THE BEARDED SLAVES

2009-10-20T15:37:00.001+01:00

Preliminary animation trial. Complex movement arcs.

Slavery

2009-10-20T14:58:00.018+01:00

A lowly villager.

Desert warriors of the rival king.

Contemporary fashion.

Dinner is served...

Septum's northern barbarian - bezerker

Royal guard.

Leaping hill beast youth.

The Dragon-guard. Made froom dragonspawn by the Kings experiments

Rafel in action.

King enraged.

Bloated devourer himself. Lord of decadence and sadism.

The rival king. A true nihilist.

Assasins of the night. Aspect of dragon. Aspect of lion. Aspect of wolf.

The ninjas. Aspect of dragon. Aspect of boar.

Rafel -he's dead 'ard.

The monster family. It's roots lie in Japanese folklore.

Some of early charater workings. animation and angles of Kanu's head.

2009-10-06T16:10:00.003+01:00

After removing the arms i was more easily able to start work on the cuffs and how the hands would be fixed, as the hands an arms where hard its just a case of making a rough cuff shape and pushing the two together then re-shaping until i was fairly happy, even though clothing is difficult i find it easier to make folds sharp edges and grooves after the clay has been baked by using sandpaper, files and a scalpel to 'carve' the clay. (st2.24).

2009-10-06T16:10:00.002+01:00

st2.24

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st2.23

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st2.22

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The same was done with the arms (st2.22 & st2.23), it was proving difficult to clean up any unwanted marks etc under the arms and the same with the folds and creases in the sleeves (clothing is i think one of the hardest things to sculpt - there is a product called 'Paverpol' which when applied to cloth with say creases in it make the cloth set hard, this could be an easier and more realistic way of portraying clothes but then you got make the clothes so i'm not sure…and i cant sew).

2009-10-06T15:54:00.000+01:00

st2.21

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st2.20

2009-10-06T15:52:00.003+01:00

I machined away between the toes (st2.19) so that there was enough room to at milliput and reshape them (st2.20) and re-shaped the base of the foot and the ankle bones (st2.21), i should really have shaped them properly or as much as possible before baking, using milliput is ok but it takes time to dry before you can start work again.

2009-10-06T15:52:00.002+01:00

st2.19

2009-10-06T15:47:00.000+01:00

st2.18

2009-10-06T15:46:00.000+01:00

st2.17

2009-10-06T15:32:00.000+01:00

One thing you shouldnt be when sculpting is precious, if you dont like something change it. If you decide to change it do it the easiest way possible and if that means breaking or cutting the part off then so be it.
I did this with the feet especially with the left foot because it was too hard to get at and its been baked at this point (st2.17). In st2.18 ive filled in the the hole left by the wire support that i cut out using snips.

Gavron's thoughts...

2009-10-06T14:24:00.001+01:00

The Bearded Slave Soundtrack:

The Bearded Slave started as a two page concept of one mans mission to save his girlfriend from 2 evil rulers of the kingdom he would travel.

With the music industry in the state it’s in now we had to find a means of delivery for new art, music and sculpting. With vinyl records in mind, the good old days of buying a record having something physical to own, something that little bit special. Records like the Susperia sound track a pop up art gatefold for example.

The bearded Slave was born a Vinyl toy you buy that comes with a book, soundtrack, ltd prints and animation. Just like the old days something to keep, admire and collect.

The soundtrack is very reminiscing of Jeff Wayne’s War of the Worlds. A voice over telling the story and a musical accompaniment. We listened a many Japanese sound tracks to get a feel of where we should take the sound and watched many martial arts and animated movies to gain a feel for the sounds we need to produce for this. I wanted a modern day slant on the soundtrack though so Dub step was the genre of music I felt we should use as a back bone for the drums and bass. We soon got to work in the studio and ask actor and friend Everal Walsh to join us as the voice of the Bearded Slave. It seemed so right to get Everal on board his deep and comforting voice would be perfect to read extract of the book over our sound. Almost hypnotic and powerful delivery would make this seem all the more realistic.

I sampled many tradition instruments including the Koto and sounds of hammers and chains as sound effects to make this soundtrack so much richer and real. While reading the story now developed into a book by Noah, writing became so much easier and more enjoyable due to picturing the action, sadness and love in the story. I could visualise what was happening and write it on the keyboard.

When Andy joined us he brought a more musical slant to the sound with chord progressions and pads giving the bearded slave soundtrack a more orchestral feel and thus much more like war of the worlds and this is exactly what was missing from the sound. We have nearly completed the soundtrack and are just about to record the vocals.

