1.................... -. -- -. -- -. -. .. -:: a guide to :. .. .. .. .. .. .. .. .. .- .- .- -- -- .

~ animation ~- -. -- .. .. -. -. .- -. .. .. .. .. -. -. -: Ran Gilbert MIMC :. .-..1.1.111.111..111111..1.11.111.....

These guide and lecture notes were written March 1999 byRon Gilbert

They were written at the request of many fellow performers especiallyin view ofRons' variedand wide experience as an all-round general entertainer. Ron Gilbert has performed in theatres,

holidayvenues of various descriptions, stage, TV, radio, circus etc etc.

For over thirty years the name ofRon Gilbert has been synonymouswith qualityfrom his magicalbusiness, which now sells magical items world-wide.

In the early 90's Ron with his wife Carol, started producing glove and arm puppets to add totheir range of magical exc1usivesand achieved instant success with their famous dog

characters. These are now sold to America, Australia, Scandinaviaand Europe, such is theirpopularity.

Ever since Ron first introduced a glove puppet in his shows back in the late 1950's he hasextensivelyused these in situations to enhance the puppet and create greater animation.

Amongst childrens audiences he became well-known with his Thumper Rabbit and House.The routine and prop. being published in his first puppet book "Glove puppets, Routines and

Props. which has been re-printed no less than six times.

His recent puppet publication "Entertainingwith Arm Puppets" has been the activespringboard for budding entertainers who use such puppets.

Both these above mentioned books have become accepted as thebest commerciallyavailablebooks to date, on the subject, and these notes also

accompany his highly successful" Puppet Animation" video

Printed and Published byRON GILBERT MIMC

7, Woods View Road,Talbot Park, Bournemouth, Dorset, BH9 2LJ England

All contents remain the copyright of the author

PuppetAnimationI was persuaded to write these 'notes' by many other professional performers, since

apparently there are no other similarbooklets availableon this subject. Once these notes werewritten then it became a natural follow-up to make the contents into a mini-lecture. Thuswhat you have here, dear reader, is a compilation of notes that, hopefully,will put you on theright road to success, and hopefully avoiding all the pitfalls along the way that! fell in to!

Over the past ten years or so, (this being written in 1999), many entertainers have soughtto increase the variety and appeal of their acts by includinga puppet of some description.Although there are very many excellent specialistpuppeteers, the general entertainer usuallydoes not have skillsto work a puppet, concentrating usually on comedy, magic, maybe balloonmodelling, or clowning.

In the above comments I refer to both childrens entertainers and those who entertainadults.

For many years in a well known holiday centre, I performed an act basicallywith comedymagic, audience participation and climaxedthe act with a grand finaleof feather flowers!Gradually I introduced a glove puppet into my childrens act a puppet rabbit! what else?Having no one to teach me how to handle the puppet and the availablebooks at that timepretty well commercially unhelpful, I had to learn ITomhard experience as to what to do andwhat not to do, purely by audience reaction.

I watched other entertainers on TV who had puppets, (Sooty, Basil Brush, even thecomedy cartoon characters on film and TV etc.) and realised it was not the dialogue orconversation that the audiences laughed and enjoyed, but the antics of the puppets. I thendetermined that animationwas the keynote.

Since those early days I have seen so many entertainers using puppets, that in their handsare lifelessbits of fur and cloth. When the performer often starts to do something else andconcentrates, the puppets also go lifeless.He/she had forgotten that they were operating acharacter that was supposed to have life but through concentrating too hard they forgot tokeep manipulatingthe puppet. Thus the puppet only did somethingwhen it was supposed todo so. Yet in real life, any character continues to be itself even though the handler/performeris doing something else. Examine for examplethe successful ventriloquist and his dummy.Even though the performer talks to the audience, the dummy is still taking an interest onwhat is going on. Thus it is this reaction that makes the audience appeal to the character andstart to believe that the puppet is real.

Most enjoyment and laughter stems ITommischievousactivities. You have only to watcha short clip of a"cartoon filmto understand and realise this is true. The puppet can be creatingmayhem when the performer is looking away, but stops immediatelywhen the performer looksor talks to it. Audiences love this situation. It is almost like naughty childrenwho know thatthey will be scolded if the grown ups catch them out. Child audiences, as well as adult,

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recognise this situation and often look forward especiallyfor this misbehavior! It causes muchanticipation. Thus the audiences are attentive!

