PUPPET HEAD ASSEMBLY

 Based on my initial sketch, I did these working technical drawings to scale. Sort of a Puppet Head Blueprint to work from so that everything fits together. I did a similar puppet character of Toulouse Lautrec for the Hip Pocket production of  VAN GOGH / GAUGUIN  in 1987, and although I'm using the same assembly techniques here, these puppets are in a slighly different scale and look. Basically I'm making the patterns up as I go along; adjusting and refining the fittings as they are being put together. ( So Far, So Good!)

 Here is the completed Head Assembly for the CARROT TOP puppet laid atop the technical drawing. The Eye Units shown in my last post have been securely epoxied to the upper head block and the lower mouth block is hinged with strong leather underneath.

The wooden ball will support the shoulder block allowing the head to rotate with a natural movement ( the Eye & Mouth strings pass through small holes drilled through this ball keeping them free to be operated without kinking ).

The wire armature built up around the eye unit will both protect the animation and serve as a support for the facial structure which will be added next in the construction. Looks a bit like a robot at this point, but you can see the personalitiy of the character begining to show up.

I use a 1/4" black bungee cord run through holes just behind the teeth to keep the mouth closed. I slight pressure of the thumb on the left side opens and closes the mouth. The finished lower lip will cover the teeth when the mouth is closed. Only a very small movement of the mouth is needed to give the illusion that the puppet is talking.

Standard black cord elastic is secured to the back bar between the eyes, keeping them in the open position. the right string pushed outward by the forefinger causes the eyes to close. This can be rehearsed to make very subtle shifts in the eyes for a natural look as the puppet speaks. I run the stringing through small plastic pipes for comfort on the puppeteer's fingers.

The puppeteer's hand operates just under the shoulder block and with subtle movements of the wrist the head can nod forward or swing side to side or tip backward while the body remains stationary. I think the simplest and most intuitive control mechanism is always best.

The stringing here is 15 pound test black nylon fishing line for the eyes and 25 pound vinyl coated tip up line for the mouth. The vinyl coating is best for strength as the mouth will be in almost constant movement. The Eyes move more smoothly with the standard fishing line.These strings are doubled and run through screw eyes mounted on the central support dowel. It is important to align these strings so that they encounter the least amount of friction as they are pushed and pulled during manipulation. All knots are tied multiple times and dotted with Duco Cement to prevent them unraveling.

This stringing and elastic should last a good long time. The eventual Head Back will be hinged to open so that the entire mechanism can be reached for easy repair if needed.

 [ NOTE: Always remember to design this ease of access to any working parts of your puppet. With strong initial construction it may never be needed, but if it isn't there you will be faced with having to rip open your lovely creation if you do need an eventual repair job. Any puppet designed for theatrical production must be able to be repaired inside and out as quickly and easily as possible without altering the appearance of the puppet in any way. I usually pick one puppeteer to be "Show Captain" which means that he or she is responsible for making sure the puppets are ready to go before the performance and are properly stored and repaired if necessary in between shows.]