Watch this space…..

Gavin Lawson

2009-10-06T14:17:00.000+01:00

st2.16

2009-10-06T14:16:00.000+01:00

st2.15

2009-10-06T14:15:00.000+01:00

st2.14

2009-10-06T14:14:00.000+01:00

st2.13

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st2.12

2009-10-06T14:13:00.001+01:00

The beard was made much the same way as the rest of the sculpt by bending wire int a sort of long banana 'U' shape and then criss-crossing diagonally to give it some strength, but i didnt bother with twisting wire around the first piece of wire as it didnt need it, then you squash on some more clay and press it onto the chin (st2.12 & st2.13) and in pic st2.14 you can see a bit of the wire frame.
Add more clay to get the basic overall shape (st2.15) now you can start to add detail (st2.16), this was done with a blunt ended modelling tool a bit like a dental tool (see the end of 'how to' for tools used).

2009-10-06T10:04:00.001+01:00

st2.11

2009-10-06T10:03:00.000+01:00

st2.10

2009-10-06T10:02:00.000+01:00

Even though Kanu has been baked there are certain parts which still need to be sculpted and altered and one of them is the face/beard, i could have tried to add the beard before baking but as i prefer to handle the sculpt rather than fix it to a base it wasnt practical and when i'm sculpting i tend to think about the manufacture side and perhaps i will want to make a mould and produce a few copies.
Another way its useful to work with hard and soft clay is that if you machine away part of the face, which wasnt going to be kept anyway (st2.10 & st2.11), then press the soft clay into that area you get a near perfect fit when the soft part has also been baked.

2009-10-05T13:29:00.000+01:00

st2.9

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st2.8

2009-10-05T13:28:00.002+01:00

st2.7

2009-10-05T13:27:00.002+01:00

st2.6

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st2.5

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After it had been baked it had still lost a bit of its shape, and you can also see the difference in colour where the thinner bits of clay have been made harder (st2.5).
As it didn't quite fit i had to saw it into 3 parts which would leave small gaps that would have to be filled with Milliput later.
I then marked on Kanu where the 3 different pieces would sit for future ref. (st2.6 & st2.7).
Its then just a case of sanding, carving and some shaping before adding some Milliput detailS (st2.8 & st2.9).

2009-10-05T12:56:00.000+01:00

st2.4

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st2.3

2009-10-05T12:53:00.000+01:00

Once i was fairly happy the tail of his coat (st2.3) it was time bake it but this item didn't have any wire in it to help keep its shape either in handling or when being baked so i decided to use some old Sculpey clay which had gone hard to provide support (st2.4), i carefully pulled off the tail but it still lost form due to the fact that it was deliberately stuck to the body so it didn't fall off when i was working on it, so i replaced it gently to get back the shape of Kanu's arse, rolled out two sausages stuck them together an carefully pressed the tail onto them.

2009-10-05T12:44:00.002+01:00

st2.2

2009-10-05T12:44:00.001+01:00

Having baked Kanu its now much easier to start to add more complicated detail such as the raggy tail of his coat (st2.2), this was just made up by me as on the original sketch there is much to see and no back view but when working on parts like this you have to be careful to remember not to make it too weak as this sculpt will eventually be moulded and manufactured.

2009-10-05T12:37:00.000+01:00

st2.1

Stage 2

2009-10-05T12:35:00.001+01:00

I now decided that it was time that i baked the main figure to prevent anymore minor damage from occurring e.g fingerprints or marks from fingernails and from simply handling the sculpt. I measured the depth of the thickest part and then applied the baking rules of 15 mins at 135 degrees centigrade for every 1/4 inch thickness of clay, but i didn't want to bake it for too long as sometimes the thinner parts can get burned and the longer you leave it the oven the harder it becomes.
You'll see from the photos from now on that after it has been baked its still basically the same colour as it is when soft, if you want it to be quite hard you can alter the baking time an temperature (i'll add a link to a couple of very good sculpture site that go into this technique in more detail later on) but a pinky rose colour is enough and you should check the sculpt from time to time when you baking anyway, if its too hard its more effort to sand an shave.
After i had baked it i decided the very lightly spray it grey, this makes it easier for you to see anywhere that needs to be smoothed with sandpaper or shaved with a scalpel (more detail of these at the end in 'tools and materials).

Picture st2.1 shows Kanu after being baked, sprayed and sanded.

