The Puppet Challenge Part 7: Graham, Caroline and Scott

Graham Carter, Caroline McCatty and Scott Garrett

Graham Carter: Puss-in-Boots

Above: Graham Carter’s concept artwork for  his puppet of Puss-in-Boots

Below: working-drawing

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It’s always interesting when an illustrator known for a particular style of two-dimensional artwork, then has to realise a design as an object. Graham magnificently rose to the challenge, producing a delightful concept sheet that transformed effortlessly… or so it seemed… into a finished puppet. (I’m no such fool as to imagine it was a simple matter, but Graham has the skill and grace to at least make it look so.)

Graham writes:

“This is my first foray into puppet-making. (Well, apart from a ten-foot mobile Yeti rod-puppet I helped build for a parade a couple of years ago – but that was a group effort!) Firstly I’d like to thank Clive and Peter for inviting me to take part. I do like a challenge! When I accepted it though, I hadn’t quite anticipated the shift in mindset needed when making something ‘functional’ as opposed to purely aesthetic. Some of my recent 3D pieces do closely resemble puppets, and I had considered tackling this in the same way but that soon went out of the window when I realised that limbs had to actually move! As much as I tried to plan the puppet and make a few thumbnail sketches, I figured the best way, for me personally, was trial and error. I had a loose design in my head and figured I would tackle moveable limbs as I went along. Engineers would scoff at that of course, but I’m definitely not an engineer! When thinking of a subject I very nearly began working on a miniature puppet theatre-set based on the film of Jason & the Argonauts, with Skeleton Automata – but very quickly realised this would be a folly for a novice! Keep it simple! (Wise words Clive!) I thought it would be fun creating a character with long legs, and I narrowed it down to a frog-prince or Puss-in-Boots. I opted for the clever cat. In order to spice it up a bit I decided on a futuristic Puss-in-Boots, complete with bionic arm/paw (of course!) I did make him a little leather hat too but this only served to make him look like a 70’s pimp!”

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“Ideally I would have liked to carve the model to give it that old-fashioned toy look, but I just didn’t have the tools. I chose instead to use wood I had lying around in my studio, plus any old nuts, bolts, wire and laser-cut wood off-cuts I had at my disposal. This gives it a rough and ready look, but I do actually quite like that. It took me a while to figure out how to get the limbs to function. I just stared at the pieces of wood for ages until I figured out a solution. If they were too stiff or obstructed I would just saw/sand a little here and there until they became functional. I’m pleased with the legs – the elbows are a little cumbersome and unnatural looking, but again – I think it suits my style, and the character (that’s my excuse anyway). The head is attached to a rod at the back to give it multi-directional function. I added the moveable eyebrows as an afterthought, as I wanted it to have that slight ventriloquist’s dummy look about it. (I would have liked to add a moving jaw too. Next time!)”

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“I haven’t got around to attaching string etc yet to make him dance, but with a couple of screw replacements I think he could pull off some moves!”

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“My son certainly loves him….”

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I appreciate the fact that Graham opted for a ‘rough and ready’ look for his puppet. Some makers get bogged down trying to create a perfect, slightly retro, moulded-in-plastic finish, and while that may look good as a toy, the brief here was to make a puppet, and puppets are much more forgiving when it comes to surface detail. The magic of a puppet must stem not only from its design, but also from the way in which it moves. I’m sure that in the hands of a puppeteer, this Puss-in-Boots would turn in quite a performance. I love the idea that he can raise a roguish eyebrow, or arch them both in a look of ‘drop-dead’ disdain.

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Caroline McCatty: The Ogre that Pretended to be a Little Girl

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Caroline wrote at the outset of the Challenge:

“I’m planning to make a flying puppet based on a Chinese fairy tale called The Flying Ogre. I’ll attempt to make a glove-puppet that transforms from a little girl into an ogre, because in the tale he disguises himself as a little girl.”

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“I have the idea to make a Little Girl glove-puppet whose head will open and the ogre pop out. The design work is all a bit rough as I don’t have time to spend making the prep work wonderful. Anyway this is where my ideas are going, but the final puppet will be less basic.”

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Above: Caroline’s ‘mock-up’, made to get the feel of how the puppet might look

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Caroline basically described a ‘trick-puppet’, commonplace in nineteenth century puppet performances, though more usually associated with marionettes than glove-puppets. Mechanisms and effects became quite ornate as marionette companies went to great lengths to outdo rivals in the ingenuity and splendour of their illusions.

