my favorite methodes is a large frame made of rattan, bamboo and
extruded fibreglass rod covered with tissue paper laminated with latex glue
(aquahdere) and lit from the inside..... classic stuff.. Saw a HUGE Dragon
built by Jilly Jackson, about 10 metres long that could be lifted by 8
people built this way, operated by about 15 people if I remember, wings and
all.
Talking of Shadow/projection screens has any one had any dealings with the
new ephemeral screens? Like the old inert gas/ hazer screens but impervious
to the wind? The promo I saw had a young woman bursting through the screen
and the projected image and there was no distortion at all (and aparently it
wasnt touched up) Imagine a giant shadow or projected puppet show where a
large puppet leaps from the screen!!!
You shouldnt have too many dramas dimming Quartz Halogen bulbs and they
should last just as long as any other (Most theatre instrument bulbs are QH,
gradual warm ups before the show will preserve them and interestingly enough
this is where the term "Warmers" came from in theatres, they weren't on to
show off the lovely curtains but to warm the bulbs up...I had some one spec.
some "warmers" for a show once). Rewiring the fans is very simple (but
you will use a licensed electrician wont you boys and girls ;-) ) The watts
wont be a problem less than about 150W if using a domestic dimmer each or
2500 watts if using a professional dimmer such as the Jands 4 pak (great if
3 phase isnt available)
The focal plane of a Quartz Halogen refers to those imbedded in a
reflector/lens package...you can get W for wide, M for Medium and L for
Long. Out of interest you could try a "policemans" torch cant think of the
commercial name for them and just cant find mine right now, they are
aluminium bodied, quite long but have a QH bulb AND a focusable lens...used
a lot by techs as well.
Anyway its all good stuff to mention at a party.
D.
------------------------------
Message: 6
Date: Fri, 16 Jun 2006 06:19:24 -0400
From: "Mark S. Segal" <segalpuppets-AT-comcast.net>
Subject: [Puptcrit] what's the difference???
To: <puptcrit-AT-lists.driftline.org>
Message-ID: <002e01c6912e$57e004a0$0302a8c0-AT-MARK01>
reply-type=original
Am curious from a working with stand point...
What is the difference between working with Magic Sculpt (which I use and
like a lot) and Apoxie Sculpt which I have never used.....
Anyone know?
Thanks....
Mark
------------------------------
Message: 7
Date: Fri, 16 Jun 2006 20:36:04 +1000
From: "Kismet" <kismet-AT-bigpond.net.au>
Subject: Re: [Puptcrit] what's the difference???
To: <puptcrit-AT-lists.driftline.org>
Message-ID: <019f01c69130$ab67c480$0100000a-AT-brainlesstwit>
reply-type=original
About 5 hours I think.
I didnt know there was a difference till I ran a workshop and couldnt get my
hands on Apoxie so grabbed some Magic...We waited.....and waited....and
waited....and blamed the temperature....and blamed the proportions...... It
set in six hours where as Apoxie sets in an hour odd....Well thats what I
found out anyway......I prefer Apoxie myself....sounds more
professional...less "kiddie".
HEY Im easily impressed.
D.
----- Original Message -----
From: "Mark S. Segal" <segalpuppets-AT-comcast.net>
To: <puptcrit-AT-lists.driftline.org>
Sent: Friday, June 16, 2006 8:19 PM
Subject: [Puptcrit] what's the difference???
>
> Am curious from a working with stand point...
>
> What is the difference between working with Magic Sculpt (which I use and
> like a lot) and Apoxie Sculpt which I have never used.....
> Anyone know?
>
> Thanks....
>
>
> Mark
>
>
> _______________________________________________
> List address: puptcrit-AT-lists.driftline.org
> Admin interface:
> http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
> Archives: http://www.driftline.org
>
>
> --
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.1.394 / Virus Database: 268.8.4/364 - Release Date: 14/06/2006
>
>
------------------------------
Message: 8
Date: Fri, 16 Jun 2006 06:55:24 -0400
From: Anne Schaefer <anne-AT-tanglewoodmarionettes.com>
Subject: Re: [Puptcrit] Apoxie Sculpt: testing
To: puptcrit-AT-lists.driftline.org
Message-ID:
<5fc45c0060322ba13887dd106721a29e-AT-tanglewoodmarionettes.com>
So Mathieu,
It's been great following your progress on this project, but I'm just
curious why you don't use neoprene? Not saying that this is the be-all
and end-all of substances, but it is very durable, easy to work with,
takes perfect detail from plaster molds, cures quickly, and has low
toxicity. Have you tried it in the past and not had any luck?
