Interview With Elizabeth Luce, Part 3
Elizabeth Luce is a graphic artist, illustrator and puppet designer. She has a Master of Fine Arts in costume and set design from UCLA and has worked on a variety of film, television and theatre productions. Elizabeth designed puppets for a Children's Fairyland production of The Wizard of Oz and Snapdragon Puppets' Emmy-winning video The Mousecracker. I asked her to share her thoughts on puppet design.
PJ: What makes a puppet character design strong or interesting?
EL: A deliberate silhouette for the character.
A distinct personality that can be read in the face and body. Even sitting on a stand, the finished puppet should feel alive.
Inventive clothing that supports or indicates the history behind the character. In theory, every stitch would have been chosen by that character for a reason.
Going with type sometimes, and sometimes against.
Dynamic use of colors. Use stereotypical colors judiciously; think out-of-the-box and be well in control of the colors you choose.
Build in good movement -- you are also designing the movement the puppet will have, so give the operator something dynamic to work with.
Good eyes, with a glint of light, that are well focused.
Stylization is more important than exaggeration. Huge noses and ears may look fun on paper, but they can be cumbersome in 3D. What is it that says "rabbit" about a rabbit? Streamlined head shape and windblown ears, if he's speedy? A little puff-puff body and face with tiny button eyes and giant whiskers, if he's "sooo cute"?
PJ: What makes a puppet character design strong or interesting?
EL: A deliberate silhouette for the character.
A distinct personality that can be read in the face and body. Even sitting on a stand, the finished puppet should feel alive.
Inventive clothing that supports or indicates the history behind the character. In theory, every stitch would have been chosen by that character for a reason.
Going with type sometimes, and sometimes against.
Dynamic use of colors. Use stereotypical colors judiciously; think out-of-the-box and be well in control of the colors you choose.
Build in good movement -- you are also designing the movement the puppet will have, so give the operator something dynamic to work with.
Good eyes, with a glint of light, that are well focused.
Stylization is more important than exaggeration. Huge noses and ears may look fun on paper, but they can be cumbersome in 3D. What is it that says "rabbit" about a rabbit? Streamlined head shape and windblown ears, if he's speedy? A little puff-puff body and face with tiny button eyes and giant whiskers, if he's "sooo cute"?
Labels: Elizabeth Luce, interview
0 Comments:
Post a Comment
<< Home