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The Recital Mini Production Bible George Tymvios

STEP 1: Story / Plot

The story is about a street musician who enters his imaginary world while performing where he plays a solo violin piece in a large recital hall to a complete audience. His imagination is shattered as soon as the clapping of the audience turns into the clank of a coin falling into his bag, bringing him back to reality. The musician however remains content with the knowledge that his love for music is real even if only a street musician rather than a well-known violinist. That is all he needs. The piece is open to interpretation since no dialogue exists.

STEP 2: Rough Storyboard for Initial Research

Expanding on the plot, I created the key points that would drive the rest of the research forward. This allowed me to recognize the requirements in terms of costume, scenery, props, etc. during both the imaginary world and reality. See Attached Storyboard

STEP 3: Costume Designs Reality and Imagination Reality: Late 1930s, Early 1940s style
clothes. These clothes give the impression that the violinist lived his days and they also add a certain style and elegance to him.

Imagination: Long-Tail Tuxedo. No hat

will be worn. Black bow tie. These are the clothes which he feels like he is wearing while playing his violin.

STEP 4: Scenery Reality and Imagination Reality: The reality will be set in the late evening, on a dark London street,
giving the impression of a cloudy day. The street will be a straight one and very quiet. This is because the violinist doesnt care if there arent many people around he only plays for his love of music. There is also a brick wall behind him, very close to some steps leading upwards. Two street lamps will also be shown, one of the far left and one of the far right.

Imagination: The imaginary world will be set in a concert hall giving the impression of being in an old opera

house. The violinist will be standing in the centre of the stage. It is necessary for the room to give out the impression of its enormity in size and also to portray that there is a full-house in terms of the audience who have come to see him play. The audience will be taking pictures with flash.

STEP 5: Puppetting (Creating a Puppet) Wire Armature Alternatives?

In order to create the armature, winded up aluminium wire was used to form the basic structure of the body, providing mobility and flexibility. Milliput was used to simulate bones and join the wires to each other since it hardens fairly quickly and provides a stone-like malleable effect. 1. Ball and socket Ball and socket would be an alternative to using a wire armature. However, this technique is expensive and very tricky to get right. 2. Balsa Wood Balsa wood is also an alternative to wire armature. However, it is not ideal because the process to prepare it seems time consuming.

Volume and how it would be achieved Foam and PVA

The problem with foam and PVA is that it takes virtually forever to dry and doesnt always stick to the metal.

Solely Liquid Latex

In using liquid latex alone, the wax technique was followed. The issue with using only liquid latex is that it takes a long time to prepare, requires a bigger container, requires dipping the whole model into the container, and requires a lot of repetition in order to get the desired volume.

Liquid Latex and Foam

By getting the best aspects of the two previous techniques, I attempted to use liquid latex with foam. This proved to be efficient and the technique which I chose to use. The benefits are that latex adheres a lot better to metal; it dries a lot faster; and it allows for flexibility. By using foam, less latex is required, giving the desired volume without the constant repetition of dipping the model into the container of latex. This is the chosen technique.

Head Moulding (2 failed examples)

1st Failed Example: I used air-dry clay to mould the head. The problem with this technique is that unfortunately the weather doesnt permit for a fast process. It takes forever to dry and you would not know if the mould is working until you actually remove it which might set you back hours or even days. However, if the mould is properly prepared, it allows for very good usage with latex.

2nd Failed Example: Polymer clay can be prepared a lot faster since it can be cooked in a conventional oven. However, since not as rigid as air-dry clay, it could produce unwanted elasticity in the material (deform the mould). It also does not allow latex to dry in a closed container.

Sculpting Clay (great success) Using sculpting clay as the actual head provides a lightweight, rigid material. Since my character wont be making many facial movements, sculpting clay will be ideal instead of using liquid latex for the head.

Replaceable Mouths/Heads

The problem with the movement of the mouth could be overcome using replaceable mouths with K&S or magnets. Magnets are a lot easier to use and apply than K&S and also a lot cheaper. The same method as the replaceable mouths could be used to allow the eyes to blink by replacing the upper part of the face. Since the occasions in which the character would need to blink are few, a replaceable head method could also be used (by replacing the whole head with its alternatives).


- Sew little outfits The outfits of both the reality and imaginary world will be sewn in order to allow customisation according to need. Both costumes will be prepared over summer.

STEP 6: Props

All props will ideally be made out of sculpting clay because anything can be customised. Reality Violin and Bow Possibly two versions need to be prepared, a small and a large version for the extreme close-ups. Carry Bag Hat Will be sewn over the summer. Street Lamps Coins Car (Maybe) Imagination Concert Hall (Stage, Curtains, Seats, etc.) Audience Figurines Violin and Bow Rose/Flower Audience Cameras LED control panel.

STEP 7: Materials

Sculpting Clay Liquid Latex K&S Lego Air-Dry Clay Aluminium Wire Magnets Eyes Soft Foam Material for Clothes Milliput