No matter whether you are operating a glove puppet, arm puppet or whatever, the puppetmust move, show attention all the time and be a live partner in your presentation and routine.The audience should always think of what they see as, you and the puppet, as two separateand distinctive persons. Much the same as the relationshipbetween a ventriloquist and hisdummy.

When using a puppet, there must be a logical development in the relationship of you andthe character. The puppet is there to take part in a situation or story that unfolds. It must takean active part in these proceedings, otherwise why have the puppet ?

To use the puppet successfullyyou need to understand and know about how the puppetachieves these necessities. And really, it is all very easy, as long as you start by realising andstrongly imagining that you have a live character with you. After a short while, once thepuppet is in your hands, no matter what you are doing the puppet will be moving and taking inthe surroundings automatically, as long as you keep manipulating. Stop manipulatingandthe puppet dies!

Think for a moment what expressions happen in everyday life. Smiling,grinning, crying,laughing, inquisitiveness,are just some. None of these require speech! Even naughtiness isan action.

CHOOSING A PUPPETThe choice of a puppet for your show is of paramount importance. First choice will be the

character of the puppet that you intend to use and thus what vou can l!et out of it!

So many performers see a puppet and purchase on impulse, only regretting their purchaseafter returning home and trying it out a few times. Perhaps you have fallen into that category?No matter, most of us have! Then think of the possibilitieswith your puppet choice. Think toyourself;

1. Is it biS!enouS!h? or too small?

The answer to this will depend uponyour particular needs. Do you require a hand(glove) puppet or somethingthat isfar bigger and more visual. Is it for static work(such as indoor shows at private parties) and therefore part of a show programmeor for walk-round promotional work? (Fetes, shopping malls etc).What exactly do you want the puppet for? Your own personal preferences andneeds will determine this.

2. Is it colourful enouS!hto be seen?

To establish good animation it is essential that the character puppet eventuallychosen can be seen. Not only seen, but easily seen. All of the puppets animationsmust be clear and concise otherwise the audience willmiss vital bits of by-playand fun. Thus a gaudily coloured puppet may look fine close up but at a distance thecharacter mayjust appear as a mass of colour with no defined shape. So whenchoosing a puppet, stand back, well away ITomit and decide for yourself as towhether it is really what you require. Does the puppet look good and a fun itemIToma distance? (Rememberingthat even with a smallglove type puppet you maybe asked to perform in a church hall, school etc, with an audience up to400 children. So what will the visibilitybe then?

3. Has it potential for expansion into various routines?

Most probably bird puppets have the least potential for routines.They may have wings but wings cannot pick up or hold items.Usually they have a smallbeak (mouth) and that too can be a hinderance,and restrict the possibilities. Dogs, cats and animals allhave good potentialsince they will have paws, a mouth, often a comicalhead etc. adding to thelong list of potential expansions on a theme.

4. Will I feel comfortable handlinS! this puppet?

Comfort is of the utmost consideration. If the puppet feels awkward to handleand manipulate then this is of course restricting. Probably the greatestconsideration is that your hand fits well and easily.Do not be mis-Iedby being told that the puppet will stretch through use.

They don't! Often performers choose a childs ready-made puppet hopingthat their hand will fit...eventually.But it rarely does!And pressure on the back of the hand when operating the puppetcan be quite tiring!If you purchase a puppet from a specialistpuppet maker then often the makerwill make a one-off especiallyfor you.

5. Will I look O.K. handlim! this puppet and not look silly?

Depending on your own size, the puppet that you use must be in proportion.A large plump person looks a little sillymanipulatinga very smallinsignificantpuppet. On the market there are childrens arm-puppetsand these too look quite sillyon a tall adult.Many puppet makers build puppets that are especiallydesignedfor the adult and are therefore proportionate to the adult size.Think too of the colour of the puppet, because the colour of the puppetmay restrict what attire you wear. For example a light coloured puppetwill show up better against a dark clothing, and vice versa!

