The Green Bird

"FATA SERPENTINA" aka "TINA" February 2023. This puppet won First Place at the 2023 SETC in the Costume Craft Design Competition! Designed By: Aubrey Alomar. Lead Artisan: Aubrey Alomar and Volunteers! Puppeteers: Carolina Belangia (Head), Harper D

"FATA SERPENTINA" aka "TINA" February 2023. This puppet won First Place at the 2023 SETC in the Costume Craft Design Competition! Designed By: Aubrey Alomar. Lead Artisan: Aubrey Alomar and Volunteers! Puppeteers: Carolina Belangia (Head), Harper Davis, Lizzy Arnold, Lorien Lovell (Tail).

Here is the finalized sketch for "Tina," a large snake puppet inspired by the style and movement qualities of Chinese Dragon Puppets.

Here is the finalized sketch for "Tina," a large snake puppet inspired by the style and movement qualities of Chinese Dragon Puppets.

Here is a side profile of "Tina" during the Grotto of Music scene.

Here is a side profile of "Tina" during the Grotto of Music scene.

"Tina" suffocates Truffaldino the clown played by Isaiah Cook. The puppet was specifically designed for this blocking, the body was hollow underneath so the puppeteers could hide inside.

"Tina" suffocates Truffaldino the clown played by Isaiah Cook. The puppet was specifically designed for this blocking, the body was hollow underneath so the puppeteers could hide inside.

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This is the first maquette of the snake body. It was an experiment in the form of the body and the distance of the rods that would hold the puppet up in the air.

This is the first maquette of the snake body. It was an experiment in the form of the body and the distance of the rods that would hold the puppet up in the air.

Here is another angle of the first maquette. Originally I had imagined the body of the snake to connect to the head of the actress playing Fata Serpentina, but then I later changed the idea into a separate being all together.

Here is another angle of the first maquette. Originally I had imagined the body of the snake to connect to the head of the actress playing Fata Serpentina, but then I later changed the idea into a separate being all together.

This is a maquette of the head of the puppet I made. I am interested in sustainability so I wanted to use as little materials as possible while also creating an easy pattern that I could scale up easily.

This is a maquette of the head of the puppet I made. I am interested in sustainability so I wanted to use as little materials as possible while also creating an easy pattern that I could scale up easily.

Here is a taped mockup of the snake body so we could see the scale of the desired body before purchasing materials.

Here is a taped mockup of the snake body so we could see the scale of the desired body before purchasing materials.

Some volunteers standing where the rods would be placed.

Some volunteers standing where the rods would be placed.

Puppet Party! Some volunteers from the cast came in to help cut cardboard because there were SO MANY PIECES. Big thanks to all the volunteers.

Puppet Party! Some volunteers from the cast came in to help cut cardboard because there were SO MANY PIECES. Big thanks to all the volunteers.

Our Production Manager Sadie DeSantis helping me put together the final head.

Our Production Manager Sadie DeSantis helping me put together the final head.

Here is the snake head after we put it together!

Here is the snake head after we put it together!

Here is another angle of the head.

Here is another angle of the head.

Here is the snake puppet after we transported it for the puppeteers to work with for the first time. This was before we attached rods.

Here is the snake puppet after we transported it for the puppeteers to work with for the first time. This was before we attached rods.

This is me creating paint samples for the gold sections of the snake body. I did a gold scumble on the first layer and then dry brushed vertical lines of highlights and low lights to create some texture.

This is me creating paint samples for the gold sections of the snake body. I did a gold scumble on the first layer and then dry brushed vertical lines of highlights and low lights to create some texture.

Here is a closeup of the paint sample I did for the majority of the body. Started with a scumble again, then I painted the star-like symbol on top. After I created these samples, a group of students painted the fabric for me because time was running

Here is a closeup of the paint sample I did for the majority of the body. Started with a scumble again, then I painted the star-like symbol on top. After I created these samples, a group of students painted the fabric for me because time was running low and I had other projects that needed my attention.

Here is the first layer of paint for the Fata Head. I sponged the head with the base color and added shadows during this phase.

Here is the first layer of paint for the Fata Head. I sponged the head with the base color and added shadows during this phase.

I then dry brushed highlights on the head!

I then dry brushed highlights on the head!