2009-10-05T11:02:00.000+01:00

st1.28

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st1.27

2009-10-05T10:18:00.001+01:00

In picture st1.27 you can see another view of the previous picture with the ponytail attached but you can also see where i have added the white clay called 'Milliput' to try and blend in the extruded strands of the knots to the rest of the ponytail, you can see it again in (st1.28).
What i probably should have done was to include the knots when was first applying the strands to the wire but this makes it even more of a fiddle than it already was, having to re-make parts is something you have to get used to. At the time i took this photo i just assumed i would shape the 'Milliput' with my 'Power Performance' tool but when later on i actually tried it just wasn't possible.

[Milliput is a two part clay that you mix together and that will then dry in a couple of hours, its good for repairs etc after you've baked the Super Sculpey].

[The 'Power Performance' tool, who i think is made by a Chinese company and therefore cheaper than the more famous 'Dremel' brand, is a hobby tool thats like a cross between a pen and a drill - see pictures of the tools and materials ive been using at the end of the 'How Kanu was made' section].

2009-10-04T11:51:00.003+01:00

st1.26

2009-10-04T11:51:00.001+01:00

It can be worthwhile sometimes adding some basic detail to the sculpt just to give yourself a better idea of what its going to look like and by doing this it can also influence changes that you may otherwise not have thought of. In picture (st1.26) i've added eyebrows, a ash and some rough idea of how the hair will cover the head and with the ponytail stuck in for good measure.

2009-10-04T10:42:00.002+01:00

st1.25

2009-10-04T10:39:00.003+01:00

st1.24

Kanu... how i made him... cont.

2009-10-04T10:36:00.000+01:00

Back to the figure now and adding detail. Now that it has been smoothed you see in pic st1.24 where i've added lapels, by using a finer extrusion and rolling out flat pieces, and the beginnings of a belt (this was made by rolling out clay and then simply cutting strips to be carefully pressed onto a doubled up piece of 20g wire) and some creases or sausages of clay blended in to the surface.
Same on the back (st1.25) by rolling out more sausages of clay and then rolling the ends to a point and blending in with modelling tools, i did however take photos of myself in my dressing gown (which i won't be showing you thankfully) and by looking for images on the net, clothing isn't an easy thing to sculpt and as much reference as possible is far better than just trying to make it up as you go along.

2009-10-04T10:34:00.003+01:00

st1.23

2009-10-04T10:34:00.001+01:00

The knots where done the same way by extruding and then just spiralled round the pony, this was the only way i could think of making knots to be honest, to have them as more of a representation rather than an actual knot. Here though i made a mistake by not blending them into the pony strands, although that wouldn't have been easy because they are circular in cross section.

The ponytail now needed to be baked (st1.23), as i said earlier the clay 'Super Sculpey' can be baked in a normal home oven [135 degrees centigrade and 15 mins for every 1/4 inch thickness of clay] I needed to bake it because handling it too much would damage detail.

2009-10-04T10:32:00.002+01:00

st1.22

2009-10-04T10:31:00.000+01:00

So by extruding as long a strand as possible an then trimming all .to the same length i was then able to gently place and press them onto the wire ponytail (see st1.22) I allowed them sort of follow their own path, spiralling an twisting, an simply joined up the ends as i worked my way down until it was completely covered.

2009-10-04T10:30:00.002+01:00

st1.21

2009-10-04T10:29:00.000+01:00

As for the hair on the ponytail if you look back at the original sketch you'll see that Will Barras has drawn thick lines making it appear more rope like and i wanted to be able to re-create this, so I looked on 'Sculpey's' website to see what tools they had and found the extruder which as you can see from picture st1.21 is basically a metal syringe that you can what comes out the end by changing a little perforated plate.

2009-10-04T10:27:00.002+01:00

st1.20

2009-10-03T15:05:00.000+01:00

st1.19

2009-10-03T15:04:00.000+01:00

The ponytail is done by the same process of using a thicker wire (18g) wrapped round twice with 20g wire for the clay to 'key' to and to provide extra strength.
It will hold its form but is still flexible enough for you to be able to alter the shape (st1.19).
The shape and length of the ponytail wire was a bit of guess work as I've been working from only one perspective and was done really just by holding the wire against the sculpt and altering until I was happy. (see st.1.20).

2009-10-02T15:07:00.000+01:00

st1.18

2009-10-02T15:06:00.000+01:00

st1.17

2009-10-02T15:05:00.002+01:00

st1.16

2009-10-02T15:05:00.001+01:00

pic st1.16 & st1.17 show the sculpt having been smoothed and basic detail added - which were removed and re-done until I was happy). You can also see from (pic st1.18) a simple face has been made but as I mentioned earlier don't be too keen to put too much detail on yet, at this point I'm still looking at the overall shape.