6. Is it the tvpe of puppet that I reauire?

Again this is personal choice. If you are purchasing a puppet whether smallor large, the first question you need to ask yourself is " what or why do I wantit for". Is it for a routine that you have in mind? Is it for indoor or outdoor use?Are you going to build a 'set' for it, such as a hutch, box, house etc so that itfits nicely into an environment in keeping with its character?(See later notes on this). Also, according to the make-up of the puppet( felt, fur fabric, latex etc.,) will it get grubby or dirty quickly through use?Consider if using a light coloured puppet whether your make-up will stainthe puppet (Lady or clown, for example).

GLOVE PUPPETSA glove puppet is usually a smallpuppet that fits onto your hand -hence its descriptive

name. These puppets are normally of a soft material, fur fabric, felt, wool etc.

If using a glove puppet then the chances are that only a fraction of the puppets body willbe seen. This is usually the head, shoulders and arms with a little bit of the torso. Movement ismade by the first finger inserted in the head of the puppet and the thumb and second fingerinserted appropriately into the arms. Thus the puppet now has full movement and can shake itshead (head-finger moving from side to side also aided by the wrist flexing from side to side forgreater animated and exaggerated movement). By movingthe finger forward or backwards thehead of course may nod, look upwards and downwards. By bending the finger downwardsinto the puppets chest the effect is that the puppet is sulking or crying.

Try all these movements out for yourself in front of a mi"or.

Likewise, the fingers that are inserted into the arms can make the puppet hold or lift anitem, such as a smallbox, handkerchief, magic wand etc) even wave to the audience, scratchits nose, place both hands over its eyes as though frightened or even crying, play Peek-a-Boowith the audience, etc. etc. The puppet can now do virtually anythingthat a real person cando!

Now, before anyone in the 'true' puppet field writes in to me, I should explainthat theplacement of the fingers and to which fingers you use in the puppet is entirelyup to you as theperformer. There are 'classicways' but it all depends on what kind of handsyou have. Believeme there are a terrific range of hands out there, long, thin, fat, stumpy etc. Soyou mustchoose and experiment for yourself as to what fingersyou use to make the puppet operate in alifelikemanner. Above all, the fingers that operate must feel comfortable in the chosenposition. Sometimes it may be necessary to change fingers within the puppet to achieve acertain movement, but since the puppet is moving, then the change of fingeringinside will notbe noticed!

The puppet is made to turn to the left or right by turning the wrist in that direction. Thewrist is also used to bend the puppet forward to pick up items or to 'bow' and also to allow thepuppet to lean backwards.

Some glove puppets have a mouth movement. This is usually a thin buckram mouth orsimplyjust plain felt ( soft mouth). This added movement allows the puppet to presumablymutter or talk to you. It may laugh (with the mouth opened wide and the body shaking,) andof course the open mouth allows the puppet to pick up and hold items in its mouth.

Note, that in the larger puppets (such as the arm puppets,) it is possible to use the tips ofthe fingers to pull the fabric down over the puppets eyes from inside the headpiece, to achievea grumpy look. Conversely, when the hand in the head is straightened upwards the shape ofthe puppets head becomes thinner and taller given an impression of surprise and curiosity! Atthe same time as this happens it is always a good idea to lift the puppet slightly upwards fromits normal position. This helps the visual animation immensely!

ARM PUPPETSBy virtue of the name, this type of puppet fits onto your arm. The hand is inserted in to the

head and the body of the puppet encases your entire arm right down to the elbow. In mostcases these puppets also have arms which are made long enough to go around the performersneck, and look as though the puppet is cuddling or hanging on for dear life! These puppetsalso have legs which usually dangle. The correct position is for the performer, if right handedto insert the right hand into the puppets head, the first, second and third fingers and thumboperating the mouth. (Fingers in top of mouth, thumb underneath mouth). The right arm then,which is covered by the puppets body, is in a raised position, and the performers left hand thencomes across the body to allow the right elbow to rest upon, as though the puppet is beingsupported or sitting on the left hand. If standing in this position for a long time, the rightelbow can be supported by the right hip and even the left hand will easily support some of theweight, making it very easy to manipulate. This position allows the legs to hang down in anatural manner.

