Prop Building for Beginners: Twenty Props for Stage and Screen 2020045785, 2020045786, 9780367366919, 9780367366926, 9780429350825

Citation preview

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Prop Building for Beginners

Prop Building for Beginners outlines the basic concepts of prop building by featuring step-​by-​step instructions to create twenty of the most commonly featured items in theatrical and filmed productions. This book uses a combination of projects to expose readers to a wide range of materials and tools that they might find in a basic scenery or costume shop, serving both as a guide to building simple props and as a crash course in the variety of items a props person may have to build. The projects require a variety of tools, techniques, and materials so that a practitioner who completes all of them will have received a complete introduction to the basics of prop building. Assuming no previous knowledge of prop building, this is the perfect primer for students, hobbyists, or community theater enthusiasts looking to enter the prop shop. Prop Building for Beginners includes access to full-​scale printable versions of the patterns featured in the book. Eric Hart is a professor of Stage Properties at the University of North Carolina School of the Arts. He has built props for theater, film, television, opera, Broadway, theme parks, and retail display, and is the author of The Prop Building Guidebook and The Prop Effects Guidebook. He holds an MFA from the Ohio University School of Theater.

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Prop Building for Beginners Twenty Props for Stage and Screen

Eric Hart

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First published 2021 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 Taylor & Francis The right of Eric Hart to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. The purchase of this copyright material confers the right on the purchasing institution to photocopy or download pages which bear a copyright line at the bottom of the page. No other parts of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-​in-​Publication Data Names: Hart, Eric, author. Title: Prop building for beginners: twenty props for stage and screen / Eric Hart. Description: New York, NY : Routledge, 2021. | Includes index. Identifiers: LCCN 2020045785 (print) | LCCN 2020045786 (ebook) | ISBN 9780367366919 (hardback) | ISBN 9780367366926 (paperback) | ISBN 9780429350825 (ebook) Subjects: LCSH: Stage props–Design and construction. Classification: LCC PN2091.S8 H2549 2021 (print) | LCC PN2091.S8 (ebook) | DDC 792.02/5–dc23 LC record available at https://lccn.loc.gov/2020045785 LC ebook record available at https://lccn.loc.gov/2020045786 ISBN: 978-​0-​367-​36691-​9  (hbk) ISBN: 978-​0-​367-​36692-​6  (pbk) ISBN: 978-​0-​429-​35082-​5  (ebk) Typeset in Gill Sans by Newgen Publishing UK Access the Support Materials: www.routledge.com/​9780367366926

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To Collier and Coen, the next generation of prop builders.

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C O N T E N T S

Introduction Safety A Note About Patterns

ix xi xiii

PART I  PROJECTS

1

CHAPTER 1

LETTER

3

CHAPTER 2

OLD BOOK

9

CHAPTER 3

LANTERN

17

CHAPTER 4

TREASURE CHEST

31

CHAPTER 5

CHALICE

45

CHAPTER 6

ROAST CHICKEN

55

CHAPTER 7

SKULL

61

CHAPTER 8

KEY

71

CHAPTER 9

SCEPTER

77

CHAPTER 10 LOAF OF BREAD

85

CHAPTER 11 CROWN

91

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viii   Contents

CHAPTER 12 SWORD

99

CHAPTER 13 TREE BRANCH WITH LEAVES

109

CHAPTER 14 FOLDING FAN

115

CHAPTER 15 COIN PURSE

123

CHAPTER 16 HAVERSACK

129

CHAPTER 17 DEAD BIRD

141

CHAPTER 18 WOODEN CRATE

153

CHAPTER 19 REHEARSAL CUBE

159

CHAPTER 20 UPHOLSTERED FOOT STOOL

165

PART II  MATERIALS

175

CHAPTER 21 PAPER AND PAPIER-​MÂCHÉ

177

CHAPTER 22 FOAM AND CLAY

179

CHAPTER 23 FABRIC

181

CHAPTER 24 WOOD

185

CHAPTER 25 GLUE AND TAPE

187

CHAPTER 26 PAINT

189

Special Thanks Glossary Index

191 193 199

ix

INTROD U CTION

Welcome to the world of prop building. Props captivate our imagination. They transport us to another time and place. They introduce us to all sorts of wonderful characters. They add layers of meaning and emotion to all manner of stories. They appear in every type of performance and spectacle, from theater, film and television, to theme parks, conventions, and photo shoots. Many props are real items you can buy. Maybe you already have the prop at home, or you know someone you can borrow it from. If you are lucky, you might have access to the prop stock at a school, local theater, or rental company. But you will always come across a prop you need to build. It may be cheaper to build or the item may need special characteristics that the real item does not have. Sometimes, you just want to develop your prop building skills and have some fun. The props in this book are a collection of common items found in stories that you may need to build. It gives you clear step-​by-​step instructions from start to

finish, as well as a list of ingredients. You will also find short chapters with more information about the materials and tools themselves. I have limited the materials to the cheapest and most readily available ones out there and have chosen the least toxic and most sustainable as well. Prop builders need to be aware of the impact of their craft on both their health and on the environment. The props require a minimum of tools and space to build. Many can be built in a garage or small shop. Some can even be built on your dining room table; I know, because that is where I built them while writing this! This book is like a prop cookbook. If you just need to make a dead bird, follow the instructions on building a dead bird (­chapter 17). You can also mix and match the techniques in this book to create new props; for example, the gold leafing used to make the crown (­chapter 11) can also be used on the metal straps of the treasure chest (­chapter 4).

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For the burgeoning prop builder, this book holds an additional secret. Completing all twenty projects will give you a solid foundation on the basic techniques used in all prop shops. They have been carefully selected to represent a cross section of the skills needed to tackle much more complicated props.

Not every prop you build will be perfect. Every prop builder prefers certain materials over others and excels with certain techniques while struggling with others. Building each of these props will allow you to discover which ones you love. You do not need much to begin, so let’s get started building some props!