2009-10-02T15:04:00.002+01:00

Once fairly happy with the overall shape its time to start to smooth, this is still done with fingers and then using modelling tools (I used tools purchased from 'Alec Tirantis' based down in Reading, in particular from the BM series and a few of their stainless steel loop tools).
Its hard to actually explain how you use the sculptural tools without watching someone or a video tutorial but another simple way of describing is to roll sausages for things like creases which are not the easiest part of the model to make, I guess if your interested in doing some sculpture theres no better way than just buying and trying !

2009-10-02T15:04:00.001+01:00

On this sculpt however I decided not to as the armature can get in the way of say working on putting detail with modelling tools onto you sculpts back, I prefer to be able to handle and turn what I'm working on as much as possible before any detail goes on. When you've hardened the sculpt you can machine/file away any exposed wire and fill in with 'Milliput - silver grey' which you will see on later pics as white where i have used it.

2009-10-02T15:03:00.000+01:00

Making the wire frame of any model can be tricky as it should sit in the centre of the model and not actually support at all, this can be achieved by using an armature support which is basically a heavy metal base with a thick metal rod sticking straight up at 90 degrees and attached to that is another arm/rod, this can be moved up an down an around and you run a piece of thick wire say from the spine an attach the other end to the second rod, this can make the wire frame appear to float above the desk.

2009-10-02T15:02:00.000+01:00

st1.15

2009-10-02T15:01:00.000+01:00

st1.14

2009-10-02T14:51:00.000+01:00

st1.13

2009-10-02T14:50:00.000+01:00

st1.12

2009-10-02T14:49:00.002+01:00

st1.11

2009-10-02T14:48:00.001+01:00

In picture (pic st1.11) you can begin to see the real form, and some detail in the face and feet, this detail may not be kept but it helps with the minds eye.
At this point I'm still only using my fingers. (see also st1.12 for the back). I'm happy with the overall shape and now need to start work on the hands to complete the body, but as I've not got a close up drawing of them I just do a simple sketch based on the size of the maquette and using pin nosed pliers bend the thinner of the two wires i'm using (20g) so that they are 'inside' the line of the sketch. see (pic st1.13). In (pic st1.14 & st1.15) you see respectively testing if the hands are the right size and them with the first clay added.

2009-10-02T14:47:00.000+01:00

st1.10

2009-10-02T14:45:00.002+01:00

st1.9

2009-10-02T14:44:00.000+01:00

st1.8

2009-10-02T14:43:00.001+01:00

st1.7

2009-10-02T14:41:00.001+01:00

st1.6

Kanu... how i made him... cont.

2009-10-02T14:39:00.001+01:00

You can see in (pic st1.6) where during adding the first stage of clay i decided to provide it with more support from the knee, by not being precious at the early stage it doesn't matter that you have to pull off a lump around the knee to add the extra wire. In (pic st1.7) you can see more clearly the extra wire i used and also the start of some more detailed basic shaping in the form of the major muscles in the thigh & (pic st1.8).
Continuing to add basic muscle structure (pic st1.9) & (pic st1.10)....its always better i think to start from the bottom an work up as the clay although still soft will provide more support an stability.

2009-10-02T14:36:00.002+01:00

st1.5

2009-10-02T14:33:00.001+01:00

st1.4

2009-10-02T14:31:00.002+01:00

Its soft an easy to use and now that the wire frame is ready I simply start to smear and squash an press the clay onto the wire so that its completely covered, see (pic st1.4) and then continue in a careless manner to add the overall shape (pic st1.5) as you can see I've added a simple head and a rough idea of the feet. Its always good at this point to step back and look at the overall shape rather than focusing on one particular part, coz if you do focus too early you can end up having to destroy what you've done or keep knocking it.
Continue to create the the basic shape while not paying any attention to detail or 'real' shape.

2009-10-02T14:29:00.001+01:00

Its a good idea to use ordinary kitchen foil to build up areas such as the chest/torso and hips along with some wire to prevent the maquette from becoming too top heavy when the clay is added as this can cause the model to sag or require more external support than is necessary, too much external support in the form of extra wire can make access more difficult.
If you have turnarounds, and I'm not assuming you will have, then by all means use them to help shape the torso etc.....but don't make it too big as you've still to attach clay on top. Its just for keeping the weight down. you can just about see some foil on the torso in (pic st1.3).

