Wednesday, September 10, 2014

D & D Monsters: The Beholder

Yet another monster for my collaborative (as of yet nameless) fantasy film project with John Hankins. If you're making a film filled with Dungeons & Dragons monsters, you can't do it without the infamous "Beholder"; a floating, gnashing monstrosity, which is more than an awful eyeful.

 Here's how the Beholder was originally depicted in the first "Advanced Dungeons & Dragons Monster Manual" from 1977. There have been much scarier, more detailed illustrations since then, but because John and I are trying to recreate an innocent retro feel for our project, this is the design I based my puppet on.

This is my first rough clay sketch of the beholder, something John and I could discuss. As it turned out we went with this design with very little alterations.

 Here's the finished clay sculpture, executed in Monster Clay. The eye stalks are not there for the casting, as they will be added at a later stage as built-up features. The holes for the stalks are there, however. The big watery eye comes from a discarded mannequin. I added some extra blood veins and covered the whole thing in transparent lacquer.

I cast the sculpture in a two-part mould. It's a slight bit of a hassle, so I don't do this very often. Half the sculpture is walled off with a softer clay simply called "plastellina" here in Sweden, but it has nothing to do with the famous Roma Plastillina sculpting clay. As you can hopefully see I've added three small bumps in the clay wall.These will become "keys" in the plaster mould, helping to interlock the two mould halves.

This is how the two-part mould turned out. Monster clay comes out easily from plaster moulds, but you can see some brown residue from the softer "plastillina".

Ordinary liquid latex is tinted with universal tinting colours and dabbed onto the inside of the plaster mould halves with a sponge. Four layers of latex was added this way to build up a sturdy, but not too firm latex skin. I went with a rust red/brown hue, which will form a good base for the additional layer of colour going on when the whole puppet is finished.

Here's the important detail, though. The insides of the latex puppet halves are lined with thin sheets of foam rubber. This will add support without making the latex skin too leathery and still allowing some stretch.

A plastic bottle screw cap becomes a cheap but effective eye socket for the glass mannequin eye. Friendly Plastic thermoplastic holds the cap in place, allowing the eye to swivel freely. I've also added the first two eye stalks, held in place by the plastic.

The two body halves are now joined together with contact cement, and the join is covered with more tinted latex. A thick but bendable aluminum rod has been added to the screw cap using more Friendly Plastic. This rod is a support to keep the "floating" puppet aloft while being animated. I've covered the rod with soft string, which will ease the application of the green screen paint, which will be added later. I've also added a looping piece of string wrapped aluminum wire to the insides of the lips.

The eye stalks are aluminum wires covered with soft string, and then tinted latex. The eyeballs are plastic balls used to make "pearl" necklaces. I've ground down a flat area on top of each ball, where a printed photoshopped iris image has been added. The eyeball is then covered with Glossy Accents, which is a transparent, slightly rubbery air drying plastic used by scrapbookers.

Time for teeth! These are simply made by mixing latex with cab-o-sil (fumed silica), which creates a butter-like latex paste. Rolling this paste between your thumb and index finger will create small, pointy, flexible, bone-white bits, which dries quite fast in normal room temperature.

The teeth are stuck to the mouth using tinted liquid latex, and the hole in the puppet's bum is covered up with a cast latex skin patch. The inside of the mouth is created by contact cementing two pieces of thin urethane rubber to the inside of the mouth cavity above the lips, and covering these with cotton shapes and tinted latex.

To finish the puppet a thin layer of purple PAX paint is sponged on over the puppet, taking care not to over apply and cover up the various wrinkles and crevasses on the puppet body.

Hopefully, John's encounter with the Beholder will look something like this. Beholders are among the "boss" creatures of fantasy gaming, so they're not just ugly; they're smart too. They're also able to fire various nasty energy emissions from their eye stalk eyes, so it's a meeting between hero and monster full with exciting possibilities!

Wednesday, August 13, 2014

D & D Monsters: The Rust Monster

Continuing with my collaborative video project with John Hankins, next up is this critter, which is really one of my favourite monsters in the world: The so-ugly-it's-cute rust monster. This creature will strike at your weapons or armour, making them corrode instantly so the monster can feast on the rusted remains.