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S AFETY

Even the simple materials used in this book can pose a risk to our health and safety. It is important to always be aware of the risks from certain tools and substances and how to minimize them. The following are some common risks you will encounter with the projects in this book. Sharp! Anything designed to cut materials can also cut your skin. Always double check that a blade will not come near your body as you make a cut. Make cuts away from yourself so if you slip, the blade does not slide into your body. Take care in where you set your blades so they will not roll off the table and fall in your foot, or that you will accidentally grab the blade when you go to pick it up. Hot! When using a tool that heats up, be aware of which surfaces become hot. A hot tool may look just like a cool tool, and you should not learn the difference by touching it. You will also need a place to set your hot tool when not using it so it will not burn or melt anything. Finally, be sure to turn off and unplug these tools when finished and remember that they will remain hot for a few minutes as they cool. Gloves! Solvents and other chemicals may damage your skin. Many glues will irritate your skin when they dry. Choose the appropriate pair of disposable synthetic rubber gloves to protect yourself from whatever you are working with. For the projects in this book, nitrile gloves will work the best. Natural latex gloves can lead to allergic reactions, and vinyl gloves are weak against some of the materials used. Gloves are also handy to keep fingerprints off a section that needs to remain pristine. Safety glasses! Working with many power tools that cut and sand can create flying particles which will damage your eyes if they get hit. A pair of impact-​resistant safety xi

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glasses is necessary to protect your sight. Splash goggles, prescription glasses, or sunglasses are not adequate. Dust! When cutting wood or sanding materials you release dust into the air that should not be inhaled into your lungs. A dust mask will trap that dust before it reaches your mouth and nose. Do not use the cheap unregulated masks, but choose one (technically called a respirator) which meets the proper safety specifications in the country you are working in: NIOSH N95 (US), FFP2 (Europe), P2 (Australia and New Zealand), DS2 (Japan), 1st Class or KF94 (Korea), and KN95 (China). You may also use a vacuum to clean up the dust as it is created to minimize what ends up in the air. Fumes/​Ventilation needed! Solvents and many other chemicals release toxic fumes into the air that should not be breathed. A dust mask will not protect you against these. Strong smells, lightheadedness, and headaches are some signs you are breathing toxic fumes, but some chemicals will not give any indication while they cause harm. Good ventilation is necessary while using these products and while they dry. Ventilation can be increased by opening windows and doors, working outside, and working in larger spaces. Fans can be set up to help direct air through a space but will not do anything in a closed-​off  room.

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A

NOTE

A BOU T PAT T E R N S

Some of the projects in this book use You will need to cut out pieces from two patterns or templates. These can be found sheets of paper and tape them together. both at the end of each chapter or online. These pattern pieces have a dashed line The patterns in the book have a grid which acts as a registration mark. If you overlaid. The patterns need to be enlarged match the dashed line on both halves, the so that the grid lines are exactly 1 inch pattern pieces will be lined up correctly apart (25 mm). when taping. The online patterns are scaled Be sure to follow all directions on the correctly and will fit onto a standard sheet pattern pieces. Some of the pages need of paper (both letter and A4). When to be printed out twice, and some of the you print them, be sure that the “Actual pattern pieces need to be used multiple Size” option is selected, and that you are times. For some of the fabric pieces, the not enlarging or shrinking them to fit on fabric needs to be folded. The pattern is the page. placed along the fold line and two layers Some of the pattern pieces are too of fabric are cut at once. large to fit onto a standard sheet of paper. Please refer to the Support Materials, www.routledge.com/​9780367366926

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1

PART   I PRO J ECTS

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3

C H AP T E R   1 LETTE R

Nearly every play, film, and television show has a letter, note, or other written form of correspondence. In many cases, the letter is another character in the story. The prop in this chapter is based off a letter from Netherlands in 1689. It is quick and easy to make, but the result looks as authentic as one you would discover tucked inside an old chest at an antique store. MATERIALS • Paper

• Brush

• Pen or thin marker

• Red candle or sealing wax

• Scissors

• Metal stamp

• Oven

• Pliers

• Baking sheet or baking tray

• Napkin

• Coffee and coffee grounds

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4   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 1 . 1 ) . Paper sizes vary depending on time and geography. The

easiest way to make your letter look older is to trim one or two sides to give your paper a different size or proportion than a standard sheet of office paper. S T E P 2 ( F I G U R E   1 . 2 ) . Envelopes are another item which come in many forms and

sizes throughout history. For this prop, like many letters in this time period, the letter was folded and sealed instead of using an envelope. It is folded in half and then in thirds. The next fold leaves a bit of extra on one end, which is then folded over to create a flap.

S T E P 3 ( F I G U R E   1 . 3 ) . It is helpful to type your letter on a computer to keep the

layout straight and consistent. However, handwritten fonts from a computer almost always look fake. You can print a page out and then trace over it to maintain the consistency while creating a true handwritten look. Place the papers over a light source to make the tracing easier. S T E P 4 ( F I G U R E   1 . 4 ) . Crumple up your paper and then flatten it out. Lay it out on

a baking sheet.

S T E P 5 ( F I G U R E   1 . 5 ) . Brew some coffee and pour it into the baking sheet. The

coffee can be cold and old (it is a shame to waste good coffee). Use a brush to spread the coffee around. You do not need to soak the entire paper, but you should make sure the edges are at least wet. S T E P 6 ( F I G U R E   1 . 6 ) . Sprinkle some of the coffee grounds over your paper. You can

also use instant coffee crystals.

5

Letter   5

FIGURE 1.1

FIGURE 1.2

FIGURE 1.3

FIGURE 1.4

FIGURE 1.5

FIGURE 1.6

6

6   Projects

S T E P 7 ( F I G U R E   1 . 7 ) . With a napkin, dab up the excess liquid. Leave the coffee

grounds. S T E P 8 ( F I G U R E   1 . 8 ) . Preheat your oven on the lowest setting. Place the baking

sheet inside and bake for 5 minutes. The paper should be completely dry when finished. Remove from oven.

S T E P 9 ( F I G U R E   1 . 9 ) . Remove the paper from the baking sheet and wipe away any

remaining coffee grounds. You may wish to flip the paper and repeat steps five through nine if the back is not dark enough. S T E P 1 0 ( F I G U R E   1 . 1 0 ) . Fold your letter up. Light your red candle and allow the

wax to drip into a single puddle across the seam you are sealing.

S T E P 1 1 ( F I G U R E   1 . 1 1 ) . While the wax is still soft, push a metal stamp into it. This

stamp could be a coin, token, or other carved piece of metal that will simulate the seal of a king or government. You may use a pair of pliers to help grip the stamp. Be careful, hot wax will burn your skin! S T E P 1 2 ( F I G U R E   1 . 1 2 ) . Repeat step 11 if you need a second seal. The seal should

be easy for an actor to open. You can remake the seal a few times, though you may need replacement letters if opening and resealing it on a regular basis.

