Not even a weekend passed between finishing the house and starting the furniture and characters for the film. I began with the furniture because its size would dictate the moveable space within the rooms and so the size of the animals inside. The Cafe was the most important space as this is where the bulk of the film takes place. I laid out and built the objects in place and was much more flexible with shrinkage size for this project, just setting a maximum size and working below that.I did have one piece that required precise shrinkage for a screen, but there I only fussed with the opening. Being less absolute with measurement cut the build time on the furniture by weeks, it was such a great compromise. Here you can see that the opening is slightly too big. There is a formula that I use that allows pretty precise measurement of clay body shrinkage after firing. For some things this is essential.After the furniture was complete, I moved on to characters. I have a pretty tried and true method for devising a build for an animal that I have never tried. First I search google images for poses and colors that I am interested in, then I draw those images. This allows me to get careful about certain details that are important to quickly identifying the type of animal.As I move to the sculpting process, I use techniques I developed teaching children, this keeps the figurines looking like toys. This relies in shedding non-essential detail, but holding on to the things that are most important, usually ear and snout shape and limb attachment. I also usually make multiples of a each character so we can show a range of movement in the film. The first piece gets to be an exploration, but the second must follow the size and detail rules of the first.I sculpted the figurines by group so that I could develop some speed with a form. I started with squirrels and then moved to squid, rabbits, fish and bears.
James the lizard was the last of the figurines that was made. He was built at my home since there was just not enough time in a day to get them all done. He was built for a very specific scene in a very particular space in the cafe, which I did not have with me. The consequence of this was significant post firing revision to get him to work in the space. I hope not to repeat this mistake as I had to mutilate the ceramic to get him to sit.
All the figures and furniture were fired together, though they were finished in various ways.
While I worked on the clay bits, Gabe was focused on the special effects portion. One of the greatest things about collaboration is watching an idea expand as it meets other ideas. This film features several flashbacks, all of which needed additional building to pull off convincingly. Gabe took one of these flashback scenes and built a fantastic set, based on the first house, but expanded and edited to allow the scene to convey the emotion that we wanted to communicate. In the scene we wanted to convey the horror of greed and grasping, The project became incredibly detailed because Gabe was so committed to pulling off the illusion to carry off that emotional impact. He also made the character for that scene. He chose an ape, to further illustrate the concept of the clip.
Finishing began after firing. The furniture followed the rules of the first film, and any character that was coming from a previous film had to be finished in their style. After that, we could be creative about finish. Most pieces were glaze fired, but a few were painted with acrylic. For us, that process always begins with spray paint.
When they were complete, filming began immediately. The characters always look best in place