The image to the left is the rust monster I grew up with; the illustration from the legendary 1977 "Advanced Dungeons & Dragons Monster Manual", complete with wacky propeller at the tip of its tail. The one to the right is the more recent, anatomically believable concept, perfect for a movie creature. Which is why I'm not using it. I'm going with the original version, and am making very few excuses for its cartoonishness when building the puppet.

D & D also released a line of hard plastic miniature monsters, of which I have a few since childhood. Among these is the rust monster. I had it sitting on a shelf next to me while building the rust monster puppet, mainly as inspiration rather than an exact guide.

I sculpted the main body in Monster Clay. This would become a shell cast in two pieces, under which the limbs would be attached. The eyes are plastic albino mammal eyes bought from a taxidermist supply shop.

Here are the two main body pieces cast in latex with a latex/cotton reinforcement. You can see some of the cotton sticking out from under the belly piece.

To add extra sturdiness to the shell parts I mixed the extremely fast-setting OOMOO plastic from Smooth-On, and poured it into the latex skins, creating a very hard interior, but keeping a leathery exterior.
The antenna are aluminum wires wrapped in soft cotton string, and dabbed with tinted latex. I use liquid universal tinting colours to dye my latex. They're a bit pricey, but last forever, as you only need a drop for each batch of latex. The eyes are glued in place with flexible super glue.

I already had an old plaster mould for a wrinkled, muscular tail or tentacle, made for a previous project. I covered a bit of aluminum wire with soft string, soaked that in latex, and pressed it into the plaster mould. I wrapped the latex skin around the tail, and used liquid latex to cover up the seam. The tail propeller (or whatever it's supposed to be) is a piece of cardboard covered in latex.

The limbs are starting to grow out of the rust monster. They're all attached to the plastic inside shell using Friendly Plastic thermoplastic. I've also added a jointed lower jaw with two latex tusks.

Using small bits of soft polyurethane foam the muscles are built up over the legs with flexible Casco contact cement, and then covered with latex skins. The legs are given a thin coat of tinted latex.

Finally, a thin layer of PAX paint (acrylic tube paint and ProsAide No-Tack make-uo glue) is sponged on. This creates a very good surface for Liquitex acrylic airbrush paints. A thin coat of transparent acrylic primer goes on lastly.

And here's the finished rust monster on my animation stage. I'm hoping he'll be a treat to animate!

A Photoshop mash-up of John as the intrepid questing hero, who is apparently unaware that swords and rust monsters are a bad combo!

Thursday, August 7, 2014

D & D Monsters: The Owlbear

The strapping gentleman in the photos above is Hawaiian filmmaker/ prop maker/ costume maker/ puppet maker/ mask maker/ stop-motion animator etc John Hankins. Like me he works out of his back yard, creating highly imaginative and entertaining fantasy films on a truly shoestring budget. Check out his YouTube channel:

John's films are actually a two-person show; his wife Alicia is his ever faithful collaborator and supporter, often appearing in the films alongside John in various guises. I've never met John in person but we've been online buddies for years. It's one of those wonderful situations where, at least in my case, I have found through the Internet what I couldn't find where I live; friends sharing the same feverishly passionate interests, and the opinion that nothing is impossible if you just put your heart into it.

Now we're embarking on our first international collaboration -a humorous and hopefully exciting fantasy short film set in the world of the old-school "Dungeons & Dragons" role playing game. John will be shooting the live-action scenes, as well as providing a hand puppet monster, costumes, backgrounds and almost everything else, and I'll be building and animating the monsters he'll encounter.

Long, long ago, when it seemed that my life held an endless mass of disposable time I became enamoured with role playing games, starting with "Dungeons & Dragons" and following with the Swedish game "Drakar & Demoner" ("Dragons & Demons"), with "Tunnels & Trolls", "Runequest", and a smattering of other games and solo adventure game books consumed along the way. Naturally I also made a couple of games with some friends, which never amounted to much. Now I'm actually there again, with the Swedish children's role playing game "Adventure", for which I'm making illustrations and collectible figures.