7

Letter   7

FIGURE 1.7 

FIGURE 1.8 

FIGURE 1.9 

FIGURE 1.10 

FIGURE 1.11 

FIGURE 1.12 

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9

C H AP T E R   2 OLD BOOK

A book is often a major element in a story, but finding the exact book needed may be difficult. Making your own book allows you to recreate expensive antiques from the past or invent fantastical books that have never existed. While genuine bookbinding is not much more complicated, this chapter uses a traditional prop builder’s method to speed things up. MATERIALS • Paper

• Hand sewing needle

• Cardstock

• Heavy-​duty  thread

• Book binder’s board (2 mm thick paperboard)

• Rubber cement

• Paperboard or thick card, 1 mm thick

• Hot glue gun

• Muslin

• Paintbrushes

• Fabric for the cover

• Clamps

• Craft knife

• Drill and 1⁄16″ (1.5 mm) bit or similar

• Cutting mat • Fabric scissors

• Flexible PVA glue

• Acrylic paint: gold • Nitrile gloves

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10   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 2 . 1 ) . Cut a stack of paper for the interior pages of your book. In

this example, there are 128 pages measuring 5″ by 7″ (127 mm by 178 mm). You can also use the pages from an existing book with the cover removed. Cut two pieces of a heavier paper or cardstock and place one in front and one in back. These can be decorative and should look good with the fabric you choose for your cover. S T E P 2 ( F I G U R E   2 . 2 ) . Measure the height, width, and thickness of your book pages.

Take some book binder’s board or other heavy paperboard and cut your front and back book covers, as well as the spine and two binding strips. The height of these five pieces will be ¼″ (6 mm), more than the height of your pages (7 ¼″ or 184 mm in this example). The width of your spine is equal to the thickness of your pages (½″ or 13 mm in this example). The two binding strips should each be 5⁄8″ (16 mm) wide. Finally, the width of each of the covers is 5⁄8″ (16 mm) less than the width of the pages (4 3⁄8″ or 111 mm in this example). S T E P 3 ( F I G U R E   2 . 3 ) . Lay your five book binder’s board pieces in this order: front

cover, binding strip, spine, binding strip, back cover. Leave a 1⁄8″ (3 mm) gap between every piece. Cut a piece of muslin to fit all the boards with about an inch extra on each side. Glue the boards onto the muslin with a flexible PVA glue. Fold each corner up and glue to the other side of the board. Fold each edge up and glue to the other side of the board as well. S T E P 4 ( F I G U R E   2 . 4 ) . When the glue is dry, fold the cover over the book pages.

Line everything up carefully and clamp it together firmly. Drill several pairs of holes through the binding strips and pages. Use the smallest drill bit available.

S T E P 5 ( F I G U R E   2 . 5 ) . Take a sewing needle and some heavy-​duty thread, and

double thread the needle. Push the needle from the back of the book to the front through one of the holes. Send the needle back through the second hole in the pair. Tie the thread securely and snip off any excess. Repeat this for every pair of holes that you drilled. S T E P 6 ( F I G U R E   2 . 6 ) . Draw a design for the front cover. Cut out shapes from

1 mm thick paperboard or heavy card to create raised areas. Use long strips to form a raised border around the edge. Smaller shapes, like this small frame and letter “P,” can be cut as a single piece. Attach the pieces with rubber cement. Do not worry about spreading the cement outside the lines, as everything will be covered up with fabric. Wear nitrile gloves and use adequate ventilation when working with rubber cement!

1

Old  Book   11

FIGURE 2.1

FIGURE 2.2

FIGURE 2.3

FIGURE 2.4

FIGURE 2.5

FIGURE 2.6

12

12   Projects

S T E P 7 ( F I G U R E   2 . 7 ) . Lay down the pieces carefully, as they cannot be repositioned

once attached. S T E P 8 ( F I G U R E   2 . 8 ) . You can add some swirling, organic designs using hot glue. Be

very careful with hot glue, as even a single drip can burn your skin!

S T E P 9 ( F I G U R E   2 . 9 ) . Cut a rectangle of fabric for the outside cover. Make it large

enough to wrap around the front, back, and spine. Leave at least an extra inch on all sides as well. S T E P 1 0 ( F I G U R E   2 . 1 0 ) . Coat the front cover with an even layer of flexible

PVA glue.

S T E P 1 1 ( F I G U R E   2 . 1 1 ) . Lay the fabric over the front cover. Paint an even layer

of PVA glue on top of the fabric. Rub the fabric down so it conforms to all the raised shapes in your design. You will have to go over some areas several times as the fabric shifts around. S T E P 1 2 ( F I G U R E   2 . 1 2 ) . Leave the glue to dry for a bit. When it is dry but still a bit

sticky, use a hard and smooth stick (like the back of a plastic paintbrush) to push the fabric into the corners of the raised design and form even sharper details.

13

Old  Book   13

FIGURE 2.7

FIGURE 2.8

FIGURE 2.9

FIGURE 2.10

FIGURE 2.11

FIGURE 2.12

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14   Projects

S T E P 1 3 ( F I G U R E   2 . 1 3 ) . When the front has dried, apply glue to the spine and

back of the book. Wrap the fabric around and apply glue on top. Rub it down in the same manner until the fabric lays evenly with no air bubbles underneath. S T E P 1 4 ( F I G U R E   2 . 1 4 ) . Snip two slits in the fabric at either side of the spine. This

forms a flap of fabric which you can fold into the book and tuck behind the pages. Repeat for the other end of the spine.

S T E P 1 5 ( F I G U R E   2 . 1 5 ) . Cut out the corners of the excess fabric. Glue down all

the flaps of fabric to the back cover, then add glue on top and smooth it down flat. Repeat for the front cover. S T E P 1 6 ( F I G U R E   2 . 1 6 ) . Apply rubber cement to the outside of the cardstock page

and to the inside of the back cover. When the rubber cement dries but is still tacky, close the book and press down firmly over the entire surface. When you open the book, the cardstock should remain adhered to the cover. Repeat this for the front cover.

S T E P 1 7 ( F I G U R E   2 . 1 7 ) . Load a paintbrush with some metallic gold paint. Wipe it

until it is dry, with a bit of paint remaining on the brush. Scrape the brush over the raised portions of the front cover. This method of dry brush will leave a scratchy and irregular coating of paint that resembles aged and worn metal. S T E P 1 8 ( F I G U R E   2 . 1 8 ) . When the paint dries, your book is ready to go. If your

pages are blank, you can begin to fill them in with whatever you want.

15

Old  Book   15

FIGURE 2.13

FIGURE 2.14

FIGURE 2.15

FIGURE 2.16

FIGURE 2.17

FIGURE 2.18

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17

C H AP T E R   3 LANTE R N

The audience understands almost instantly that a scene takes place at night when a character enters carrying a lantern. Lanterns have existed in a myriad of forms since antiquity, although certain kinds can fit a wide range of periods and places. The lantern in this chapter is modelled after the one Paul Revere used during his Midnight Ride in 1776, though it would not feel out of place in everything from Medieval plays all the way up to World War I. It is also built almost entirely out of paper-​based products, making it very environmentally friendly. MATERIALS • 1.5 mm (0.06″) thick paperboard (card, chipboard, greyboard, etc.)