Below: Caroline photographed the stages of making her Little Girl/Ogre glove-puppet

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Above: a sketch of the Little Girl next to an Ogre’s head rather different to the finished one

Below: the carved and painted head of the Little Girl next to the completed Ogre head

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The Ogre’s head is built around an inflatable bladder. The whole thing folds up and can be hidden, packed away inside the Little Girl’s head, which is made of two halves… a front and back… fastened with ties. When the ties are released, her face flops forward and the crumpled Ogre’s head pops out. With the aid of a tube and good lungs, Caroline can inflate the Ogre’s head so that it replaces the Little Girl’s.

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You can see Caroline’s transformation puppet going through its paces in the film linked below. I think we can be pretty sure she’ll get quicker and more dextrous with practice. Ten out of ten for invention, skill and blow-power. A splendid result.

Little Girl into Ogre Transformation

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Scott Garrett: the Earl of Rone and the Whittlesea Straw Bear

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Scott turned to two ancient celebratory traditions for the inspiration of his glove-puppets: the Earl of Rone and the Whittlesea Straw Bear, shown in his illustrations above.

He writes of the custom of the Earl:

“Why the Earl of Rone? Well, he’s just one of a number of fantastic English folklore characters out there, madly eccentric. If I’d done the Hastings Jack, it would have just been a lump of vegetation. The Earl has a great physical character, chunky almost cuddly… but he is deeply dark. He reminds me of some old Polish/Czech character, earthy in his sackcloth garb, but with the graphic white, red and black mask and its sharp, angular nose.”

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Below: the stages of Scott’s puppet. The first is a mock-up produced to check for scale, made of a ball and some gift-wrap.

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Below: the finished puppet

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Below: Scott’s early sketch for the Whittlesea Straw Bear glove-puppet

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In Whittlesea it’s the custom on the 1st Monday after Twelfth Night to dress a ploughman in straw and call him a ‘Straw Bear’. A newspaper of 1882 reported the Bear “taken around the town to entertain, by his frantic and clumsy gestures, the good folk who had, on the previous day, subscribed to the rustics a spread of beer, tobacco and beef”.

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The costume was described as being made of great lengths of tightly twisted straw bands wound up the arms, legs and body of the man or boy chosen to play the role. Sticks fastened to the shoulders formed a cone above the wearer’s head, and the face was completely covered so that the Bear was all but blind. A tail was provided and a strong chain fastened around its armpits. It was made to dance in front of houses and gifts of money or of beer and food for later consumption were expected. The custom evidently held an honoured status in the community, as straw was carefully selected from the best available, the harvesters saying, “That’ll do for the Bear”. The custom had long died out, but was revived in the 1980s. The straw costume is burned at the end of the celebrations and has to be made afresh each year.

I think Scott’s puppets are splendid evocations of folk customs. He wrote that he’d balked at the Hastings Jack, but I for one would like to see his take on that venerable tradition, not least because for a couple of years the Jack sported a mask that I’d made in the likeness of my late father.

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progress on the puppet challenge

It’s been a while since I posted about the Puppet Challenge and its contributors, so here’s a catch-up, reporting progress by some of the makers who’ve sent us news. I regularly check the websites and blogs of participants, but if any of you have made progress that you’ve not yet shared at your sites but would like us to post at the Artlog, please drop me or Peter Slight a line with some images.

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Philippa Robbins

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Philippa Robbins has made an entire cast of wonderfully characterful ‘blue-heads’, of which this is one. She’s still playing with ideas and isn’t yet a hundred percent certain whether they’re to be glove-puppets or some other type. But it’s interesting that as an artist, she’s found a way to make her puppets completely of her own creative universe, and in a room-full of puppets I would know them as hers. I’m sure that however she resolves them, they’re going to be appearing in her drawings and paintings before very long.

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Jill Desborough

Artist Jill Desborough writes:

‘Attached are a couple of images of designs for two puppets I’ve started. The Spring one might be the 1st in a quartet of the Seasons. He is a a slavic god called Jarilo who comes from the underworld every spring bringing growth and fertility. I am making him androgynous in a flower and leaf strewn gown.’

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‘The other is a bird-headed figure who I see as a guardian/watcher of borders- who will be all in black- a bit ambivalent …malevolent or protective I’m not sure. The image came into my mind on the train … he is I guess from my own mythological library rather than the historic canon.’

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Liz King

Painter Liz King is underway not just with puppet designs, but for an entire story-boarded legend of the Loubérou or Lébérou, known in various rural areas of France. The story is of a man who turns into a goat after bathing in an enchanted fountain. You can read the full scenario at her blog, but here’s an extract from it:

‘He reads the watery words, stands up and with hands on hips, tosses his head in disdainful disbelief. But it feels top-heavy and cumbersome. He reaches up to feel two unfamiliar shapes protruding from it, hears the clop of hoof on horn. Lowering his hands he sees with horror two cloven hooves where hands should be. Slumping down onto all fours, he lets out a prolonged and enfeebled bleat. From the black waters of the fountain the reflection of a wild, long-haired goat stares out at him.’