This is one of the original D & D monsters, here illustrated in the "Advanced Dungeons & Dragons Monster Manual". It is, of course, an owlbear. Later images of this monster are much more anatomically believable, slickly airbrushed in Photoshop and frankly more fierce-looking. In short, they're much more boring, so this first innocently crude and cartoony drawing is my guide for the owlbear puppet I'm building for the project.

I started off with sculpting the head of the beast in my new favourite material in the world -Monster Maker's Monster Clay. I made the open mouth a solid block of clay to be able to create a one-piece mould for the sculpture. The eyes are glass, and bought some years ago from a Swedish taxidermist supplier. They're some kind of predatory bird's eyes, but I'm no expert on the subject.

Here's the latex cast sitting next to its dental plaster mould. I usually tint the latex for my puppets black or a dark colour to get a good base colour. If the painted-on paint rubs off anywhere I prefer to have a darker colour peeking through under it.

My usual aluminum wire and Friendly Plastic combo for the armature. The yellow finger wire is copper wire encased in soft plastic. The white chest plate is part of a discarded SmoothCast 65D casting. It adds extra support, and a good grab-on section on the puppet when animating.

A mix of variously dense polyurethane foam muscles are glued on with Casco elastic contact cement. The claws are thin cardboard dipped in tinted latex.

And here's the finished brute. The fur is short fake fur, or "teddy" fur, sometimes called "monkey fur". I prefer to make my own feathers, but I've had a small bag of tiny feathers lying around for almost 20 years now, and I figured it would be high time to put them to use. The Monster Manual owlbear looks like he's got a bad toupee on, and I opted for a slightly different look, gluing on the feathers in a semi-circle around the puppet's head using elastic super glue. Liquitex acrylic airbrush colours add a mottled grey pattern to the fur.

Since I didn't have a photo of John in his finished fantasy get-up, my local armoured buddy Martin Merkel stepped in and acted out this staged fight photo with the owlbear. In short, here's how our film is intended to look.

Sunday, August 3, 2014

Diving for Deep Ones

Among H P Lovecraft's more popular monsters are the charming "Deep Ones"; the end result for the peculiar people living in the seaside town of Innsmouth. In short, when they reach adult age, they turn into fish monsters and return to the sea. It's all told in "The Shadow Out of Innsmouth", one of Lovecraft's better tales, actually, where the narrator is first horrified by what he sees in Innsmouth, but at the end of the story he reveals he's discovered he's actually a fish-person himself, with gills already growing on his neck, and he returns to the town to join his scaly kin.

US Lovecraft enthusiast and game developer Rolando Gutierrez had me build a bunch of monsters for him a while ago -you can read about that here:
And here:

I started with a head and torso sculpture, as I usually do when I make humanoid puppets. This gives me a better overall idea of the other proportions of the character. My first concept was the traditional fish-like deep one, but Rolando preferred a more frog-like design, so off came the crest and the "beard".

The head and the chest was cast as a loose latex skin. When I want to add extra support to the head on a puppet, I usually mix cotton and latex to created a flexible, but tough and leathery layer on the inside of my puppet skins. This time, however, I mixed latex with micro balloons; the white, sand-like substance that you can mix with polyester or epoxy when working on boat and car bodies.  The micro balloons gives the latex a cream-like feel, which is very helpful when you want to thicken latex for certain types of work. Adding chemical thickener usually adds setting time. Using micro balloons lets the latex dry within an ordinary time frame. I'll talk more about this technique in a later blog post.

Here the cotton and polyurethane puppet body has been covered with patches of latex skin, which are tinted green as a base colour. Next, a thin layer of PAX paint (Prosaid prosthetic glue and acrylic paint) is sponged on using a piece of polyurethane foam. The inside of the mouth is a separate latex casting, one I'm often using for insides of round or wide mouths.

And here's the froggie deep one finally finished, using acrylic airbrush colours. I don't know if I'll be animating him yet or just snap some photos. Eventually I'll make my own deep ones, as I suspect I won't be able to stay away from the "Innsmouth" story. They're cool monsters without really being bad guys.