Don't ever allow the puppet to just cling or hang around your neck without the left handsupport unless seated. Or you can stand with one leg on a surface (chair) etc. and allow thepuppet to sit on your knee. Otherwise it looks awkward and unnatural. I have often seenperformers come on with an arm puppet, its arms clingingaround the performers neck withthe right hand and arm down at waist level! The puppet looks completelydead and lifeless!Correctly, the head of such a puppet should be at the same level as the performers ownhead. If you have an arm puppet try this at home in front of a mirror. Firstly raise the puppetinto the correct position (right arm bent at the elbow at 45 degrees to your own body) andrealise how natural this looks with the puppets head virtually level with your own. In this wayit becomes natural to look and speak with it! Then simplydrop your right arm so that thepuppets arms are taut and the puppet lies limplyabout waist level. See the difference.Notethe differencebetween life and 'death!'

ENVIRONMENTS FOR THEPUPPET

There is no doubt whatsoever that a puppet looks better and works better in a certainenvironment. What do I mean by that? Well, for example, a glove puppet rabbit in a top hatseems entirely natural, don't you agree? It is the association that comes into the minds of theaudience. Once the rabbit is in the hat then it becomes natural for the rabbit to perform sometricks. Again, a situation that the audience readily expects!

I have no qualms or arguments about the performer who just cradles a puppet in hisarms provided the puppet has been taken from somewhere else and is then replaced back tothat place. (i.e.. a cardboard box or trolley/table) but this position does, most certainly, limitthe performer to as to what can be done with the puppet.

Personally, I would recommend that the performer sits at his table/trolley or whatever, ona stool, (that is chosen by him as the correct height for operating,) and has his arm resting onthe surface to manipulate the puppet. This supports the arm and is less tiring for theperformer. In this way, the left hand is free to aid the proceedings and routine. Take, forexample, a suggested routine that I offer with my puppet rabbit in hat, which may,incidentally,be used either in a standing or seated position. The puppet in this case is securelyfixed in the hat and is operated by placing the hand through an opening in the hat into its body.Now, with this type of routine it is possible to bring out the hat (with the puppet hidden downinside the bottom of the hat) and stand in front of the audience with the hat, asking" what doyou think I have in this hat?" The audience will reply a 'rabbit' sinceyou hold a black hat!Then it becomes necessary for the rabbit puppet to make its appearance. This is simplyandeasily (and logically) achieved by the followingmovements. The hand now needs to beinserted into the back of the hat and into the puppet. But believe me, there is no way that youwill do this in ~ movement!

Begin by holding the hat at the front with the left hand, the performer peers into the hatto see whether he can see if the audience is correct. Whilst doing this, the hand is inserted intothe rear of the hat and starts to be inserted into the rabbits body. To operate the puppet, ashas been said before, the hand needs to be a snug fit and comfortable. So, just as the hand isgetting slightly'stuck' and now needs the body slidingonto it (like putting on a glove), the lefthand retains its grip on the front of the hat whilst the other hand pushes into the rabbits body.This will prevent any premature movement of the rabbit within the hat. However, once youhave got so far, the difficultywill be in inserting the forefinger into the rabbits head with thethumb and middle fingers inserted into the rabbits paws!

This is again, easily overcome by doing the following. To allow easy access into the headand paws as mentioned, the hand will disturb the rabbit puppet and most probably the head orears will rise above the hat brim. This is ideal,for it now appears that the rabbit in the hat isstirring and awakening! The audience see its ears flip up and part of its head rise. The lefthand therefore needs to hold the head whilst the right hand fingers are pushed and fully

inserted into position. Ideally then, the left hand restrains the rabbitfrom escaping too earlyfrom the hat And the right hand fingers have all the time in the world to make themselves fitand be comfortable! Once in position, the left hand can relax and return to holding the ITontand base of the hat and all the audience have seen is presumablythe rabbit stirring and tryingto get out of the hat. Compare the above to putting on a glove at home. You need theassistance of the other hand to do so. Getting the rabbit onto your hand is no different.

Once the puppet rabbit is in the 'operating mode' then it may sit up look all around at theaudience and take great attention as to what is going on. Remember it has been asleep and itsreactions are no different to anyone elsejust awakening. You are now ready to continue withyour routine. Again, when the rabbit has finished and wishes to go back (to sleep) within thehat, the right hand withdraws and the left hand gently pushes down on the puppet to return itto its original position. Then the hat may safelybe put away!

Can you see how natural every movement appeared and that there were logical reasonsfor every action taken? It is exactlywhat the audience would have expected. There is ~any need to rush these things. Please always bear this in mind.