Clay - the only one I've ever used is 'Super Sculpey' which when soft is very much like plasticine but a bit less sticky and when hard or after you've baked it they describe it as a ceramic like sculpturing compound with can be sanded an drilled an shaved etc.

2009-10-02T14:18:00.005+01:00

st1.3

2009-10-02T14:14:00.004+01:00

st1.2

2009-10-02T14:09:00.009+01:00

st1.1

So using the thicker of the two galvanised wires you essentially make a stickman but 'double up' or go back along the same lines with the wire to make it stronger, as the wire will have to support all the clay (pic st1.2). Once your happy with the overall shape you then need to 'wrap' or wind the thinner of the two galvanised wires around the stickman, this will prevent any clay from rolling around the wire, it basically gives it a 'key' or something to bind to (see the arms in pic st1.3).

Kanu... how i made him...

2009-10-02T11:02:00.005+01:00

STAGE 1. Normally the best way to start to build a 'maquette' is to enlarge or blow up your artwork (see original sketch) to the actual size that you want the model to be, and then, using the wire (galvanised 18g & 20g) you simply bend and shape the wire by actually laying it on top of your artwork (pic st1.1). In this case though I didn't have a series of 'turnarounds' (which show the object from all different angles) all I had was one perspective drawing so I had to kind of make it up as i went along, but as Kanu isn't meant to be anatomically correct so it didn't really matter.

Kanu Awoke...

2009-04-16T17:56:00.002+01:00

Kanu's face took on a stare, eyes fixed on a imaginary point way off in the distance.
Tension and the frown that had unknowingly consumed his face began ever so slightly to ebb away....his mouth started to open as the muscles in his jaw unclenched his teeth.
A moment of peace began to wash over him, consume him, a moment to reflect on what had become the most intense day of his life.

A man lost in the desert who finds a brackish pool will drink without hesitation as if consuming the most heavenly brew and he will ignore all other stimuli until satiated. This was Kanu and freedom was his water.
Only the warm breeze on his skin and the sounds of nature penetrated the his moment of stunned tranquility.... How can 10 years of confinement feel so trivial an so short, feel as if it were only a blink, a mere flash in an otherwise empty imagination.
This, Kanu thought, was a 'day of days' where time had seemed to travel so slowly. Every moment of his escape, every breath he'd taken, all those faces, all those voices and smells of life that were taken for granted by free men and women, all the movements he'd made, all the things he thought he'd forgotten forever that had allowed him to eventually blend in the background and escape flashed before his eyes in minute detail. His mind, his under stimulated mind had surprised him he thought. After all this time I am still whole.

The images and sounds continued to fire and flash before his staring eyes becoming ever more disjointed, the way they would for you or I when asked to recount exactly what had just happened, gaps began to appear and he felt his forearms loosen an his fists begin to unclench, he exhaled again and shoulders dropped and that which his eyes had stared so blankly at began to focus and realize, his surroundings becoming clearer the images slowed and more and more of the forest came into back into view.

Awake now, awake again, his blank gaze had been focused but he'd not been able to see it. His gaze had been focused on something important, that which had brought him back from the brink of insanity and despair. It was the Bird.

The bird eyed him and cocked its head first one way then the other the little black eye showed no emotion but no matter, the birds manner and movement more than made up for its lack of a human eye. It was perched on the lowest branch of a chestnut oak.... still looking, cocking its head and ruffling its feathers....waiting for him, waiting for him to respond.
Kanu looked down at his hand and back at the bird, he realized that his hand had been slowly extending toward the waiting bird, extending without any real thought to do so from him almost as if the bird wished it.

Kanu...

2009-03-18T19:34:00.001Z

He sported a long, straight beard, completely white. His hair was also the colour of snow, immensely long and plaited into a heavy pigtail that hung between his shoulders.

a joy lost but not forgotten...

2009-03-18T19:31:00.003Z

Kanu crept along silently, almost on all fours, past the corpse and underneath the scene of the rape. He moved quickly, until he was a few feet away from the back of the other lad, still digging for a bottle in the pack. The clinking of his chains was drowned out by moans and screams, as he brought his hands back over his head and flicked them downwards in a bullwhip motion. The chain cracked into the back of the youth’s head, crumpling the skull like eggshell. The rage increased and Kanu almost lost himself, teeth gritted, as he continued smashing the chain down onto the head of the now prone boy. The head was unrecognizable, pulped into the forest floor.

a strength of mind few will ever test...

