Puppet Making Course access details

October 2021 - further edits 13 February 2023 - Edited March 2026 - new ISSUU link

Online Puppet making course with Artist and Puppet Designer Corina Duyn. After more than 50 years of learning and three decades of teaching, Corina is no longer able to create puppets, or teach. However she made the decision to share all the very detailed course instructions publicly via 2.5 hours of Youtube videos.  In march 2016 a newly compiled book with in total 85 pages with step-by-step written and photographic instructions books has been published on her ISSUU channel.

See https://issuu.com/littlewings/docs/puppet_making_with_corina_duyn

These are for both basic and more advanced puppets. Learn how to sculpt a clay head, hands and feet for a puppet with DAS self hardening clay. How to make a wooden or cloth puppet body, assembling instructions, and suggestions on painting, and dressing/hair.  As well as two cross samples, how to string up your puppet and animate it. Sculpting instruction also applicable to create a doll, or bust. 

Please note that all the material was created during a time Corina was still teaching, so any comments to ‘get in touch’ is no longer applicable. It course is for your personal use only. Having followed this course does not mean you can teach this course using my material. Thank you for your understanding.

 I hope you will enjoy embarking on this creative adventure. When your puppet is complete I love to see images of it. With every best creative wish.

Corina Duyn 2019/2023/2026 Corina Duyn © 2019 www.corinaduyn.com 

Course access made public October 2021 - further edits February 2023.

For links to more of my work in puppetry see: Puppetry webpage, or explore the many articles and images on this blog, including: 50 minute video lecture on the Power of the Puppet  is available on HERE And See summary of my work in “23 year long creative history of living with M.E.” 

Website www.corinaduyn.com

Blog www.corinaduyn.blogspot.ie

Youtube channel https://www.youtube.com/user/flyingonlittlewings

Instagram www.instagram.com/corinaduyn

Facebook https://www.facebook.com/corina.duyn.7

‘The Girls’ © Corina Duyn 2017

COURSE DETAILS General Overview: ISUUU books   And YouTube videos 

In detail: 

Introduction and general information for your course:

• Please read: Introduction and general guidelines in the newly compiles course document on ISSUU: 

https://issuu.com/littlewings/docs/puppet_making_with_corina_duyn

• For a glimpse into my [previous] Little Wings Studio: https://youtu.be/s7Oa8-0lKgk (1.47)
• Important Sanding instructions: https://youtu.be/yke3zQgZ3d8 (2.04)

In my course I recommend the use of white DAS air drying clay as other brands have different drying properties and may shrink too much which causes problems. DAS is very strong and can be used to sculpt very fine details. 

https://www.corinaduyn.com/site/puppet-making-course/

March 2026 - all sections of the course are now in the one document: https://issuu.com/littlewings/docs/puppet_making_with_corina_duyn

Sculpting the Head

The videos and ISSUU documents are interchangeable between using glass eyes and creating sculpted eyes. I suggest you watch, and read both at each step of the sculpting process. The (2.04) indicate length of the videos Please make sure to watch the Youtube videos in HD

• Introduction; creating the base; sculpting the features; sculpted eyes; and alternative suggestion to add the head to a bust (in stead of making it into a puppet),

• Starting the base of Head https://youtu.be/YUlf1zsD6X0 (10.08)
• Building up the face- (glass eyes) https://youtu.be/EvZbDlTKzHA (8.04)
• Building up the face- (sculpted eyes) https://youtu.be/R6FltP40F8w (7.26)
• Nose, lips (and eyebrows for puppet with glass eyes) https://youtu.be/b782Lj-t9TI (13.57)
• Sculpted eyes, and adding cheeks: https://youtu.be/zJ8-EYmFJek (11.05)
• Adding features & ears: https://youtu.be/5WlXQAozgzE (15.57)
• Finishing the head and neck: https://youtu.be/CYGp2X4jdKU (3.10)

Hands and Feet: 

The videos and ISSUU books are interchangeable I suggest you watch, and read both at each step of the sculpting process. The (2.04) indicate length of the videos. Please make sure to watch the Youtube videos in HD. For a master class on these, please contact my mentor and teacher Marlaine Verhelst.