This may be my favorite photo from the entire process. As a puppeteer on my own time, it was thrilling to feel the puppet I had been working on for weeks, above me! It was fulfilling to see my vision come to life. Photo by: Jeff Weis

This may be my favorite photo from the entire process. As a puppeteer on my own time, it was thrilling to feel the puppet I had been working on for weeks, above me! It was fulfilling to see my vision come to life. Photo by: Jeff Weis

I also entered miss "Tina" into the Costume Crafts Design Competition at the 2023 Southeastern Theatre Convention and won First Place!

I also entered miss "Tina" into the Costume Crafts Design Competition at the 2023 Southeastern Theatre Convention and won First Place!

Here I am with my presentation of "Tina," I had a blast at the Convention taking a variety of classes! I also found a lot of friends just by juggling when I was waiting for workshops to begin.

Here I am with my presentation of "Tina," I had a blast at the Convention taking a variety of classes! I also found a lot of friends just by juggling when I was waiting for workshops to begin.

"THE GREEN BIRD" February 2023. Designed By: Aubrey Alomar. Lead Artisan: Aubrey Alomar.

"THE GREEN BIRD" February 2023. Designed By: Aubrey Alomar. Lead Artisan: Aubrey Alomar.

This is the last photo (from a video which is why the quality is poor) I have before "The Green Bird's" debut! I am still waiting on Production Photos so here are a few pictures that showcase my process making this puppet!

This is the last photo (from a video which is why the quality is poor) I have before "The Green Bird's" debut! I am still waiting on Production Photos so here are a few pictures that showcase my process making this puppet!

This is the final rendering for "The Green Bird" puppet. Dory Sibley wanted a puppet that was small but mighty so I came up with this format.

This is the final rendering for "The Green Bird" puppet. Dory Sibley wanted a puppet that was small but mighty so I came up with this format.

Here are some of my early sketches. I looked into the skeletal structures of birds to help me with the form of the body.

Here are some of my early sketches. I looked into the skeletal structures of birds to help me with the form of the body.

Here is a version of "The Green Bird" that could've made it to the stage but it was much too large for the Director's vision.

Here is a version of "The Green Bird" that could've made it to the stage but it was much too large for the Director's vision.

This is sketch that inspired the final size of the puppet.

This is sketch that inspired the final size of the puppet.

Here is one of the first mockups of the body pattern I created for the puppet. I used a yoga mat because it was $0! If you are looking for a bird body pattern, please feel free to email me and ask me for this one! Just remember to always credit patte

Here is one of the first mockups of the body pattern I created for the puppet. I used a yoga mat because it was $0! If you are looking for a bird body pattern, please feel free to email me and ask me for this one! Just remember to always credit pattern makers if you do chose one online!

Here is the yoga mat glued together!

Here is the yoga mat glued together!

Here is the wing pattern I put together. At this point of the process I was trying different ways to animate the wings (which was incredibly difficult with the amount of time I had).

Here is the wing pattern I put together. At this point of the process I was trying different ways to animate the wings (which was incredibly difficult with the amount of time I had).

Here is the wonderful Sanaa Chambers who volunteered multiple times during this puppet process. Here she is cutting out pieces for the first mockup of the Green Bird Head.

Here is the wonderful Sanaa Chambers who volunteered multiple times during this puppet process. Here she is cutting out pieces for the first mockup of the Green Bird Head.

Here is the First Prototype of "The Green Bird" head initially made of EVA foam.

Here is the First Prototype of "The Green Bird" head initially made of EVA foam.

Here are some feet I made using cardboard that we would later Papier-Mâché.

Here are some feet I made using cardboard that we would later Papier-Mâché.

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The final head! In the end, I used Papier-Mâché because it was strong, easy to paint, and also created a crisp sound when the beak closed which helped animate the creature. I initially wanted the beak to open with some kind of pulley system, but time

The final head! In the end, I used Papier-Mâché because it was strong, easy to paint, and also created a crisp sound when the beak closed which helped animate the creature. I initially wanted the beak to open with some kind of pulley system, but time was running out and I had previous experiences making hand-mouth puppets so we transitioned into that direction.

Painting "The Green Bird!" I used Ping Pong Balls for the eyes, but I would like to try clear ornaments for future puppets.