2009-03-18T19:28:00.002Z

Kanu was tired and emotional, his senses heightened and distorted to an extent, but he knew he could not let this feeling pass by. He had to hang on to this and maybe, somehow it could galvanise him into action. What action, he didn’t know, but maybe he could get his head straight and remember just exactly why he was here…what he had lost…what his sanity had forced him to forget.

just scratching the surface...

2009-03-10T19:47:00.001Z

front...

2009-03-10T19:46:00.000Z

back...

2009-03-10T19:42:00.001Z

distant Memory...

2009-03-06T20:54:00.000Z

The slave felt something well up inside him that brought back the most overwhelming sense of deja vu. Memories of a thousand battles, a hundred thousand corpses, metal plowing through flesh, heads rolling under feet, the ground awash with blood. Anger, pride and the feeling of subsequent victory. Of outsmarting your opponent and then dominating them, snuffing out their lives. A spirit of resourcefulness and positivity that he thought had died, when in fact it had just been buried away whilst it could do no good for him.

on closer inspection, his skin was trailed with scars...

2009-02-21T21:44:00.000Z

His features looked to be carved from a chalk cliff, with sunken cheeks, a long hawk-like nose and a sharp jaw. There was an unmistakably Eastern set about the man’s face, mixed with something more ruddy and rugged, gypsy-like. His body had withered somewhat, from years of inactivity and a prisoner’s diet, but his warrior’s genetics were still to the fore. The tall man was a mass of sinew, giving off a sense of latent, hungry danger.

MYSPACE LINK...

2009-02-20T11:55:00.000Z

http://www.myspace.com/thebeardedslave

Listen....just listen.

the trial continues...

2009-02-20T11:46:00.000Z

the trial begins...

2009-02-20T11:33:00.001Z

HEWN OUT OF SOLID HOT AIR...A STOPPABLE FORCE MEETS A MOVEABLE OBJECT. NAH...NOT REALLY.
bRAVE dAVE began his trial.

a slaves story...

2009-02-20T11:26:00.000Z

The bird was late that day.

The slave wearily stretched his long frame and turned his head toward the light. Manacled hands rubbed slitted eyes, and Kanu yawned, watching the early dawn seep through the bars of his cell. Taking in the city with his jaded eyes, as his understimulated brain struggled to wake up. Body soon to regain the stillness of sleep, only now with open eyes. The slave settled into a cross-legged postion, faced the small barred window, exhaled and slumped his shoulders, his aquiline features completely impassive. To all appearances, Kanu - the Bearded Warrior, the youngest ever Head of the King’s Guards – was a broken man. [NYB]

what ?

2009-02-19T16:53:00.002Z

what is it ?.....a collection of creative people that are producing a multi-genre piece of work that includes painting and illustration, animation, spoken word, written word, audio, sculpture, gaming, graphic design, live performance....it will be available on :- internet, exhibition, collectible sculpture,, DVD, performance and even education.

who ?

2009-02-19T14:56:00.000Z

THE BEARDED SLAVES

Forced to start this blog by himself BRAVE DAVE (David Lumley) made himself, against his own will, pick up the clay & mould it into THE BEARDED SLAVE...the man himself, without whom...none of this slavery would be possible.

Forced into sound from an early age, by themselves, are GAVRON (Gavin Avron) and MACCERS (Andy McNally)they tied themselves to the music makers to make music...and low music for slaves was made...whether they wanted it or not.

Forced by his own enormous imagination Will Barras's
(DUBBLEYEW BEEEEE'S) hands were made to give form to 'KANU' the slave. Made to create the slaves appearence, made to imagine the man and his world.

Forcing himself to pick up pen & paper NYB (Noah Brown) literally forced the story from his brain, down his arm and on to the parchment...only then to force himself to force all the other slaves to read it.

Eyes and mind forced open and aware by himself is OGI
(Ognjen Damjanovic) he has forced himself to see that which must be seen so he is able to force others to see the same.

Forced to follow letter and word and give voice to that which lay before him Everal Walsh (DARKLORD) was forced by himself to tell the tale that must be heard....whether you choose to hear it or not he will tell it.

How will other slaves be forced to know that which we take for granted? MARTERS (Martin Tulloch) forced himself to think...I will force myself to force myself to provide them with a neat and tidy package in which they will be forced to look and to listen and to play with until their day is done.

HAVRON (hayley Avron) has been forced to....erm....do nothing yet BUT when she is she'll force herself against her will (an bein a lady thats some will) to strain her brain an edit stuff whether it needs editing or not.