• Introduction and instructions on sculpting Hands and Feet
• Sculpting “Easy Hands”: https://youtu.be/ElKWN_IOCjs (4.42)
• Sculpting Detailed Hands (1) base/fingers: https://youtu.be/wq9dH_cYKYs (17.3)
• Sculpting Detailed Hands (2) detailing: https://youtu.be/ANHqP5-ncRM (9.22)
• Sculpting the base for Feet/shoes: https://youtu.be/kGmY-hwtw-8 3.41

Body and Cross

• Introduction and instruction on wooden puppet body and cross, and how to animate your puppet
• See design of body used in the course below
• Assembling the wooden body https://youtu.be/ALjK0WxLnIM (8.14)
• Assembling puppet and cross, adding strings, and stringing up https://youtu.be/vOV235Tu4q8  (15.31)
• Animating your puppet https://youtu.be/cby6fJ9N6es (5.50)
• Alternative cross https://youtu.be/fg5p77Aa_ZY  (1.08)

Painting and clothing/hair suggestions:

• Introduction to painting the clay parts, and some suggestions on clothing and hair styles; 
• Painting:  https://youtu.be/RE4VdXNVWXI  (21.08)
• Painting sculpted in eyes: https://youtu.be/qdHc-rZR7Ok  (10.24)

My first doll and puppet ever made

 It was a beautiful experience to hand over the little man in the basket yesterday to its new minder.

The cloth doll is obviously not my most amazing work, but perhaps the most significant. It is the first ever doll I made at the age of ten. Nearly 50 years ago.

I had already made a few dolls clothes by then on the singer sewing machine and also by hand. Some knitted. 

My parents were on holiday, not sure where my older siblings were, but in any case, I was staying with an aunt and uncle for a few weeks. Cycling to school every day. With the hep of my aunt I made this doll. It was the starting point of a life long doll making adventure. Initially using cloth, then paper mache heads, using a plastic mould and putting a nylon stocking over it. I started borrowing books from the library and learned more and more techniques. My mother following my lead. 

I made the first puppet at age 15, following the instruction of the first doll making book I bought. And still have.

The puppet body template, and some of the starting process of making the base of the head I still use in my online teachings tutorials.   I remember sitting at the dining table to cut the wooden body with tools my dad had given me for my previous year’s birthday. He passed away when I was 14.

Both these pieces are up for adoption. Email or message me if interested. 

Again, all funds raised are for future support, both living, and creatively.

The first doll’s clothes have faded a little over time when she was sitting on the window sill in my studio. Enjoying the morning sunshine. 

The clown puppet is a fully working marionette. Obviously my sculpting skills improved a great deal over the decades. But for a first attempt I am still quite proud of him. Including the detail in the clothing. 

Many thanks 

Puppetry, as a reflecting on life with illness/disability

The Two Dancer Puppets for the "Reflection" project are on the go since 2013, but I restarted working on them about two months ago. Read more about that HERE.

Puppet making has many, many steps. In terms of the creative process, but also emotionally....

If I like it or not!

'Hanging out'

Making

Sculpting the heads, the hands, the feet/shoes. Assembling the bodies. And for this project, of course there is two of everything. Herself, and her reflection... (A disabled puppet sees her dancing reflection in the mirror)

Broken bodies

Seeing these bodies side by side. In all their nakedness, a friend commented on how this also represents my story. The story of illness, of disability, of fragility, of a broken body in a way.

How true.

'But', I said'. 'They will be dressed, of course!'

'Of course.'

But isn't that a story in itself. 

The assembling of the bodies, the painting, dressing up and all, covers up the reality of a fragile body. A puppet body which can not function without support. Support of strings, and glue, and wires and a cross to manipulate movement. My body, which can not fully function without the support of mobility aids, of society, of friendships...

Putting it all together

Last week I started painting the heads, hands and shoes.

A process which is divided up in four stages. Two different undercoats. One 'wash' with watercolour paint, and finishing off with varnish. Before being attached to the body for good.

box of painted body parts, paint, brushes etc

The puppets became little beings.

I just love this photo of the puppet (its reflection) showing off the new socks.

I think there is a sense of fragility in it. But also a huge sense of pride.

I think this is one of my favourite images.
Fragility.
And pride.

In the last few days I have started to work on the clothing.

