For weeks now, I’ve been chipping away at designing an articulated figure of myself. I’ve finally gotten to the point of printing a prototype, and I’m amazed at the results so far.
It might seem strange to talk about a week’s work in terms of where I’ve been – or not been – but self-isolation has given me a few insights into things I’ve never examined before.
The internet is awash with questions like, “can I do lino printing with oil paint?” and, “why not?”, and all the bargaining in between, because to the uninitiated, all coloured pigments look as if they’ll do the same things.
Most of the questions I get from my friends about art materials have to do with whether they can just use the paint they’ve already got as a substitute for whatever they want to try. Sorry, but no.
After a week of progress with designing a new, custom skeleton for an articulated figure, I realised that to get where I wanted to be by the end of the week, I needed to stop working with 3D software and start working with my hands. For that, I had to try sculpting polymer clay hair.
Why bother learning to use chroma key techniques and filming with a green screen when I’ve already started building model furniture and a set, I hear you say?
Choice, flexibility, and fun! Well, it’s been a bit of fun, and a whole lot of frustration, if I’m being honest.