Sunday, July 20, 2014

Gorn Masks and Dragon Heads

A few years ago I made a replica of the mask used to portray the monstrous "Gorn" in the classic Star Trek episode "Arena", where he matched wits and brawn with the formidable force of nature known as William Shatner. My Gorn mask was built according to my personal opinions of how the original mask was constructed, as there is very little info on the subject.
You can read about the making of my Gorn mask here:
The mask was actually eventually sold to Bobby Clark, the stuntman who played the monster. Bobby is now touring Trek conventions displaying my mask as the best replica he's seen, and he should know since he spent several days encapsulated in the hot rubber suit.

Here's Bobby with my mask at the actual location where "Arena" was filmed. I guess that's kind of cool!

Bobby had some reservations about my version, as the original was apparently bigger, and the eyes were covered with glittery sequins. I haven't been able to find any sequins as small as they appear to be in the stills from the episode, but there might've been a sequin of that type in the 1960's. Maybe the Trek costume department had the stuff on hand.

My old Gorn mask seems to be worn out and Bobby contacted me to ask me to make a new copy. Ideally, a new bigger version would've been much better, and I am actually working on that now, but to meet Bobby's convention schedule, a copy of the old version will have to do. So I recently sent a new Gorn mask off to him, along with a plastic baby hatchling. You can read about the making of the Gorn baby here:
Now, is making copies of monsters someone else has designed and established a fun job? Not really, although it seems to be a popular way of making a name for yourself as a creative person. I see many wonderfully made replicas of the Alien, the Predator, and other famous movie monsters. But  I'd much rather  make my name doing my own thing.
It's surprisingly hard work copying what what's been done before, and the simpler the design, the harder it is to get it right. Just try to draw Donald Duck off the top of your head. I'm trying to do less of this kind of work, though getting an order from an old monster performer is flattering and hard to say no to.

During the past four months I've been juggling four part-time jobs. I wouldn't recommend it, as I came very close to experiencing a burnout. I have friends who have gone through this ordeal, and it's no joke. One of my jobs was building props for the outdoor stage show "The Brothers Lionheart", based on a very popular Swedish children's book. I made plastic helmets, rubber spear tips, and similar stuff, but the main big thing was creating the paw and huge head of the dragon Katla. The production team bought a previously used fiberglass dragon head from another stage show. This head was very poorly detailed, and my job was to build up a completely new surface on it. This entailed mixing sculpted and cast skin pieces with structures built up directly on the fiberglass surface. I actually used a thick acrylic paint mixed with cotton to create Katla's new skin, and the result was a very durable, leathery structure.

Here's the Katla head with a new lick of paint, but still not quite finished.

Katla in action during the show. A smoke gun located in the mouth and nostrils  provided necessary dragon ambiance, along with loud sound effects and dramatic music. Apparently Katla's a success with the audiences.

This is my last stage production. I've made a loooooot of them, starting when I was 13, creating props and masks for a fairy tale show. It's always hard work, but usually there's also lots of fun. Now, the fun seems to have gone out of the equation, and it's just work for me. As success coach Brian Tracy says, "if you're stuck in a job you don't like, get out of that job as you would get out of a burning house." And as the old Klingon proverb goes, "only a fool fights in a burning house."
For the sake of reducing stress and disappointment in my life I've now learnt to use the most powerful word there is: "NO!" Now I say no to all offers of working on stage productions. Instead I'm focusing all my efforts on my personal work, i e my miniature animation work, with occasional props and masks created for my own films, or for projects of close friends. If I can't use my creativity to put joy into my life, then what good is it for? I've no idea if my personal work will ever result in any sort of monetary success, but now that seems unimportant. I'm more concerned with what kind of legacy I can leave behind, and I'd rather realize my own ideas than someone else's. I've heard people say that's a pompous and presumptuous attitude, but shouldn't we believe in our own talents and abilities? Seriously; we must believe that our work comes to good, is important to other people, and is worth every second of effort.