• Four pieces of 3⁄16″ (5 mm) dowel, 8″ (203 mm) long

• Four pieces 5″ by 8″ (127 mm by 203 mm) (sides)

• Wooden beads

• Two pieces 5″ by 5″ (127 mm by 127 mm) (top and bottom)

• Cutting mat

• Eight pieces 5″ by 1½″ (127 mm by 38 mm) (raised pieces)

• Straight edge ruler

• Craft knife (X-​Acto knife) • Scissors

• One piece ½″ by 8″ (13 mm by 203 mm) (spacer)

• Compass

• One piece 1 ¼″ by 10 ½″ (32 mm by 267 mm) (chimney)

• Rubber cement

• Paper towel and paper towel tube

• Large circle to trace, such as a pan • Nitrile gloves

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18   Projects

• Hot glue gun • PVA glue

• Acrylic paint: black, metallic copper, patina (greenish-​blue)

• Decoupage glue

• Paintbrushes

• Masking tape

• Painting sponge • Twine

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INSTRUCTIONS S T E P 1 ( F I G U R E 3 . 1 ) . Use a metal straight edge to keep your cuts straight. Use a

cutting mat to protect your work surface and prevent your knife from dulling too quickly. If your cutting mat has guidelines, you can use them to line up your pieces and keep the edges square. S T E P 2 ( F I G U R E   3 . 2 ) . Cut all your paperboard pieces to size. Lightly label each

piece in pencil to keep track of all of them.

S T E P 3 ( F I G U R E   3 . 3 ) . Use a large pan or other big circle as a template for the arc.

Trace this arc onto the bottom of four of the raised pieces. Leave the other four raised pieces alone. S T E P 4 ( F I G U R E   3 . 4 ) . Cut the arcs out.

S T E P 5 ( F I G U R E   3 . 5 ) . In the next three steps, you will trace the cutout window

onto the four side pieces. Use the spacer piece as a guide to draw the line for the left and right edges. S T E P 6 ( F I G U R E   3 . 6 ) . Use the spacer piece and one of the raised pieces with the

arc as a guide to trace the top of the cutout window.

21

Lantern   21

FIGURE 3.1

FIGURE 3.2

FIGURE 3.3

FIGURE 3.4

FIGURE 3.5

FIGURE 3.6

2

22   Projects

S T E P 7 ( F I G U R E   3 . 7 ) . Use the spacer piece and one of the rectangular raised

pieces as a guide to trace the bottom of the cutout window. S T E P 8 ( F I G U R E   3 . 8 ) . Cut out the windows in all four side pieces with your craft

knife. Save the discarded pieces for a later step. You are finished with the spacer piece.

S T E P 9 ( F I G U R E   3 . 9 ) . Apply a coating of rubber cement to both the strips and the

sides. Allow it to dry until there are no more wet spots, but it is still tacky. Wear nitrile gloves and use adequate ventilation when working with rubber cement! S T E P 1 0 ( F I G U R E   3 . 1 0 ) . When the rubber cement is ready, attach the pieces

together. The pieces are not repositionable once attached, so line the pieces up carefully before pressing them together. Rub the pieces thoroughly, particularly around the edges, so the connection is secure. The connection is immediate, and you do not have to wait for the glue to dry further before proceeding.

S T E P 1 1 ( F I G U R E   3 . 1 1 ) . Cut a piece of a paper towel or toilet paper tube to 2 ¾″

(70 mm) long.

S T E P 1 2 ( F I G U R E   3 . 1 2 ) . Take two of the discarded pieces from step 8. Use a

compass to draw a disc on each. The outer diameter is 3″ (76 mm), while the inner diameter should equal the diameter of your paper towel tube. This one is 1 ¾″ (44 mm). Also, mark the center of the top piece of the lantern and draw a circle equal to the size of the paper towel tube. Cut everything out.

23

Lantern   23

FIGURE 3.7

FIGURE 3.8

FIGURE 3.9

FIGURE 3.10

FIGURE 3.11

FIGURE 3.12

24

24   Projects

S T E P 1 3 ( F I G U R E   3 . 1 3 ) . Tape the inside edges of all the side pieces together with

masking tape. S T E P 1 4 ( F I G U R E   3 . 1 4 ) . Draw a line on the inside of the side pieces ½″ (13 mm)

below the cutout window. Use PVA glue to adhere the bottom piece to the first two sides.

S T E P 1 5 ( F I G U R E   3 . 1 5 ) . Glue the top piece to the very top of the first two sides. S T E P 1 6 ( F I G U R E   3 . 1 6 ) . Glue the last two sides to both the top and bottom

pieces.

S T E P 1 7 ( F I G U R E   3 . 1 7 ) . Tape the inside seam of the two sides which are not taped

together yet. S T E P 1 8 ( F I G U R E   3 . 1 8 ) . Use PVA glue to adhere the four dowel pieces to each of

the four corners. This will cover the seam and give it a decorative edge.

25

Lantern   25

FIGURE 3.13

FIGURE 3.14

FIGURE 3.15

FIGURE 3.16

FIGURE 3.17

FIGURE 3.18

26

26   Projects

S T E P 1 9 ( F I G U R E   3 . 1 9 ) . To create the chimney, sleeve one of the discs from step

12 onto the paper towel tube. Position it 1 ¼″ (32 mm) down from the top of the tube. Hot glue the pieces together from the bottom of the disc. Be very careful with hot glue, as even a single drip can burn your skin! S T E P 2 0 ( F I G U R E   3 . 2 0 ) . Sleeve the second disc onto the bottom of the tube

but do not glue it yet. Wrap the long strip of cardstock around the top and bottom disc, adding hot glue as you go.

S T E P 2 1 ( F I G U R E   3 . 2 1 ) . Apply rubber cement around the hole in the top and to

the bottom of the chimney piece. Let it sit for a few minutes. When it is dry but still tacky, press the two pieces together. S T E P 2 2 ( F I G U R E   3 . 2 2 ) . You should have a short bit of tube sticking down into the

inside of the lantern. Cut slits along the tube to form flaps that you can fold flat against the surface of the cardstock. Hot glue these flaps in place.

S T E P 2 3 ( F I G U R E   3 . 2 3 ) . Stack a few wooden beads on top of each dowel to

create a decorative finial. Hot glue them in place. S T E P 2 4 ( F I G U R E   3 . 2 4 ) . Seal every surface of the lantern, including the inside and

bottom. Use a decoupage glue (such as Mod Podge) or thinned PVA glue. Brush the glue on with irregular “X” strokes to minimize the appearance of brush strokes.

27

Lantern   27

FIGURE 3.19

FIGURE 3.20

FIGURE 3.21

FIGURE 3.22

FIGURE 3.23

FIGURE 3.24

28

28   Projects

S T E P 2 5 ( F I G U R E   3 . 2 5 ) . Paint a base coat of black acrylic paint over the entire

lantern, including the inside and bottom. Let dry. S T E P 2 6 ( F I G U R E   3 . 2 6 ) . Create a patina color with a mix of light blue and green or

purchase a premade color. Lightly sponge on this color around the outer surface. Sponge it on unevenly to create patches of patina rather than covering the entire surface. You do not need to sponge the inside or bottom of the lantern.