Clothing cut, and yet to be sewn and fitted

Oh, how I wish I could just stay in the studio, and finish the clothing. And not be in tears from the pain if stay any longer than 15 minutes behind/near the sewing machine... 

I am re-learning how to find the best posture, use the most appropriate chair, and most of all, to set my alarm.

So, all in good time, one day at the time, one small step at the time, the girls are getting dressed.

trousers fitting

Holding herself upright with her walking sticks

Saturday's session: first shirt in the making

And while I work away on the puppets, Dominic Fee is working on creating the movement of the puppets. I love collaborating with an artist of such calibre.

 Jimmy: "At last I made it onto a stage!"

Jimmy, my at least 25-year-old puppet, has travelled to Cork to be a 'stand-in' for the 'girls'. And how proud he looks! 

The 'stage' is Dominic's art: "DLV (DIMENSIONS, LOCATION VARIABLE) is a modular, interactive, open-ended artwork, made in 2013, consisting of several hundred wooden components which can be assembled together in many different ways." 

Jimmy with Dominic Fee's DLV artwork

The DLV artwork proved to be an incredible platform to facilitate the movement of the puppets. Dominic first trial had Jimmy move his arms, with the help of a small motor, and strings leading from the puppets via the DLV structure.

Incredible stuff.

Watch this space for updates!

Art and reality 

Over the years I have come to realise that my art reflects the stages of my life (with illness). Usually after a work has been completed. Sometimes I see this only years later... Reflections of growth, of hopes, challenges, and desires.

As this puppet project had a four year lead in period, in which my health took many a challenge, I can only hope that the movement, the stepping out, shown here, will in some way reflect my own present personal reality: the wish, and ability to dance. 

At least let me trust the reflection in the mirror - the movements which are possible in my mind's eye. 

Puppet Reflection

I have come to accept that certain art projects take years to grow from the initial seed (idea) to a finished piece of art, with its own story to tell. My dance puppets are one such project.

Heads drying on the stove.
The shoes- also drying, were a handy way
to keep the heads upright... 

Looking back:

I found this abstract From a blog post in March 2014:

"... During my residency at the Tyrone Guthrie Centre at Annaghmakerrig [September 2013] I was invited to visit the dance studio. When I made my way up there, the person who had invited me was not there. Walking through the door I was faced by a full wall of mirrors.

Unsettled by my reflection, I turned around, sat down, and observed the beautiful views from the large windows: the greenhouse, Annaghmakerrig House, fields, and trees. Lots of trees. A robin landed on the wall in front of me. A playful dog ran back and forth (danced?) along the patio, his owner not to be seen. Listening to a reversing tractor making a sound like a musical instrument, I decided it was time to look around and face the dance studio mirrors.

I walked, slowly. Stood still, two canes holding me upright. When I moved the canes behind my back I looked pretty normal. I could be that dancer. But looking with intend into my face, brought sadness.

Here was the reality: I am disabled. Rely on canes to walk. Can only stand steadily for a few minutes. Away from mirrors I generally do not see my life to be so much different from the ‘healthy’. 

I needed to trust my body, trust I can dance. In my own way. 

As a result of this encounter, the puppets I was working on which were to represent dancers, changed from two healthy dancers to one disabled dancer seeing her healthy reflection in the mirror.

In art I can be who I want to be. In art I have danced. ..."

I had started to make one of the heads four years ago... But life took a different route. And I was not so sure about the head I had created... It was different from my usual more whimsical faces. 

Over the years other sculptures were started, and finished. But this one head remained in my studio. Untouched. But not forgotten. 

Starting the puppet making workshops in my studio 8 weeks ago was the catalyst to resume working on the Dancer puppets. (Of course the whole puppet adventures have taken on a life of their own as well. See below for link.)

As I wanted to have the puppet face itself in a 'mirror' (I intend to use framed plexiglass as a pretend mirror), I had to find a way to copy the head I had made. I decided that the best way to do this was create a plaster mould. Having made the copy of the head with DAS air drying clay, I was able to change the facial features some bit, to a more open, happy face, while the clay was still wet.

Dancer Puppets in the making.
One with walking sticks,
the other more free in her movements

I have assembled two wooden puppet bodies. The parts made with the help of my brother Joop, and IWA puppet maker Paul.

