(Drawing I did for Anne Wood to celebrate finishing episode 52 of Abney & Teal).
Wednesday, May 23, 2012
Friday, May 18, 2012
Making Abney & Teal
Here are just a few photos from the making of Abney & Teal. Once the episode production line started churning I generally forgot to take many photos so it's just a tiny snapshot of year one of four years work by the whole Ragdoll team.
My desk at Ragdoll studios in Stratford upon Avon. I must have been working late on Abney's hut.
Set construction from my painted parts was a model of simplicity.
An early experiment with a rod-puppet Abney. That's Tahra Zafar on the right, who made all the real-world puppets for the show. (www.tahrazafar.com)
Teal in construction, before her dress was made less "tasteful."
Original Poc-Poc. Eventually they were re-built in the computer using the textures from these puppets. (The style of their animation was developed from some earlier footage of me moving little home-made clay versions with magnets in them. This gave them the motion-blurred shuddery feel they sometimes have.)
Photographing Teal and Abney from a gazillion angles.
Another model of simplicity. The amazing Davide Arnone (www.davidearnone.co.uk) and I spent three weeks (seriously, three weeks) adjusting Abney's ears because they didn't come out right in the photos. I think there were something like four positions per single ear for every one of thirty-six angles of the head.
Another incarnation of my desk at Ragdoll.
Tim van Eyken in his socks.
(At Pinewood studios experimenting with Bop sounds).
My desk at Ragdoll studios in Stratford upon Avon. I must have been working late on Abney's hut.
Set construction from my painted parts was a model of simplicity.
An early experiment with a rod-puppet Abney. That's Tahra Zafar on the right, who made all the real-world puppets for the show. (www.tahrazafar.com)
Teal in construction, before her dress was made less "tasteful."
Original Poc-Poc. Eventually they were re-built in the computer using the textures from these puppets. (The style of their animation was developed from some earlier footage of me moving little home-made clay versions with magnets in them. This gave them the motion-blurred shuddery feel they sometimes have.)
Photographing Teal and Abney from a gazillion angles.
Another model of simplicity. The amazing Davide Arnone (www.davidearnone.co.uk) and I spent three weeks (seriously, three weeks) adjusting Abney's ears because they didn't come out right in the photos. I think there were something like four positions per single ear for every one of thirty-six angles of the head.
Another incarnation of my desk at Ragdoll.
Tim van Eyken in his socks.
(At Pinewood studios experimenting with Bop sounds).
Thursday, May 17, 2012
Tuesday, May 15, 2012
Early Abney & Teal development drawings
Some of the earliest development drawings, ranging from three to four years ago before the show went into production (and before some of the characters were finalised). Plus a few early storyboard panels from before I learned that it's better just to scribble away on the computer (or let brilliant Steve Roberts or Matilda Tristram draw them).
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