S T E P 2 7 ( F I G U R E   3 . 2 7 ) . Prepare a bit of metallic copper paint and a small cup of

water. Brush the copper paint on around the edges and seams of the lantern. Dip your brush into water and use that to water down some of the copper areas and make it more translucent. S T E P 2 8 ( F I G U R E   3 . 2 8 ) . Use a paper towel to dab off some of the wet copper

paint. The result should leave a mix of solid copper patches and areas with a translucent copper wash.

S T E P 2 9 ( F I G U R E   3 . 2 9 ) . Drill or punch two small holes on opposite sides of the

chimney piece. Make a loop of twine with the ends sticking into the holes. Tie a knot on each end of the twine on the inside of the chimney. The loop of twine should be large enough to fit your hand to carry the lantern. S T E P 3 0 ( F I G U R E   3 . 3 0 ) . Your lantern is now ready for a small battery-​powered

candle or other artificial light source (do not use real flame).

29

Lantern   29

FIGURE 3.25

FIGURE 3.26

FIGURE 3.27

FIGURE 3.28

FIGURE 3.29

FIGURE 3.30

30

31

C H AP T E R   4 TREAS U RE  CH E S T

A treasure chest can find a home in a medieval castle or a pirate ship. This chest is constructed solely from foam core board and paperboard or thick card, making it as lightweight as possible, and no danger if dropped or thrown. The fake wood grain paint treatment is a great technique to have in your prop building arsenal as well. MATERIALS • Foam core board, 3⁄16″ (5 mm) • Two pieces 13″ x 5 15⁄16″ (330 mm by 150 mm) (front and back) • Two pieces 9 1⁄8″ x 5 15⁄16″ (230 mm by 150 mm) (sides) • One piece 13″ x 9 ½″ (330 mm by 240 mm) (bottom) • Two pieces 13″ x 1″ (330 mm by 25 mm) (lid front and back) • Two pieces 9 1⁄8″ x 3 ½″ (230 mm by 89 mm) (lid sides) • One piece 13″ x 11″ (330 mm by 280 mm) (lid top) • Two pieces 12 5⁄8″ x ½″ (320 mm by 12 mm) (lid stiffeners)

• 1.5 mm (0.06″) thick paperboard (card, chipboard, greyboard, etc.) • Two pieces ½″ x 13 1⁄8″ (12 mm by 333 mm) (bottom) • Two pieces ½″ x 9 ½″ (12 mm by 240 mm) (bottom sides) • Four pieces 1″ x 5 5⁄8″ (24 mm by 143 mm) (corners) • Six pieces ¾″ x 5 5⁄8″ (19 mm by 143 mm) (straps) • Two pieces ¾″ x 8 ½″ (19 mm by 216 mm) (sides) • Three pieces ¾″ x 13 ½″ (19 mm by 343 mm) (lid straps) (continued) 31

32

32   Projects

• 1.5 mm (0.06″) thick paperboard • Two pieces ½″ x 13 ½″ (12 mm by 343 mm) (side lid straps) • Two pieces 9 ⁄8″ x 3 ¾″ (243 mm by 96 mm) (lid sides) 5

• One piece 1″ x 2 ½″ (25 mm by 64 mm) (hasp) • One piece ¾″ x 1 5⁄8″ (19 mm by 42 mm) (hasp eye)

• High-​tack PVA glue • Decoupage PVA glue • Masking tape • String • Acrylic paint: warm tan, cool grey, dark maroon, brown, black • Amber shellac • Clear poly-​acrylic sealer

• Sticky notes

• Sand

• Muslin

• Paintbrushes

• Four wooden dowels, ¼″ (6 mm) diameter

• Small clamps and rubber bands

• Straight edge ruler

• Foam brush or sponge

• Hobby knife

• Pins

3

34

34   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 4 . 1 ) . Cut out all your pieces from the foam core board. Some

of the sizes may need to be adjusted if your foam is not the same thickness as in the materials list. Use a metal straight edge and a hobby knife to get a straight line. Use sharp blades for a clean result. Do not try to cut through the entire piece of foam core board with one pass; cut through the top layer of paper with the first pass, the foam with the next one or two passes, and the bottom layer of paper with the final pass. Blades dull quickly on foam core board, so change them as soon as the knife starts to drag and rip the foam. Label the pieces with removable sticky notes, as pens will indent the foam and markers will show through the paint. S T E P 2 ( F I G U R E   4 . 2 ) . Assemble the bottom portion of the chest. Run a bead of

high-​tack glue along the edge of the pieces and push firmly together. Hold the pieces in place for a few seconds until they are secure. If the pieces are slipping or falling apart while drying, you can secure them with T-​pins or sewing pins. S T E P 3 ( F I G U R E   4 . 3 ) . To draw the arch on the side pieces of the lid, first draw a

line 1 inch (25 mm) from the bottom. Next, mark the center along the top. Take a strip of paperboard (or any flexible material) and clamp a string to the two ends. Adjust the length of the string until the paperboard forms an arc which touches both edges at your 1-​inch mark as well as the center mark at the top. Trace this arc with a pencil and cut it out. Repeat for the other side. S T E P 4 ( F I G U R E   4 . 4 ) . Glue the two sides of the lid to the thin strips used as the

front and back of the lid. Use a square to ensure each corner is a 90-​degree angle.

S T E P 5 ( F I G U R E   4 . 5 ) . Take the top of the lid and score lines from side to side at

1-​inch intervals. The score should cut through the top layer of paper and the foam, but it is important to leave the bottom layer of paper uncut. S T E P 6 ( F I G U R E   4 . 6 ) . The top of the lid is probably a bit long, so lay it on the lid

and make a mark where it should end. Cut it to the correct length.

35

Treasure  Chest   35

FIGURE 4.1

FIGURE 4.2

FIGURE 4.3

FIGURE 4.4

FIGURE 4.5

FIGURE 4.6

36

36   Projects

S T E P 7 ( F I G U R E   4 . 7 ) . Glue the top to the rest of the lid. Use pins and rubber bands

to hold it down securely as the glue dries. Run a strip of masking tape along the inside of the joint where the top meets the front and back strips. S T E P 8 ( F I G U R E   4 . 8 ) . Glue a small strip of foam core board to the inside of the

front and back of the lid to stiffen these pieces. Remember to remove the pins when the glue has dried.