Other environments that can 'house' a puppet are in fact, miniature houses. These can besquare or properly shaped withflip up roofs. The puppet would already be inside the houseand brought in view. The performer would describe the house and sit down with the handready to be inserted within the puppet. In these cases it is possible to push the hand into thepuppet by pushing and jamming the puppet into an inner corner, as a type of 'stop', to allowthe hand to get inserted. Obviouslythe left hand will need to restrain the house on the tableotherwise you'll push it offi

Now more fun can ensue with the puppet peeping out a little ITomthe raised roof of thehouse. This is a popular movement and delights all audiences. The audience will always see thepuppet but you never do! Until required, that is! This also starts much audienceparticipation and certainlymakes the audience thinks there is live movement ITomthe puppet.From this point the routine can go ITomstrength to strength, with the puppet bringing outvarious objects ITomits house or even various tricks to perform. Strings of sausages orcountless foam bananas making repeated productions are hilarious!

Remember too that by making the puppets' actions 'naughty'you will get greater attentionand more laughter. This also can happen with a dish-mop which the puppet may find instead ofa magic wand and then keep tickling you in your ear or under your nose, to the delight of theaudience! Or perhaps you give the puppet an article, ( silkhandkerchief) to place within hishouse and he keeps throwing it out especiallywhen you are not looking!

Noisy items can be added for fun. If you search the toy shops you will find many smallitems that rattle, squeak, make funny other noises etc. and when these are added for extra funthese sounds add another dimensionto your routine.

Other examples of environments for puppets in addition to a hat or a house, are a basket,small theatre stage (where the puppet can perform) a Toy Castle, (maybehaunted etc. foradded fun), a Toy Garage where the puppet can repair a toy car. Place your puppet into asituation which is complimentaryto its type/design/style.For example, a clown puppet would

look great in a circus box, a rabbit in a top hat or hutch. Animalpuppets could be in a cage orzoo box suitablydecorated or even a 'crate' type of box, labeled "LiveAnimal"

Whatever situation you decide for your routine with the puppet of your choice, it willalways help ifthe surroundings to that puppet are complimentary.Even a smallbackdrop isuseful. A puppet dressed as a mechanic would look good against a garage backdrop.

Maybe a field as a backdrop for a puppet rabbit or other animal?

If the audience see a puppet with a background or prop. that is associated with that typeof character then they are far more likelyto believe in the characterisationthat follows sincetheir minds are automaticallydrawn in to a familiarsituation.

Similarly,very young childrenwill react with a puppet if there are large playbricks in theroutine or any items with which they are currently familiar.Do not make the mistake of tyingin any prop. or situation with the puppet if the visible connection is not easily or readilyapparent.

The last thing you want is for any audience to ask themselves "whyis that there?" ... or"That looks completely out of place!"

PROPS.In the toy shops there are some very realistic plastic tools, such as spanners, hammers,

pliers, saws etc. etc. and I am certain that any visit to your local toyshop will be an inspirationfor ideas and routines.

So too, will you be able to find plastic imitation food and vegetables ( used for childrensplay kitchens) for further 'food' for thought! All of these are ideal for puppet size.

Whatever type of puppet you have the routine will much stronger if you build the routinewith suitable props. around the character. For example, rabbits seem always to be associatedwith carrots...the bigger the better for fun and visibility.Also lettuces and there are many goodimitation ones available.Why not even try looking in specialistCookery Shops where theyhave a range of imitation vegetables and fruit for kitchen decorations?

Dogs of course are associated with bones, and toy balls etc. and the local pet store willhave a great range on offer of squeaky fun items (for the real pets!). Similarlythere are itemsavailablefor birds, cats etc.

On the subject of props. dress your puppet in somethingdistinctive to add that specialtouch. A bow tie for the rabbit? A collar for the dog or cat? A hat maybe? A scarf?Sunglasses? or spectacles? The list is endless and only requires your own imagination.

All these items make the puppet more fun and a better character and add to thevisual impression of the animation.

A FEW DOl AND DONITS!Although very funny on film and TV, the fact that the puppet can squirt water or Crazy

Foam should not be attempted within the confines of a house, hall or fete. Many parents getannoyed if this Crazy String gets onto their childs clothes ( it can stain!) and parents mostcertainly do get annoyed ifthe childs clothes get wet! Apart from the mess that you will haveto clear up, (and many do not even bother!), I would suggest that you avoid situations where amess is involved. Even to event of the puppet throwing confetti etc.!

