Because this was a commission and not a personal project, I started with a requirements document that was shared with the client and my portfolio teacher. This document stated all the functions the puppet needed to be able to perform, and also included some concept art.

Because I hadn’t made a puppet with all of these specifications before, I did some research and testing before building the first avocado puppet. I created a project plan with specific information about how I would accomplish each requirement, then made a separate puppet testing that specific requirement. These puppets were simple and not very visually appealing, but adequate for testing the rigging. My research document shows the specific steps I took to rig the puppet, as well as any online resources I used.

Usually, my next step would be to create some simple art as a placeholder for the final avocado art, then create a full prototype puppet with the same rigging as the final version. However, because I wanted something to show on my portfolio and can’t share any of the avocado art online, I created a pineapple puppet with similar rigging to demonstrate here.

This project was my AP English Literature class final, but also the last project in a unit about how stories can change over time. We read many different versions and adaptions of King Arthur, and I even analyzed Monty Python and the Holy Grail as part of the class. The drastic differences in tone and characterization from story to story reminded me of a D&D party, with each player having a different impression of the campaign. I decided to embrace that for my final and show iconic moments from the stories as relatable D&D moments. I used the styles of YouTubers like Thomas Sanders and Ryan George as inspiration for the style and layout of my video and used music from Monty Python during the transitions.

Each of the characters was actually based on their hat first. I gave each character a different style of hat that fit any consistent characterization they had in the source material, then assigned each one a basic characteristic that seemed to match. For example, Arthur is a child king, so I gave him a large, awkward hat and lowered my chair a bit.

Many of the visual gags in the video actually originated from mistakes I made during the filming process. For example, I completely forgot to film for Mordred after the first clip. Instead of setting up to film again, I decided to distort Mordred’s first clip, then progressively decrease the quality of his internet connection. Similarly, Lancelot knocking over the dice tower was a happy accident when editing the clips together.

Because all my dungeons are homebrew, or self-made, I always start my maps with a sketch detailing the shape and relative proportions of the entire dungeon. I try to balance monsters, ability challenges, and puzzles in my dungeon to make sure that everyone has fun. I also try to stick to a certain theme for each dungeon. Here is my sketch for Chasm’s Keep, a water-themed vault and test for worthy adventurers.

Next, I separate the dungeon into individual maps and create a more detailed sketch for each. These sketches include more specific notes with information about everything I need to include in the final map.

Finally, I draw my final map on graph paper, using a pencil for the basic shape, then inking it in with a pen once I’m satisfied with the shape of the walls. I use a thinner pen to add detail to the grid. Usually, I make the grid look like a cracked stone floor, but if the dungeon has a different theme like a forest cave or wooden building, I change the design of the grid to match. I use a grey marker to make the shadows and more recently I have started using a darker marker to shade things like trees, bushes, or deep water.

The graph paper I use is printed in a special color of blue ink that my scanner cannot pick up. This is the same color as the ink professional illustrators use for “jester sketches” and means that I can make everything in my map proportional without having to erase the grid later in Photoshop. I do, however, make a final pass in Photoshop to fix any mistakes and crop the image. Here is the final scan of the Cyclops Den.