S T E P 9 ( F I G U R E   4 . 9 ) . All the metal details of the chest are made from thick

paperboard or card. Cut out all the pieces to the correct size. Some of the sizes may need to be adjusted if your paperboard is not the same thickness as in the materials list. For the corner straps, score the length down the center and fold them to a right angle. S T E P 1 0 ( F I G U R E   4 . 1 0 ) . Pin on one of the straps to the edge of the lid without

gluing it. The strap pieces may be a bit long, so trim them all to fit the lid precisely. Next, lay it on the paperboard piece for the lid sides and trace the shape.

S T E P 1 1 ( F I G U R E   4 . 1 1 ) . This piece wants to be ½″ (12 mm) wide at all points.

Measure down 1/2″ from the center of the top. Measure in ½″ from each side. Create another arc from your paperboard, clamps, and string to hit all three of these marks and draw the arc. Also draw a line inset ½″ from the straight edges on the front and back of the lid. S T E P 1 2 ( F I G U R E   4 . 1 2 ) . Cut this shape out. Use it to trace a matching piece in

paperboard and cut that out as well.

37

Treasure  Chest   37

FIGURE 4.7

FIGURE 4.8

FIGURE 4.9

FIGURE 4.10

FIGURE 4.11

FIGURE 4.12

38

38   Projects

S T E P 1 3 ( F I G U R E   4 . 1 3 ) . Create a fabric hinge to join the three metal straps on the

back of the chest with the straps on the lid. Cut a piece of muslin about an inch longer than the length of the short piece of paperboard and a bit wider as well. Apply decoupage glue to the front of the paperboard and lay the muslin on top. Flip the pieces over and apply glue to the other side of the paperboard and wrap the edges of the muslin over. Snip the muslin at the hinge so the pieces that overlap on the back are separated between the two pieces of paperboard (but do not cut the muslin that is glued to the front). Apply more glue to the top of all the muslin and work out all air bubbles and wrinkles to ensure the muslin lays flat against the paperboard. S T E P 1 4 ( F I G U R E   4 . 1 4 ) . Create the hasp by cutting a few decorative curves out of

the edges. Cut a square hole in the middle large enough for the eye that you make later to fit through. Attach the hasp to the center strap on the opposite end of the fabric hinge from the previous step. Use another fabric hinge to attach it.

S T E P 1 5 ( F I G U R E   4 . 1 5 ) . Cut four pieces of wooden dowel the width of the

paperboard straps. Glue them near the hinge so they look like the pins of the hinge. Do not place them directly on the hinge; offset them enough so the hinge can still open fully. S T E P 1 6 ( F I G U R E   4 . 1 6 ) . To make the eye for the hasp, cut a piece of paperboard.

Score it down the center on the front. Score it ¼″ (6 mm) from each end on the back. Glue the two center sections together and punch a hole through them both. Snip the corners off to complete the shape.

S T E P 1 7 ( F I G U R E   4 . 1 7 ) . Seal the entire foam core board box and lid with

decoupage glue. To minimize warping, apply the glue to both the front and back of a piece before moving onto the next piece. Brush the glue in the same direction that you will want the fake wood grain to run, as the brushstrokes leave a texture. S T E P 1 8 ( F I G U R E   4 . 1 8 ) . When the glue is dry, apply a wet blend of two colors for

your base coat. A warm tan and cool grey work well for this step. With a wet blend, you use the same brush for both colors and alternate putting them on. Blend the edges as you go so there are no hard lines between the colors. You want to leave some areas of pure tan and pure grey. Again, brush the paint in the same direction as the wood grain.

39

Treasure  Chest   39

FIGURE 4.13

FIGURE 4.14

FIGURE 4.15

FIGURE 4.16

FIGURE 4.17

FIGURE 4.18

40

40   Projects

S T E P 1 9 ( F I G U R E   4 . 1 9 ) . When the basecoat dries, you can add grain lines. Use

a contrasting color, like a dark maroon. Take a paintbrush that has dried up. Dip the stiff bristles in the paint and drag it in the direction of the grain. Keep the lines fairly parallel; it is very helpful to keep a reference image of real wood handy so you can see how grain behaves. S T E P 2 0 ( F I G U R E   4 . 2 0 ) . Make a translucent brown glaze by mixing some brown

paint with some clear water-​based polyurethane or poly-​acrylic. Apply it over the entire chest when the previous layers of paint have dried.

S T E P 2 1 ( F I G U R E   4 . 2 1 ) . When all the paint is dry, seal the foam core board with

a coat of amber shellac. Shellac dries quickly, so always add shellac to the wet edges of already-​applied shellac. Brush it on in the direction of the wood grain. S T E P 2 2 ( F I G U R E   4 . 2 2 ) . To paint the metal pieces, mix up some black acrylic paint

with a bit of sand. Use a brush to stipple the paint on. Paint the front and sides of all the paperboard pieces, but not the backs.

S T E P 2 3 ( F I G U R E   4 . 2 3 ) . When the paint has dried, begin attaching the paperboard

to the chest box. Use a high-​tack PVA glue. Glue the side pieces to the lid, as well as the side straps along the edges of the top of the lid. S T E P 2 4 ( F I G U R E   4 . 2 4 ) . Find the center of the box and glue the center strap (the

one with the hasp in the front) to the back of the chest box.

41

Treasure  Chest   41

FIGURE 4.19

FIGURE 4.20

FIGURE 4.21

FIGURE 4.22

FIGURE 4.23

FIGURE 4.24

42

42   Projects

S T E P 2 5 ( F I G U R E   4 . 2 5 ) . Line up the lid with the box and glue the center strap

to it. The other two straps with hinges go halfway between the center strap and the side straps. Attach them in the same manner that you attached the center. Once these are secure, place the three front straps so they are in line with the top straps and glue them to the chest box. S T E P 2 6 ( F I G U R E   4 . 2 6 ) . Line up the eye on the front center strap so that the hasp

can easily fit over it when the lid is closed. Glue the eye in place.

S T E P 2 7 ( F I G U R E   4 . 2 7 ) . A lid stay is a length of string or chain that prevents the

lid of a chest from opening too far. For the holes that hold the string, cut two strips of paperboard, one for the box and one for the lid. Fold each in half and glue together. Punch a hole near the folded end. S T E P 2 8 ( F I G U R E   4 . 2 8 ) . Attach the two strips to the box and the lid, applying glue

to all but the last inch (25 mm) where the hole is located. Tie a short length of string to each hole. The string should be long enough that the lid remains open when it is lifted.

S T E P 2 9 ( F I G U R E   4 . 2 9 ) . Mix some grey acrylic paint with clear poly-​acrylic. Use a

foam brush or sponge to work this paint into all the corners, seams, and edges. Apply it on both the metal and wood areas. S T E P 3 0 ( F I G U R E   4 . 3 0 ) . When the paint dries, your treasure chest is ready to hold

all your most valuable artifacts.

