Samuel Cheung ( Puppet Design / Fabrication Designer )

Ben Watson ( Fabrication Designer / Design Engineer / Puppet Mechanics )

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3/10/2025 - 3/12/2025 As part of the design department’s agenda, we began fabricating life-sized templates for our show.

All our puppets originated as drawings and AI-generated models. These images were then processed through a threshold converter to transform them into black-and-white outlines. However, due to the intricate details in some drawings, the converter struggled to process them correctly, requiring manual redrawing.

Once the drawings were finalized, we used an online background remover to eliminate unnecessary elements. The cleaned templates were then imported into Microsoft PowerPoint, where we arranged them in a blended virtual space to estimate the positioning of potential parts and map out the joints. After finalizing the approximate joint placements, the models were converted into SVG format, which is the preferred style, though other image formats are also acceptable.

After converting the files to SVG, they were opened in Adobe Illustrator, where we refined them for laser cutting by following these steps:

1. Select the image to work with.

2. Go to the top menu in Adobe Illustrator and navigate to Options → Image Trace → Make and Expand.

3. In the Properties panel, under Appearance, set the Fill to "None" and the Stroke to 0.25.

4. If the template has an unwanted box outline, remove it by selecting the corresponding layer in the Layers panel and deleting it. Save the file as an Adobe Illustrator (.AI) file.

5. After completing these steps, we sent the templates to our CLT for laser printing.

The first puppets printed were the tiger and the dragon, as their larger size helped us determine the appropriate scale for the humanoid puppets. Compared to previous years, these puppets were significantly bigger, leading us to adjust the dimensions of our preexisting designs. Having templates of the newly sized puppets allowed us to better measure and define the parameters for the new models.

Through extensive research and development, we explored different approaches to puppet construction, testing durability, articulation, and material efficiency. Our early prototypes were categorized as practice puppets, leading to refinements that influenced later designs.

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This initial prototype was made from a single layer of chipboard, making it lightweight but fragile, prone to bending and damage. Additionally, early designs featured rivets that restricted smooth limb articulation.

Despite its thin structure, the puppet’s larger size provided some durability. Hole placement was carefully managed to prevent structural failure after laser cutting. While not the most robust, these puppets serve as emergency backups in case a primary puppet malfunctions during a performance.

• Tiger
• Nagikara (Serpent Head)
• Karna V.2
• Dronacharya V.2

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This updated version retained many features of the first prototype but introduced a key improvement: larger joint holes for rivets, allowing for looser, more fluid movement.

This improvement laid the groundwork for later hybrid models, particularly for characters that required greater articulation and flexibility.

• Tiger (Enhanced articulation)
• Karna V.2 (Enhanced articulation)

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This iteration focused on durability improvements using available materials. A key test case was the Kunti puppet, which previously suffered from structural weakness due to excessive holes, leading to rapid wear and tear.

To address this issue, modifications included:

• Larger rivets that reinforced joints but reduced mobility.
• Fewer cutouts, improving structural integrity and preventing unnecessary light exposure.

This model laid the foundation for our Acrylic Prototype, which aims to balance strength and light permeability. The goal is to create a puppet that can withstand performance stress without requiring manual hole adjustments after laser cutting.

• Kunti

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Date of Entry: March 19, 2025

Following the formation of various puppet models, a selection process was conducted to identify those eligible for mounting and performance testing. The first four models chosen for evaluation included:

• Kunti (Older Brother)
• Karna (Younger Brother)
• Dronacharya (The Legendary Archer)
• The Tiger

• A 1/16-inch drill bit was used to create holes in the mounting sticks.
• These holes prevent the puppets from slipping off during handling.
• Sticks with one hole were designated for controlling arms or limbs, while sticks with two holes were attached to different parts of the puppet’s body for enhanced control.

• Metal wire was used to fasten the puppets to the rods while ensuring some flexibility to preserve the puppet’s structure.
• Gaffer's tape was applied to reinforce the wires and maintain stability throughout use.

• The wire attachments allow for easy removal and transfer of puppets between different mounting systems.
• The current design serves as a functional prototype while final production puppets are still being developed.

• The use of gaffer’s tape can compromise the durability of the control sticks over time.
• Some puppets, particularly those requiring acrylic reinforcements, remain in production. This is necessary for maintaining structural integrity, as excessive drilling weakens their frames.

At the time of this report, the Dragon puppet remains in development and requires acrylic materials. Additionally, other puppets with delicate structures may also need acrylic reinforcement. These prototype puppets currently serve as interim substitutes for testing and practice. If production delays persist and the final puppets are not completed in time, there is a possibility that these prototypes will be used in the final presentation.

The puppet designed for Seesha, the ancient serpent character, began as a laser-cut chipboard base. As the build progressed and spring mechanisms were added for movement, it quickly became clear that the structure needed reinforcement. Acrylic sheets were introduced to strengthen the form, and this change opened up creative possibilities for working with color and light.

During testing, I started applying theatrical lighting gels to the acrylic panels, allowing light to shine through the puppet and add layers of vibrant color. The idea was to give Seesha a luminous, otherworldly presence — something that would work well both on stage and on screen. The effect suited the character’s mythic, dreamlike role in the story.

The first round of gel installation didn’t go as planned. The super glue reacted poorly with the gel material, causing the colors to melt and bleed into one another. Surprisingly, this accident created a unique stained-glass effect. When lit from behind, the warped colors fractured the light in a way that resembled dragon scales — organic, unpredictable, and strangely beautiful.

Rather than scrap the idea, I leaned into it. Each of Seesha’s heads was fitted with a different mix of gels, representing shifting emotions and identities. The final result wasn’t part of the original plan, but it added depth to the puppet — visually and symbolically — and captured the spirit of the character more than a polished, symmetrical design ever could.

Through ongoing experimentation, chipboard has proven to be a versatile and reliable material for constructing humanoid puppets. Its lightweight nature and flexibility make it especially well-suited for stage performance, provided it is properly coated and reinforced. When treated correctly, chipboard offers the structural stability needed for smooth operation without wardrobe malfunctions or performance issues.

In contrast, we are still in the testing phase for acrylic-based puppets. While acrylic offers a clean, polished aesthetic and enhanced durability, it also introduces significant challenges. The material is considerably heavier when layered, which adds strain on the puppeteer during extended performances. Another major concern is the fragility of acrylic under pressure or improper handling—a drop or sudden impact could result in cracks or complete breakage.

Given these factors, it is important to use acrylic sparingly and strategically, ensuring that its advantages are not outweighed by its limitations. Our current research is focused on balancing visual impact with performative functionality, identifying the best use cases for each material within the production.

This documentation serves as a reference for future improvements and design iterations in puppet development.