I made two individual sets of hands. One set to hold on to the walking sticks. The other with a much more movement in her arms and hands- even her wrists. (I moulded a piece of rope from a roller blind between the hand and forearm)

hands in the making. Adding one finger at the time

Hands in progress

The puppet with the walking sticks will be pretty much stationary when facing the 'mirror'. The other one- the reflection of herself in the 'mirror' I would like to be able to move. To Dance!

This will be an exciting adventure too. 

Of course the puppets can be manipulated manually... like the puppets in Life Outside the Box but I am also exploring how the puppet in the mirror can move with the help of a little motor.  

This part will be created in collaboration with Cork based Artist Dominic Fee .
I am so excited!

Today, eight weeks after having resumed this project, I have applied the first of four layers of paint/varnish on the puppets. Over the next few weeks/months, I will look for the fabric, and design the clothing, decide on hair style, and finish the painting process.

And suddenly, the puppet and its reflection in the mirror are becoming little 'people'.

Watch this space!

Further reading:

• See the full Dance story of 2014 
• Adventures in the world of puppetry 
• start of puppet making workshop
• The Life Outside the Box puppet blog
• Artist Dominic Fee

Puppet making workshop

It has been a while since wrote my blog...

Writing time on the computer is limited. Like anything else in life, priorities had to be made.

As you might have read, for the past while I had to dig deep to find my balance again. To find the trust again in who I am as an artist and writer living with chronic illness.

I dug deep. Literally in the soil of my garden, and metaphorically in my being.
Sorting what could go: plants, stuff, weeds, people, thoughts, situations. I looked back at what works for me, where my life's interest are, and being (somewhat) realistic where my capabilities lie. Anyway, I know that all of this was to make space for new adventures.

The Life Outside the Box Puppet project, which I facilitated a while back with my fellow members of the Irish Wheelchair Association (IWA), is a project dear to my heart. I loved working with my fellow members. To see them grow in confidence. To explore how they could make the puppets. To be part of the laughter. The joy. To see how to project was welcomed outside of the IWA. Out in the community.

I am ready to see how I can develop my ideas further, also in practical terms. I have made some amazing creative contacts of late, who have all supported me to make this next step. The Puppet Symposium in a few weeks, is a wonderful opportunity to make valuable contacts in this new field of research. And have applied for a Arts Participation Bursary from the Arts Council.
I am stepping out of my box. Out of my cocoon.

SO...
And I am excited to say, that I am getting my studio, and mind, ready to welcome my first three puppet making students. We are starting in a few days!

Ready for the first puppet making workshop

supervisors

puppet in the making... (with walking sticks)

this is how it will all begin

The Little Wings Studio

See more about my projects, and ideas, HERE

Closing, and (re)opening doors

Yesterday was one of those days...
It started off with the challenge of pretty bad fatigue accompanied by pain. Inflammation of some sort? Anyway, the way brightened as it went its merry way.

Post arrived

I am still a great believer in the beauty of receiving post via the letterbox.
A letter accompanied by printed photos. Thanks Moira.

page from Hatched

And a letter with an appointment for the MRI. At last I have been given a landing slot and can stop circling the skies. It is even in time before my appointment to get the results from the neurologist. (I had appointment for result, but no date for test). Logic, it seems, has prevailed. Or perhaps the stern letter from my GP worked. Whatever the case, I have an appointment. I hope of course that is it 'just ME' or old age setting in, and not something else to scare me. But whatever comes up, it is already there. I just don't know a name for it.

Closing one door

To clear the way to follow my desire to teach again, as I wrote the other day I decided on closing one door, to be able to have energy to open another.
I would dearly like to find ways to facilitate puppet workshops with people and groups in them community. To reach out to people who could benefit from being involved in the creative process. The puppet project (and similar I had done, prior to illness, with teenagers in a group home) brought the value of this clearly into focus. As teaching would take a great deal of my energy, I decided that I can no longer go to the Irish Wheelchair Association (IWA) resource centre. (It is there where I facilitated the Life Outside the Box Puppetry project.) I have been going to the centre as a IWA member for a few years, but feel it is time to move on. It is not a place I can further grow. And teaching, I know, would be my one big event in the week, so I closed the IWA Resource Centre door today.