Only asking because I'm envisioning you trying to sculpt tiny hands
with gloves on - and my heart goes out to you LOL!
Anne
On Jun 16, 2006, at 4:10 AM, Mathieu Ren? wrote:
> I finally started using Apoxie Sculpt.
> I am making small hands for the marionnetes I am building for the
> movie.
>
> The subtle smell is very easy to endure, and similar in "flavour" to
> PC-7, the epoxy paste sold in harware stores (which I stopped using
> because it was too slow to set and way too liquid while setting.
> However it was a strong adheive for glass onto wood).
>
> Apoxie is very strong so far, and can accept fine details, but it is
> real hard to control small details with gloves on. I refuse to work it
> with my bare hands, as I have read too many bad stories about people
> developping bad skin reactions with it overtime.
> bleding is hard to do over a flexible armature. Once the first layre
> is dry, I expect extra pressure willhelpe make the seams disappear.
>
> So I am working in stages. First, covering the fine wire armature to
> give the main shape and the rigidity. Then when cured (24 hours), I
> can add the rest, like knuckles and extra muscle, and smoothing.
>
> The test hands will be submitted to heavy testing, to see how strong
> this stuff really is. so far, it looks VERY promising. Much stronger
> than Super Sculpey, and possibly than my strongest re-enforced paper
> mache pulp. The fingers are really thin, and will be ideal for testing
> against brittleness and chipping.
> Concrete floors and walls will be my assistants...
>
> I'll keep you posted.
>
>
> Mathieu Ren? Cr?aturiste
> Marionnettes, Masques, Etcetera...
> Puppets, Masks, Etcetera...
> www.creaturiste.com
> creaturiste-AT-magma.ca
> (514) 274-8027
> _______________________________________________
> List address: puptcrit-AT-lists.driftline.org
> Admin interface:
> http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
> Archives: http://www.driftline.org
>
------------------------------
Message: 9
Date: Fri, 16 Jun 2006 09:17:50 +0100 (BST)
From: "Adam Bennett" <adam-AT-dynamicnewanimation.co.uk>
Subject: Re: [Puptcrit] Inflatable puppets and staging
To: puptcrit-AT-lists.driftline.org
Cc: puptcrit <puptcrit-driftline.org-AT-lists.driftline.org>
Message-ID:
<1072.82.43.243.109.1150445870.squirrel-AT-maxproxy7.uk2net.com>
I just watched a 30foot tall puppet girl beautifully manipulated and fifty
foot tall elephant roaming the streets of London. all bt French company
Royal De Luxe. Goes to show effective government subsidy of the arts.
http://www.nantes.fr/ext/royal_de_luxe_2005/vendredi.asp
>
> I have long wanted to play with inflatable puppets
> as an aerial puppet show, and am curious, too, about
> anyone producing work on this scale.
>
> The puppets could be illuminated for night show,
> incorporate shadow play, etc.
>
> "Air" as a building material is a great way of
> going very large scale. An inflatable puppet could
> easily be the contender for the world's largest puppet.
> This topic came up on puptcrit about a year ago...
> figures were bandied about like '60 foot head'
> and '200 foot body'...
>
> still wondering how large a puppet is humanly possible
> (on earth, not in space) and what size of crew is needed to
> effectively operate an upside-down marionette as a kind
> of escalated bunraku? Could a 100-person crew be
> choreographed to manipulate body movements? In my case,
> I've made parade figures so heavy that 30 people are
> REQUIRED to carry them, which has its own kind of charm.
> Was blown away by the Royal DeLuxe act, of course.
> But I'm talking about LIGHT stuff now.