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I love Liz’s visualisation of the fountain-source as a giant bearded head, like a Roman river-god spewing words written in the black water.

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Karen Godfrey

Artist Karen Godfrey writes:

‘I have decided after much deliberation to make a marionette of Frida Kahlo.  She is a favorite of mine and I thought I would be able to use her the most for occassions such as, Day of the Dead.  What also appealed to me were the endless amounts of outfits, accessories, jewelry, etc I could make for her. 

I made her head out of foam covered with polymer clay.  Then I painted her with acrylic paint.  The body, arms, and legs were made out of wood.  I haven’t made her feet yet.  I am using leather straps for the hinges at her elbows and knees.  I also will be adding hair to her.

‘This has been a lot of fun so far.’

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Since writing the above, Karen has finished her Frida Kahlo puppet, and has sent us wonderful images of her standing on a specially made Day of the Dead stage, surrounded by coloured lights and sugar skulls. Marvellous!

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Matt and Amanda Caines

Matt Caines is a sculptor, and Amanda Caines is an artist with a multi-discipline approach to her work. Matt has written of their work toward the Puppet Challenge:

‘We are currently engaging in the darker side of fairy stories and folklore and are producing a series of free standing pieces and some wall hangings. We are combining my interest in structure, assemblage and engraving on shed antler, with Amanda’s sense of colour and pattern in her stitch worked sections.

 

 

The horse is inspired by the legend of the Kelpie, a malevolent Scottish equestrian water spirit that lures lone travellers into rivers and lakes and gives them a dunking. Ireland has the Each-Uisage who inhabits seas and lochs. After carrying his victims into the water, the Each-Uisage devours them.’

 

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‘The puppet and drawings that match are inspired by Sedna, the Inuit goddess of the sea and all its creatures. Poor Sedna was thrown out of a boat by her angry father, who to stop her holding on to the side, chopped off her fingers. As she sank into the murky depths, her fingers turned into seals, walruses, fish, whales and all the sea life.        

Now she lives at the bottom of the sea, angry at all men, sometimes bringing famine, sometimes plenty. Shamans swim down to appease her by combing her hair and begging for mercy. 

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Amanda is creating a bound skirt for Sedna that will be patterned with a fragmented fish-tail pattern. Her face will be a mixture of shamanic mask imagery filtered though cubist fragmentation.’ 

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Scott Garrett

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Scott Garrett is rocking with the Puppet Challenge. This, the Whittlesea Straw Bear, is his second folk-tradition based glove-puppet, the first having been a magnificently realised Earl of Rone. (I’m saving images of that for the online exhibition, though if you can’t wait, you can see some at Scott’s Blog.)

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Lynne Lamb

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Lynne Lamb has already stormed ahead in the Puppet Challenge with her ‘bog-body’ reinvention of the Snow Queen and a splendid ship’s figurehead mermaid. Now she’s come up with this deceptively winsome multiple-headed wolf-in-grandma’s-clothes, that cleverly riffs on notions of multiple identities and the three-headed canine guardian of the Kingdom of the Dead, Cerberus.

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Caroline McCatty

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Caroline is making her own version of a novelty that delighted nineteenth century audiences. The ‘transformation puppet’ was the Victorian puppet showman’s coup de théâtre, his blink-and-you-miss-it sleight-of-hand that would leave viewers perplexed and delighted. A popular subject was ‘The Grand Turk’, a figure that dissolved in the blink of an eye into many smaller puppets scattering in all directions. For her Puppet Challenge subject Caroline decided on the story of an ogre who goes in disguise as a little girl, and if I’ve understood her correctly, her puppet is intended to transform from small child to to outsized monster in an instant. In the photograph of this puppet-in-progress we see the girl’s head lying atop the large head of the ogre. The latter is of a soft construction, and I believe is intended to pack into a small, hidden place, from which it then inflates to effect the trick. Although I don’t know the details of how she plans this, Caroline is certainly on the right track, as in the nineteenth century collapsible puppets pre-rigged ready to burst out were the basis of many transformation marionettes. You can see two nineteenth century transformation puppets HERE.

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Nomi McLeod

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Nomi’s puppet-in-progress stares out at us with troubled eyes. This hauntingly beautiful head is her starting point for the intriguingly titled ‘The Girl Without Hands’, a tale that it sound as though Shakespeare may have borrowed from for Titus Adronicus.

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The Puppet Challenge becomes altogether more stimulating as a creative experience when contributors share ideas and progress with us. For those of you who’ve so far remained silent on the matter, get in touch and let us know what you’re up to. A thumbnail sketch, a reference image or just a few words by way of ideas you may have, will help enrich all who’ve signed to this project. We’d love to hear from you.

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