Opening a door to the past

As it happens, as life seem to happen in its peculiar ways, soon after I emailed my letter off to the IWA, a young woman from Finland made contact via Facebook. The name rang a bell... She and her friend were my students shortly before I became ill in 1998. They were about 17 at the time and stayed with me for a month to learn the art of doll making as part of their art college course in Finland. We did not have contact for at least 17 years.

So here I am, on a day when I make a firm commitment to myself to go back to teaching puppetry and Doll Art, in some shape or from, whatever is practical and workable, I hear from one of the last people I taught before illness changed my life. Sari did not become a Doll Artist, her friend Anna did. Sari sounded happy in life.

Opening new doors

So, whatever way this teaching will happen, I am ready to listen to the universe. I am ready to explore and be guided in how, and where I will continue my journey.

Puppet Power

Yesterday I had a visit from a creative friend.

She brought her doll she has been working on for a number of years, in the hope I could guide her on the next step to bring it into being.

After lunch we made it into my studio.

view from my studio

I took up position on my 'home-made-recliner-window-seat' while Pascale sat at the work table. 

the window seat- made from an old shelf unit.

It was lovely just to BE in my studio and looking out at the birds in my garden.

And to just chat about creative ideas. Where to go from here.

I did not feel the need to do any work. I did not really have the energy.

What I DID do, was to take a new Pasta maker  (see below) out of the box, to see if it really would work to make thin sheets of clay for future projects.

It did!

And when I put the thin sheet of clay in the 'spagetty' part of the machine, it made this wonderful "hair", which I deposited onto a head I had made a few years ago.

Who knows, 'it' might be made into a puppet one day, now it is sporting a new hair-do.

Hair!
Playing with a pasta maker

The teaching of making puppets, and the healing aspect of this, is one of the things I would like to focus on in the near future. Preferable teaching in my studio (but open to other suggestions), so I have all materials at hand, I don't have to pack boxes, or think too far ahead in terms of what I need to bring.

This idea follows on from the "Life Outside the Box" Puppetry Project. An inclusive Art Project I facilitated with fellow members of the Irish Wheelchair Association. 

The project was much more than just having a bit of fun. It brought many of the makers out of their comfort zone, in a good way. We explored our personal boundaries and that of society. Through the puppets, we as people living with disabilities, became parts of society in an unexpected way. 

Our project explored boundaries imposed by society. And as a result, the end product- a set of puppets and a film, were seen by many: in exhibitions, at a disability film festival in Canada, in the local cinema, in many news paper articles, and on national television. See the film we made, and the project in more detail on this Puppet Blog. It brought a discussion about. Beautiful.

Also as a result of this project I have been invited to give a paper at the upcoming The Broken Puppet: A symposium on puppetry, disability and health. 

I hope to build on this puppet-power, by working with other groups of people.

Preferably in my studio- a group up to 4 people is maximum.

If interested- please let me know.

Or is you are reading this and would like to explore if I can teach in another location, and with a larger group of people, and can provide the necessary support, I gladly hear from you.

But for today, the limelight is on Pascale's doll in progress... who in a way solidified my thoughts on doing puppet workshops. Thank you!

Visiting doll 

surgery

Belly- Button!

... home again, and sitting much more upright
with more confidence and pride.

for illustration only, this is the
pasta maker I mention-
a brilliant tool for the studio

reuniting with my studio friends

Yesterday I made the tentavite steps back into my studio, to re- acquaint with the two little figures who are eager to make it out into the world.

These two are to feature in a Very Short animated video... whenever I get them finished, and filmed, and figure out How to actually make the video.

A project one year in the making already, and at this rate, might take another year.

All in it's own good time.

For now I am glad I made it back to my wonderful little cave, even for a few minutes.
I put some hair on the one with the hat, and added sleeves under her sweater.

Unfortuantelly, I am having some problems with her hands, so have to remake them again. (fourth time?) Eyes to be painted next, on a day when my hands are good and steady!

The sweater and hat were made by my granny for my Sindy doll, when I was about 10 years old. So, 45 years ago.

Dance of Life project

Dance of Life project

Dance of Life project

Dance of Life project

Dance of Life project