>
> The Diva of West Coast inflatables, Evelyn Roth,
> began her nylon experiments in the '70's; she has
> since located to Australia - have a look at her
> "Nylon Zoo" for interactive staging environments
> beyond the level of 'oogly boogly':
>
> evelynroth.com
>
>
> for staging, have a look at this (seriously):
>
> inflatablechurch.com
>
>
> Dan Vie
> Vancouver BC
>
> _______________________________________________
> List address: puptcrit-AT-lists.driftline.org
> Admin interface:
> http://lists.driftline.org/listinfo.cgi/puptcrit-driftline.org
> Archives: http://www.driftline.org
>
------------------------------
Message: 10
Date: Fri, 16 Jun 2006 10:23:41 EDT
From: Jimsan777-AT-aol.com
Subject: Re: [Puptcrit] Inflatable puppets and staging
To: puptcrit-AT-lists.driftline.org
Message-ID: <4c2.1dd2d7e.31c418ed-AT-aol.com>
In a message dated 6/16/06 5:53:28 AM, adam-AT-dynamicnewanimation.co.uk writes:
> I just watched a 30foot tall puppet girl beautifully manipulated and fifty
> foot tall elephant roaming the streets of London. all bt French company
> Royal De Luxe. Goes to show effective government subsidy of the arts.
>
> Dear Dan,
Thanks for directing us to this website...the photos (which were taken in
Paris) are incredible. Is this a traveling show? The puppets and supporting
structures look massive, but not inflatable. From where did this company
come? Where else could one see them? It would be worth a trip to Europe.
Thanks agian...I'm very impressed. Jim Gamble
------------------------------
Message: 11
Date: Fri, 16 Jun 2006 10:44:17 -0400
From: Christopher Hudert <heyhoot-AT-mindspring.com>
Subject: Re: [Puptcrit] lighting questions for shadow puppetry
To: puptcrit-AT-lists.driftline.org
Message-ID: <9662553C-FD46-11DA-969E-003065AB1E0A-AT-mindspring.com>
Exactly what I was saying, except he wanted to keep the fans running in
the projectors so it is a bit more complicated of a set up. But now
that I think of that, he could rewire the projector so that there was a
separate wire, switch and plug for the fan than for the switch (two
wires and two switches on each projector). Then he could plug the light
wire into the dimmer (or in this case dual dimmers for the cross fade
set up) and plug the separate fan wire into a undimmed outlet.
Also, since the projector tends to pull more juice he will need a
higher rated dimmer than most household dimmers are rated for.
Christopher
On Jun 15, 2006, at 7:53 PM, Kurt and Kathy Hunter wrote:
> For a very simple one handed cross fade, I've just mounted two
> household
> slide type dimmers into one box with the slides working in opposide
> directions. Moving the two slides together in the same direction
> (with one
> hand) fades one down and the other up.
>
> Kurt
>
> ----- Original Message -----
> From: "Christopher Hudert" <heyhoot-AT-mindspring.com>
> To: <puptcrit-AT-lists.driftline.org>
> Sent: Thursday, June 15, 2006 5:13 PM
> Subject: Re: [Puptcrit] lighting questions for shadow puppetry
>
>
>> Not sure about a dimmer for the light, but it should be possible
>> since most OP have a switch for light and fan and fan only. I THINK
>> you
>> could just interrupt the supply wires to the light after the switch
>> and
>> add your dimmers in there. That would not give you a one handed cross
>> fade, but I don't think you will get that with a simple set up anyway.
>> If you are good with wiring you could put an additional switch on each
>> projector that sent the power to the light in one position and to a
>> separate dimmer then to the light in the other position. You could
>> then
>> make a dimmer box where the dimmers could be mounted side by side, one
>> upside down from the other (assuming you use slide rather than dial
>> dimmers). That would give you the on in the up position for one and
>> the
>> off in the up position for the other. Then when you slid both from up
>> to down, or vise versa, you would fade one down and the other up. Does
>> that make sense? It is a bit complicated and I hope you understand the
>> idea of the wires that would be needed to add the projector lamps to
>> the dimmers.
------------------------------
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