43

Treasure  Chest   43

FIGURE 4.25

FIGURE 4.26

FIGURE 4.27

FIGURE 4.28

FIGURE 4.29

FIGURE 4.30

4

45

C H AP T E R   5 CHALICE

Papier-mâché is among the cheapest and most environmentally sustainable processes a prop shop can use. Building a chalice out of forms from existing bowls, vases, and dishes allows you to create fantastic shapes without having to sculpt or model them on your own. The French Enamel Varnish (FEV) process helps transform these paper vessels into stunning metallic pieces under theatrical light. You can fill an entire banquet table with golden chalices and vessels, and it will still be lightweight enough to carry off stage. MATERIALS • One large bowl and one shallow dish

• Gold acrylic paint

• Newsprint

• Paintbrushes

• Paperboard or thick card, 1.5 mm (0.06″) thick

• Sandpaper

• PVA glue

• Denatured alcohol/​methylated spirits

• Cooking oil spray

• Alcohol ink: orange

• Cotton rope

• Pipe or tube

• Masking tape

• Nitrile gloves

• Scissors

• String

• Clear shellac

• House paint (any color)

45

46

46   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 5 . 1 ) . You need a large bowl shape for the top of your chalice and

a shallow dish shape for your base. Glass, polished stone, and glazed ceramics work best. You do not need to use the entire piece as your form; the bottom portion of a larger vase might give you the ideal shape. S T E P 2 ( F I G U R E   5 . 2 ) . Coat your two vessels with cooking spray.

S T E P 3 ( F I G U R E   5 . 3 ) . The first layer of newsprint is laid on with just water and no

glue. Try to overlap the pieces as little as possible. On the vase, the pieces are laid on the bottom up to where the shape stops flaring out; if you continue where the shape starts flaring back in, the piece will not slide off without cutting it S T E P 4 ( F I G U R E   5 . 4 ) . While this first layer is still damp, begin adding the second

layer. Dip each piece of newsprint into the PVA glue and then squeeze all the excess off. Place the pieces so they overlap the seams in the previous layer. Gently smooth the pieces out so no air bubbles or wrinkles remain. For sharp curves, you will need to tear the pieces into smaller sections to avoid creases. If you use a different type of newsprint (such as blank versus printed), it will be easier to keep track of which areas have a second layer.

S T E P 5 ( F I G U R E   5 . 5 ) . Allow the pieces to dry overnight. When dry, they should be

able to slide right off. The vessels can be cleaned with soap and water. S T E P 6 ( F I G U R E   5 . 6 ) . To add a lip to the top cup, slide the papier-mâché piece back

onto the vase. Cut a length of rope to fit the circumference of where you want the lip. Join the two edges together with masking tape. Soak the rope in glue and slide it onto the papier-mâché. Add some glue from the bottle if it needs help adhering.

47

Chalice   47

FIGURE 5.1

FIGURE 5.2

FIGURE 5.3

FIGURE 5.4

FIGURE 5.5

FIGURE 5.6

48

48   Projects

S T E P 7 ( F I G U R E   5 . 7 ) . When the rope has fully dried, slide the papier-mâché cup off

the vase and trim the excess paper off the top of the cup to give it a clean edge. S T E P 8 ( F I G U R E   5 . 8 ) . Reinforce the base with some thick paperboard. To use

paperboard for papier-mâché, you first need to soak the piece in plain water for a few seconds. Remove it and massage it until it loses its stiffness and becomes flexible. Squeeze out as much water as possible. Dip it into the glue mixture and apply it to the inside of the base. Overlap the edges as little as possible.

S T E P 9 ( F I G U R E   5 . 9 ) . When the paperboard has fully dried, trim the edge to make

a clean and level bottom. S T E P 1 0 ( F I G U R E   5 . 1 0 ) . For the stem, cut a piece of paperboard a little taller than

the desired stem height and a little wider than the desired circumference. Score a line about half an inch from the top and the same on the bottom; the distance between the scored lines should be the actual height you want. Cut slits at regular intervals along the top and bottom from the edge to the scored line. These will become tabs that fold out to attach the stem in a later step.

S T E P 1 1 ( F I G U R E   5 . 1 1 ) . Soak the stem paperboard in water and massage it until

it is flexible. Wrap it around a pipe close to the desired diameter of your stem (though it does not have to be exact). Allow the paperboard to dry like this. S T E P 1 2 ( F I G U R E   5 . 1 2 ) . When the stem has dried, trim it to the exact diameter

you want. Join the two edges with a strip of masking tape.

49

Chalice   49

FIGURE 5.7

FIGURE 5.8

FIGURE 5.9

FIGURE 5.10

FIGURE 5.11

FIGURE 5.12

50

50   Projects

S T E P 1 3 ( F I G U R E   5 . 1 3 ) . Fold the tabs on the stem out. Glue the top cup to the

top of the stem and glue the bottom of the stem to the base. Be sure everything is centered. S T E P 1 4 ( F I G U R E   5 . 1 4 ) . Use rope to add a few more details on the stem in the

same manner that you attached the lip in step 6. This chalice has a piece of rope attached to the top and bottom of the stem, as well as a row of three directly in the center. There is a fourth piece of rope in the center to double up the thickness of the middle rope.

S T E P 1 5 ( F I G U R E   5 . 1 5 ) . To add a raised leaf design around the top cup, first

measure the circumference at the smallest point. The easiest way to do this is by wrapping a string around it and cutting it to the exact circumference. Divide the string into eight equal pieces. Create a paper pattern piece with the same width as one of the pieces of string. Trace the pattern onto paperboard and cut out eight of those shapes. Soak them in water to soften them, then dip in glue and apply. S T E P 1 6 ( F I G U R E   5 . 1 6 ) . Allow everything on the chalice to dry to the touch. You

can now cover the entire thing with a final layer of papier-mâché. Be sure that the pieces in this layer overlap the seams and edges of the different parts.

S T E P 1 7 ( F I G U R E   5 . 1 7 ) . For any sharp corners or edges, such as the outline of the

leaf shapes or the rim, push the papier-mâché firmly into the corner. You do not want to obscure or round over the details that you have created. S T E P 1 8 ( F I G U R E   5 . 1 8 ) . After the final layer has dried, apply a coat of house

paint. Work it into all the cracks and crevices so you create a coating that completely encapsulates the piece.

51

Chalice   51

FIGURE 5.13

FIGURE 5.14

FIGURE 5.15

FIGURE 5.16

FIGURE 5.17

FIGURE 5.18

52

52   Projects

S T E P 1 9 ( F I G U R E   5 . 1 9 ) . Allow the paint to dry and then sand the surface smooth.

