In this blog post, you’ll get to “Meet The Illustrator”. The person who creates our wonderful images for all our Christmas productions with DerbyLIVE and this year’s summer outdoor adventure for families, “Here Be Dragons!”
Welcome, Andy. He runs Karate Graphics based at Friar Gate in Derby. I got to ask him some questions and here’s what he said:
What inspires your Creativity? I am often inspired by something that will catch my eye or things that stand out from the normal. Quirky cartoons and stories, popular culture.. Things that are a little bit macabre too! Visually I try to keep abreast of what other illustrators are doing. Growing up I was a big fan of the Tintin and Asterisk books and these still influence me today.
How did you become an Illustrator? I have always loved drawing. I studied fine art at college and then went on to complete city and guilds and evening classes in desktop publishing, Web design, Illustrator (software) and Photoshop. I then got unpaid work illustrating a magazine and from that set up my own graphic design company which eventually became me doing my illustrations!
What Type of Projects do you enjoy and why? I enjoy most of the work I do. I enjoy working in a variety of styles as I think it keeps the work fresh. Projects, where I have some creative influence, can be nice as opposed to “draw this like this”. But, those too are rewarding in there own way.
Looking back, what advice would you have given yourself when you were just starting out in your career? I guess I probably wouldn’t have listened to myself, but I’ll have a go: Learn to take criticism – not everyone’s vision is the same and if someone is paying you, they’re the boss! Having said that people will come to you because they like what you do. Buy a tablet and pen for your Mac about 2 years before you did.
If you love Andy’s work as much as we do you can follow him on Instagram “Karate Grafika” or email him firstname.lastname@example.org
Babbling vagabonds have been lucky enough to work with Buxton International Festival and Buxton Fringe Festival on an outreach project for Primary Schools in Buxton. This project would celebrate the festivals 40th years and use Saint Saens “Carnival of the Animals” as inspiration to create large puppets.
The idea behind the project was to inspire and ignite creativity in local year 5 pupils. The outcome would then be part of the Buxton Carnival Parade in July. Then displayed around town in the lead up to Northern Chamber Orchestra’s performance of “Carnival of the Animals” during the Buxton International Festival.
Using the theme Carnival of the Animals by composer Saint Saens we decided to choose four animals from the music he created. We designed the large puppets with the idea that they would be processed in Buxton Carnival this summer.
Working in Schools
We then assigned each animal to a School and gave ourselves the challenge of creating these in one day. Working with around 10 school children at a time in short sessions we were able to construct a large puppet through the course of a school day. The impact was significant. The groups who worked on the animals in the first session could hardly believe the transformation of their work.
Babbling Vagabonds ended up working with over 200 children, over four days, in four local Schools. The children work collaboratively and helped shape the finished sculptures. They gained new skills and were empowered by what they had created. It was a very positive experience for us as artists and the schools. It was certainly an ambitious project in the timescale but everyone rose to the challenge. We are proud of how the children worked as a team to create these wonderful large puppets. I can’t wait to see them come to life in the carnival this summer.
When we compose our music for our productions, the process starts around our kitchen table. Not highly technical I know, but all we need is a space to be creative and the kitchen table seems to work well enough for the germination of ideas. Our musical friends come together and we give ourselves a day to do most of the groundwork for the songwriting. This has to be one of my favourite days on our calendar.
Playing with Ideas
Within the story, we will look for the scenes that would benefit from a song or music. Often a song can take you on a journey, explain more of the storyline and convey emotion in a different way than just dialogue. Once we have figured that out and talked about what the song needs to do within that scene we will start playing with ideas. I see it as a bit like writing poetry, looking for rhyming words and finding flow within music and the words on the page. Sometimes a melody will come first and the words are written to fit the tune. Other times words just tumble out and a rhythm is then found to accompany the words.
It’s about listening to one another. Responding to the moment and not being afraid of putting an idea forward for it to be used or rejected. Some songs I find spine-tingling straight from the off. That excites me, wondering how it will feel when it’s sung out into an auditorium of people.
Some songs compose themselves quicker than others while some songs need more time to develop. This is after all only the beginning of the process. Matt Vale, our musical Director will then develop the musical score into something even more magical. In rehearsals, the actors put their own creativity into the songs so it then transforms into very much a shared collaborative process.
The music making process couldn’t happen without the creative input of Matt Vale, Rob Vale, James Swinburn and Bob Rushton and to them, I feel indebted.