Painting "The Green Bird!" I used Ping Pong Balls for the eyes, but I would like to try clear ornaments for future puppets.

"MAGICAL TREES" February 2023. Designed By Aubrey Alomar. Lead Artisans: Aubrey Alomar and Leigh Engels.

"MAGICAL TREES" February 2023. Designed By Aubrey Alomar. Lead Artisans: Aubrey Alomar and Leigh Engels.

"THE MAGICAL TREES" puppets were created in essence of the apple trees from the classic 1939 film "The Wizard of Oz." This was more of a costume than a puppet, however I loved the draping process for this costume. It was a challenge.

"THE MAGICAL TREES" puppets were created in essence of the apple trees from the classic 1939 film "The Wizard of Oz." This was more of a costume than a puppet, however I loved the draping process for this costume. It was a challenge.

I began draping the body form in my bedroom. I loved the idea of roots pertruding from the ankles.

I began draping the body form in my bedroom. I loved the idea of roots pertruding from the ankles.

Here I experimented with draping fabric to look like bark. I honestly don't know what this application is called, I just really loved the volume the long strips created.

Here I experimented with draping fabric to look like bark. I honestly don't know what this application is called, I just really loved the volume the long strips created.

Here is a closeup of the bark texture I created. I thought about stuffing the strips with poly fill, but the fabric I chose in the end was thick enough that it wasn't needed.

Here is a closeup of the bark texture I created. I thought about stuffing the strips with poly fill, but the fabric I chose in the end was thick enough that it wasn't needed.

Here is the body of the tree sewn together before we added the bark texture. We covered the center seam with bark to make sure it wasn't seen. I chose Neoprene because it was thick and sturdy- I knew I would be able to paint texture onto the fabric.

Here is the body of the tree sewn together before we added the bark texture. We covered the center seam with bark to make sure it wasn't seen. I chose Neoprene because it was thick and sturdy- I knew I would be able to paint texture onto the fabric. Neoprene was also an amazing choice for the bark because of its thickness and ability to keep its structure.

This is me (on the right) showing my lead artisan Leigh Engels the draping technique I accomplished so she could continue the project while I focused on other puppets.

This is me (on the right) showing my lead artisan Leigh Engels the draping technique I accomplished so she could continue the project while I focused on other puppets.

This is "The Magical Trees" in process.

This is "The Magical Trees" in process.

Here is a midshot of the tree costume during the draping process.

Here is a midshot of the tree costume during the draping process.

Liam O'Toole stands as a tree for a fitting!

Liam O'Toole stands as a tree for a fitting!

Humphrey Hills in his fitting, also standing as a tree.

Humphrey Hills in his fitting, also standing as a tree.

Here is Liam backstage without the headpiece showcasing the entire bodysuit put together.

Here is Liam backstage without the headpiece showcasing the entire bodysuit put together.

Once again Sanaa Chambers creating branches for the tree costumes using cardboard and Papier-Mâché. Later in the process I realized that using Papier-Mâché wasn't matching the visual aesthetic of the body of the tree costume- the textures were clashi

Once again Sanaa Chambers creating branches for the tree costumes using cardboard and Papier-Mâché. Later in the process I realized that using Papier-Mâché wasn't matching the visual aesthetic of the body of the tree costume- the textures were clashing. So, my lovely friend Allie Hildebran sewed leftover neoprene into branch covers that truly connected the individual pieces of the costume together.

This is my first attempt at the face mask "The Magical Trees" would wear. I wanted to allude to the apple trees in Oz while putting on my own artistic qualities. I played with different types of foam and 3D aspects of the face. My goal was create an

This is my first attempt at the face mask "The Magical Trees" would wear. I wanted to allude to the apple trees in Oz while putting on my own artistic qualities. I played with different types of foam and 3D aspects of the face. My goal was create an eye that opened and closed- while we achieved this during the construction process, I don't believe they used it during the scene. There was already enough happening onstage that it wasn't necessary for the storytelling.

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Paint Sample!

Paint Sample!

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This is the face pattern I created for the tree mask. Please do not take this without emailing me first!

This is the face pattern I created for the tree mask. Please do not take this without emailing me first!