Bangs too, are best avoided even more importantly when entertainingthe very young.Any situation which disturbs a child can have drastic effects on that child for a long time andmay even possibly put that child 'oft' entertainers that it may encounter, for its young life. Thismay be at a private party, a school show, a fete etc.

Many times I have had parents relating to me various incidentswhich have frightened theirown childby inexperienced entertainers or so-called 'entertainers'. Unfortunately, manyamateur clowns and magiciansfall into this category in my own experience, most probablybecause of their lack of understanding children and their behaviour pattern. Years ago themajority of entertainers were professionals,but these days, to supplement income, people areturning to part-time entertainment especiallyat weekends to earn extra money. It stands toreason therefore that their experience must, of necessity,be very limited. In areas where thereis low employmentoften a person will think that they can become an entertainer 'overnight'.Just grab a funny wig, a clown suit maybe etc, and they think they can entertain. Sadly,hypingup the children adding bangs, using squirt items etc. does not work. Sadly too. thev don'tknow it!

SUMMARY OF BASICMOVEMENTS AND

VISUAL ANIMATIONEFFECTS

LAUGHING This applies to both the glove puppet and the arm puppet, using thefingers and thumb to open up the mouth quite wide. Tip the head back using the wrist andvisiblyshake the puppet from the wrist as though the puppet is quiveringwith uncontrolledlaughter. Addedvisualimpactcanbe byrollingthe puppetbodyfrom sideto sideandalsobybringing the head down to the chest and back up again. All of these are completely in line withanimated cartoon characters that you are familiarwith.

CRYING and SADNESS This movement requires the head to be bent forward slightlywith both paws held against the face (eyes). A slight occasional forward and backwardwobble helps the effect, just the same as a real child or person crying. Sadness is the same butwithout the wobble movement,just using the paws over the eyes and, if possible trying topressthe puppetagainstyourownbodyasthoughthe puppetis askingfor comfort.

PUZZLEMENT and THINKING Here the puppet needs one paw against the side ofits head with the tip of the finger bent and flexed as though the puppet is scratching the side ofits head. Suddenjerks to look up at you also help as though it is looking at you for help.

SLEEPING The puppet can achievethis by either falling sideways slowlyin a proneposition, fall backwards, similarfashion or, in the case of the arm puppet, simplyfall sidewaysprone at the full stretch of the arms. This position for the arm puppet also aids the effect ofbeing hypnotised and fallingasleep. Other helpful aids are that the puppet can slightlyappearto 'nod ofi' just before sleepingby fallingvery slowlyforward and awaken suddenly beforerepeating this again and again until it collapses!This always causes great audience merriment.

POINTING This movement is fairlyobvious since one ofthe paws/hands is extended(finger) in the direction of the object that is required. Just like pointing with your hand/arm toan object yourself More fun can be had with the puppet pointing out something then turningto you and prodding you, if you are not taking any notice! This continues with lots of fununtil you do actually take notice. Such situations can add tremendously to audienceparticipation, especiallyif a hankerchiefhas been dropped etc and the puppet is trying to drawyour attention to this.

PICKING UP and HOLDING ITEMS Again the fingers control the paws to grip thenecessary object. Always make sure that the object is not too heavy otherwise your grip may

slip through the fabric. Most holding movements look slightlyclumsy, ( to enable you to get agood firm grip) yet the visual effect is very strong! If the puppet drops and object (throughyou losing the grip) the situation is easilyrecovered becauseyou blame the puppet!

PICKING UP and HOLDING This can also be done using the mouth ofthe puppetproviding it has, of course, a moveable mouth! The moving mouth offers many extrapossibilitiesof fun. By cutting a short slot in the rear of the mouth, ( where it hinges) thepuppet may also swallow handkerchiefsetc. This is done by pullingthe object back throughthe puppets mouth ( throat) until it disappears. Thus a puppet could also swallow a magicwand.

INOUISITIVENESS Examine again, the actions used by cartoon characters etc. Theeffect is done entirelyby using a paw/hand to scratch the top of the puppets head, tipping thehead slightlyto one side each time. Again, allow the puppet to look at you as if for furtherhelp and guidance.

As a general guide, examine all cartoons, both onfilm, TV andalso in comics. The artists impressions will always convey an

expression of the situation.