Where do we start in puppet making? In our process, it starts with the story. Everything starts with a story! Once we have that we start to imagine what, where and when the puppet(s) may add to the visual storytelling. Can we add a puppet to help tell a section of the story? Take us on an otherwise impossible journey? Fly through the air, fight a deep sea monster or fall from an enchanted tower.
Types of Puppets We Use
Once those questions have been answered, then we have to decide what style of puppet we need. We tend to enjoy the use of shadow puppetry, tabletop puppetry and object manipulation.
Shadow puppets are just as it suggests, puppets that block light casting a shadow onto a screen or wall. We sometimes add colour and use 3D landscapes to give depth to a shadow sequence. Tabletop puppets are handheld. They need a platform to be seen by the audience, hence the name. Object manipulation is just that, using the same techniques as we use with a table top puppet but using found objects. A suitcase becomes a mouth of a crocodile or a screwed up sheet of paper an old grannies face.
Designing When Puppet Making
Sketches are drawn, ideas are gathered and once we have the feel for the puppet we make further drawings before we start to construct it.
From these sketches, we develop the puppet into mock-up made of screwed up brown paper and cardboard. If you ever want to try this always add eyes (we have a drawer full of ping pong balls) as it makes everything come alive. This quick 3D version gives us a greater understanding of size and movability.
Next Stages of Puppet Making
In this production, we have come to the conclusion that we need more than one puppet for the same character. This is because the puppet needs to do different things in different scenes.
We use clay to sculpt a version of our final idea from all the sketches we have made.
From this, we create a pattern. The clay version is covered in cling film and then masking tape. When its all covered, we cut it off and make a flat pattern. The finished pieces work in the same way as a dress makers pattern. Using an Over Head Projector we can scale up the pattern to any size.
The pattern is then cut from closed cell foam, it is just like camping mats, only more robust. All the pieces are glued together and the form can come together quickly.
Any fiddly bits are sculpted from larger blocks of foam and then we piece it all together. We work out the jointing system for the legs and head and figure out the mechanism needed to make any moving parts. It always takes longer than we think and is a challenge to make it move right but when it’s finished it is lightweight, strong and will hopefully stand up to the physical use within the run of the production.
Last Steps in Puppet Making
Once we are happy with the overall look and construction the last job is to paint it. Various sealants, primers and paints are used to create the finished puppet. Often perceptions of how it will be painted changes as the puppet forms and its character emerges. But working the way we do means we have the flexibility to make changes all the time. Many mistakes are made along the way, but its all about working together and solving the challenges that arise when puppet making.
Designing this puppet has been fun, but it has been a difficult process. Problem-solving has rated highly on this project. Mark has been the real brains behind all the working out and I’ve taken the lead on the fabrication and painting element of this puppet making process. Our budgets are never grand and we are always thinking of ways to make things cheaper. We reuse as much material as we can and always look at what we have in stock before buying any materials.
Time is another great factor. It’s a longer process than you might imagine. Many of our puppets are priceless due to the simple fact of the number of hours it has taken to produce a puppet which may only be onstage for a few minutes. When the puppets are finished you can always see room for improvement and what you would do differently next time. But that’s the great thing about puppet making. You are always learning.
The Babbling Vagabonds design process starts with the story we want to tell and a big sketchbook. We talk about the story and the scenes within it, the characters and the locations. Ideas are important at this stage and we try not to limit our creativity. It’s very much a collaborative process between the three of us. We are not afraid of being wrong when we voice ideas and to be honest I think the three of us have a very special relationship. We don’t censor our creativity, anything is up for discussion.
Pinterest is a good source of inspiration for us and we have a shared board for the story. We look at characters types, environments, costume and Pin anything we think is relevant to our story.
A storyboard of the essential action is drafted. We find creative ways in which to make the locations and where scenes can take place. There is usually only four actors in our Christmas show and whatever is designed has to take that into account.
Making the Model – The World of the Story
This will be our 6th production at The Guildhall Theatre in Derby, we know space well and how to get the best from it. We don’t have to worry about touring the production and making the set fit in different venues, this means we can design a set that is bespoke to the venue. We have a scale model of the theatre and its within this miniature space that we start to realise the ideas from our sketchbooks.
Making the model is all about playing. It is about seeing design ideas in a three-dimensional form and within this part of the process that you can see if an idea is going to work. We never see things as a problem, always as a challenge, and through design we find solutions. The model helps to see the theatre space as a whole and its often at this stage where you start to understand how certain scenes within the story will play out.