This was the last day I worked on "The Green Bird." It was opening that night, and I felt that the "magical feather" prop wasn't melding exactly to the puppet so I added some more feathers to the head of the puppet which created a more cohesive visio

This was the last day I worked on "The Green Bird." It was opening that night, and I felt that the "magical feather" prop wasn't melding exactly to the puppet so I added some more feathers to the head of the puppet which created a more cohesive vision.

Here is the paint treatment of the tree faces while we were painting them. The masks were connected to hard hats at this time. Looking back, I would have painted the foam before adding the hard hat because it would be easier to paint and would not lo

Here is the paint treatment of the tree faces while we were painting them. The masks were connected to hard hats at this time. Looking back, I would have painted the foam before adding the hard hat because it would be easier to paint and would not look as discombobulated.

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This is Leigh wearing the mask! This is when we added the neoprene covers to the branches, leaves to the ends of the branches for more color and texture, and velcro to the trees so the actors could rip apples off of them and throw them at Truffaldino

This is Leigh wearing the mask! This is when we added the neoprene covers to the branches, leaves to the ends of the branches for more color and texture, and velcro to the trees so the actors could rip apples off of them and throw them at Truffaldino.

"PUPPIES" February 2023.

"PUPPIES" February 2023.

"They're not babies... They're dogs!" -Smeraldina.

"They're not babies... They're dogs!" -Smeraldina.

If I had more time, I had an idea to add crowns and collars that matched the costumes of Barbarina and Renzo to allude to their status as royalty- but sadly I did not have the volunteers or the time personally to achieve this idea.

If I had more time, I had an idea to add crowns and collars that matched the costumes of Barbarina and Renzo to allude to their status as royalty- but sadly I did not have the volunteers or the time personally to achieve this idea.

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In the play, the twins Barbarina and Renzo as babies are transformed by the witch Smeraldina into puppies for a brief moment. We were lucky to find two corgi puppets in the shop that looked like twins.

In the play, the twins Barbarina and Renzo as babies are transformed by the witch Smeraldina into puppies for a brief moment. We were lucky to find two corgi puppets in the shop that looked like twins.

These puppies were found in the shop so they were free! I was very happy that we found them extremely early in the process so they could be off of my plate.

These puppies were found in the shop so they were free! I was very happy that we found them extremely early in the process so they could be off of my plate.

"THE SINGING APPLE" February 2023.

"THE SINGING APPLE" February 2023.

Here is the puppet we purchased. Our Director Dory Sibley desired an apple puppet in the style of muppets. I found the puppet online, but it was much too animated for "The Singing Apple" character we were going for so we had some alterations. If you

Here is the puppet we purchased. Our Director Dory Sibley desired an apple puppet in the style of muppets. I found the puppet online, but it was much too animated for "The Singing Apple" character we were going for so we had some alterations. If you are interested in this puppet, click the image for the link I purchased this puppet at.

Here are some sketches I had before we determined purchasing the apple would be the easiest solution. I had an idea that we could project the face of the apple onto a solid apple form so the apple could actually wake up. However, that was way too tec

Here are some sketches I had before we determined purchasing the apple would be the easiest solution. I had an idea that we could project the face of the apple onto a solid apple form so the apple could actually wake up. However, that was way too technical for the desired effect and also I would need a lot of time to animate the face and communicate with projections so that was scrapped pretty quickly.

Here is the apple after we added eyelids that lessened the excited-veggie tale vibes it arrived with.

Here is the apple after we added eyelids that lessened the excited-veggie tale vibes it arrived with.

Our last alteration was painting the inside of the mouth black to simplify the overall aesthetic.

Our last alteration was painting the inside of the mouth black to simplify the overall aesthetic.

Heres the apple grinning!

Heres the apple grinning!

Puppet Designer and Lead Puppet Artisan: Aubrey Alomar
Directed By: Dory Sibley
Assistant Direction By: Grace Gardner
Fight and Lazzi Choreographer and Director: Thom Penn
Dramaturg: Kevin Ferguson
Scenic Designer: Ashleigh Poteat
Costume Designer: Eric Hall
Technical Director: Jeff Chase
Lighting Designer: Chian-Ann Lu
Projections Designer: Kris Mollung
Sound Designer: Max Volpert