The model box changes all the time as we search for the ultimate design. Pieces are thrown away to make way for more exciting ideas and solutions. It is a vital part of the design process and an amazing way of sharing our vision. Colour becomes an integral element of the modelling stage and brings together all the elements of the design. The colour palette really helps when we venture into the next stage of building the set. Working as we do means we are flexible and have the ability to adapt throughout the whole process as things may change…again, and again and again.
So now we are starting to develop the story for our next family Christmas show, The Dinosaur who came for Christmas. As a company we devise our shows – which means that we don’t start with a script – we begin with an idea, actually, nowadays we begin with a title. So where do we start in writing a story? We have a ‘process’ for creating our work. This has evolved as we have over the past eighteen years and although I don’t think we have ‘rules’ as to how we do it, we have some guidelines.
Firstly – What’s it about?
Well, I find lots of the conversations we have at this stage start with me saying:
“At the moment… it’s about this kid who finds a dinosaur egg!”
There’s not too much in that sentence to commit ourselves to something that we might get rid of at a later stage. Maybe there’s just enough to trigger a sense of excitement and anticipation.
We’ve learnt a few things along the way particularly about story types. We start to chat about the type of story we think this might be. Is it a quest story? A transformation story? Journey and return? It’s nothing too detailed, we just let ideas play in our heads for a while. Hang about in our imaginations, think through a few ‘what ifs’ and ‘how about’. I tend to go for long walks on my own, that helps my process. From someone finding a dinosaur egg, and it hatching… well, what could happen? What would be fun to see? What trouble would that bring about? Where is that going to take the characters? ‘what if this happened?’
Let’s start at the beginning…or at the end…or in the middle!
Sometimes we think about ‘the end’, or a significant moment that might happen ten minutes into the story. It can be really fun to think, how could that happen?
We can plot out several storylines, and try those out. What is interesting to us might not be that interesting to a four-year-old, or a seventy-year-old.
We watch films, read books, look at pictures and paintings, listen to music. Adding ingredients to our collective stew. Whether they will end up in the final show, we don’t know yet but they might trigger something somewhere.
Eventually, we will arrive at a plot. Nine or ten chapter headings. These are the things that have to happen for the story to work. We call this our ‘Essences’. These are the things that have to happen for the story to progress.
Then we will storyboard ideas. Like a film. Sketch out ideas – how they might look onstage. Sometimes we will bring some actors in to play with rough ideas too. All the time shaping the story, defining characters and events. Adding the ‘groovy bits’. The pieces of the story that adds to the essences, bring the fun, the danger, the excitement.
All this will take place over the first few months of the year. We will share our ideas with the producers, they will pitch in ideas. Nobody ‘owns’ the story – we are all onboard adding suggestions to the journey.
It’s really fun. It helps create a very organic show, that grows and twists and turns with the additions brought by the collaborators.
How do we create outdoor theatre for families? There are a lot of things you have to think about, especially with a show that tours to lots of different places. A big one is the set, the backbone to any production is the scenery, but, with outdoor theatre, it needs to be able to adapt to its surroundings such as rocky terrain, or a hilly area. On top of all that, you have to create something that can survive the weather. So this job is left in the more than capable hands of Babbling Vagabonds Artistic team Tara and Mark who – in my opinion – have created something magical!
The Rehearsal Process
Now rehearsing the show, whilst it is hard work, is also bundles of fun! Creating children’s theatre is all about playing, so we start each rehearsal by playing a few games, having a laugh and helping unleash our creativity. Each individual character within the story is stripped down to the very basics. How do they walk? How do they talk? How do they move their body? This can be very challenging when most of us play more than one character in the show! The characters need to be completely different and larger than life.
Making sure that our characters are big is very important in an outdoor show, as you never know what will happen when you get into the space. You may have people who can’t see as much as others, you may have someone right next to you, or even behind you! So by creating these comically large and exaggerated characters, you’re ensuring every audience member has a good experience.
After we’ve spent some time developing our characters, we then leap right into the story. We take each scene at a time and create some freeze frames! These are little snapshots of what happens in the scene, they help us stay on track and have a good idea of what we need to accomplish by the end of the scene. From there we then start adding more detail, bit by bit, until we can start improvising. We’ll make up lines and do the scenes multiple times until we’re happy we have a decently structured scene.
In front of an Audience
What’s lovely about this show is that there is a lot of freedom to play. The show is highly interactive, so no two shows will be the same. We react to what the audience says and does which is why we don’t script the show too heavily. It’s much more fun to adapt the show to the audience we have (and we hope they find it fun too!) This way, I think everyone that comes to see us, will leave having had a completely unique experience.
That’s it for now, but I hope to see you at one of our venues this summer. Come and say hello, and make sure you stay for a photo after the show!