In some areas, you may end up sanding through the entire layer of paint and reveal the newsprint. This is okay; you are trying to smooth out all the bumps created from overlapping the pieces of newsprint. S T E P 2 0 ( F I G U R E   5 . 2 0 ) . Paint on a second layer of paint. This can be the same

color, but if you use a different color it becomes easier to keep track of the different layers. Wait for this layer to dry and then sand it smooth as well. You may repeat this process a third or even fourth time depending on how smooth you want the final piece and how much time you can commit to it.

S T E P 2 1 ( F I G U R E   5 . 2 1 ) . Wipe away all the dust from sanding with a slightly damp

cloth. Apply a coat of gold acrylic paint to the whole chalice. Most metallic paints need to be thick for full opacity, but it is better to apply two thin coats than a single thick one. S T E P 2 2 ( F I G U R E   5 . 2 2 ) . The final layer is a coat of French Enamel Varnish (FEV).

FEV is mixed from adjustable proportions of clear shellac, denatured alcohol (known as methylated spirits outside of the US), and a non-​water-​based pigment. In these pictures, the FEV was made of 10 teaspoons of shellac, 5 teaspoons of alcohol, and 1 teaspoon of orange alcohol ink. Wear a pair of nitrile gloves when mixing and applying FEV and work in a well-​ventilated room!

S T E P 2 3 ( F I G U R E   5 . 2 3 ) . The brilliance of FEV comes from how it flows in an

organic manner over the surfaces. You do not want to apply an even coat of the color, but rather let the pigment spread out in random patches and pools. You can build up more opaque areas of pigment by letting the first coat dry and then adding some more FEV on top. The previous layers also re-​dissolve when new FEV is added on top, which allows for some interesting effects. S T E P 2 4 ( F I G U R E   5 . 2 4 ) . The shellac in the FEV acts as a protective sealant. Once it

dries, the chalice is water resistant (though not waterproof) and the colors will not rub off.

53

Chalice   53

FIGURE 5.19

FIGURE 5.20

FIGURE 5.21

FIGURE 5.22

FIGURE 5.23

FIGURE 5.24

54

5

C H AP T E R   6 ROAST

CH ICK EN

The humble chicken. Whenever a show features a banquet or large meal, you can usually add a roast chicken to make it look special. Buying and cooking a chicken for a show can be pricey and time-​consuming, and when you have multiple performances, it can eat up your entire budget. This papier-mâché chicken can be built in just a few days using cheap materials that you may already have. It is also a very environmentally friendly method with some of the least toxic materials available. Altering the size and shape can give you a roast turkey or Christmas goose for use in even more shows. MATERIALS • Chicken pattern (at end of chapter or online)

• PVA glue

• Corrugated cardboard

• Tissue paper

• Box cutter • Paper

• Acrylic paint: raw sienna, yellow, burnt umber

• Masking tape

• Paintbrush

• Newsprint

• Painting sponge

• Hot glue gun

55

56

56   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E   6 . 1 ) . Cut out pieces of cardboard with the box cutter to form the

shapes of the body, two wings, and two legs. The body is about 7 ½″ by 4 ½″ (19 cm by 11.5 cm). The legs are 4 ¼″ by 2 ¼″ (11 cm by 6 cm), and the wings are 3″ by 3″ (8 cm by 8 cm). S T E P 2 ( F I G U R E   6 . 2 ) . Crumple up paper and attach it to the cardboard with

masking tape to establish the three-​dimensional shape.

S T E P 3 ( F I G U R E   6 . 3 ) . If you need to make a part thinner, wrap some tape tightly

around it to pinch it into shape. If a section needs to be thicker, add additional crumpled pieces of paper. The finished pieces should hold their shapes on their own, and all the surfaces should be smooth and closed. Be sure everything is roughly symmetrical. S T E P 4 ( F I G U R E   6 . 4 ) . Mix PVA glue and water in equal amounts. Tear up newsprint

into small squares of varying sizes. Dip the newsprint into the glue mixture, squeeze out any excess liquid, and place it on the chicken. Smooth out the surface to remove any air bubbles underneath. Try to avoid wrinkling the paper; use smaller pieces around the curves. The edges of each piece should overlap a bit, but do not overlap the whole piece. Cover the entire surface of all five parts individually and leave in a warm, dry place.

S T E P 5 ( F I G U R E 6 . 5 ) . Depending on how dry your room is, the papier-mâché may

dry overnight, or it might take longer in humid conditions. When the first layer has dried fully, attach the legs and wings to the body with hot glue. Be very careful with hot glue, as even a single drip can burn your skin! S T E P 6 ( F I G U R E   6 . 6 ) . Be sure the pieces are placed symmetrically and firmly. Add

more hot glue if you need to refine the position and make them sit correctly.

57

Roast Chicken   57

FIGURE 6.1

FIGURE 6.2

FIGURE 6.3

FIGURE 6.4

FIGURE 6.5

FIGURE 6.6

58

58   Projects

S T E P 7 ( F I G U R E   6 . 7 ) . Add a second layer of papier-mâché over the entire chicken.

The pieces in the second layer should overlap the edges of the pieces in the first layer. In particular, they should overlap the joints between the body and the limbs. S T E P 8 ( F I G U R E   6 . 8 ) . Apply a third layer using a thin tissue paper. Be sure to use an

uncoated tissue paper. Choose a color like yellow or off-​white; a bright color like blue or green will take a lot more paint to cover up. Avoid wrinkles as before, but if a wrinkle is inevitable, try to arrange it to appear like a wrinkled piece of chicken skin. Allow this layer to dry fully before painting.

S T E P 9 ( F I G U R E   6 . 9 ) . Apply a base coat of raw sienna acrylic paint. The paint must

be opaque enough to hide any words and pictures on your newsprint. Use two or more thin coats of paint rather than one thick coat of paint if your paint is a little transparent. S T E P 1 0 ( F I G U R E   6 . 1 0 ) . Use water to thin down a bit of yellow paint and a bit of

burnt umber paint. Take a natural sponge and dab on some patches of color, alternating between the yellow and the umber. Be sure to have a reference image handy to see where these colors appear on a real roast chicken.

S T E P 1 1 ( F I G U R E   6 . 1 1 ) . Mix a bit of PVA glue with water. Sponge this on

the surface of your chicken in a few spots. When it dries, the glue will leave a glossy appearance, while the surfaces without glue will be more matte. S T E P 1 2 ( F I G U R E   6 . 1 2 ) . Your chicken is ready to go once it dries. Dress it up with a

few fake potatoes and vegetables and place it on a serving tray for best results.

59

Roast Chicken   59

FIGURE 6.7

FIGURE 6.8

FIGURE 6.9

FIGURE 6.10

FIGURE 6.11

FIGURE 6.12

60

F I G U R E   6 . 1 3   Chicken Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

61

C H AP T E R   7 S K ULL

Alas the poor theater that does not have a skull in their stock. From the King of Denmark to a Halloween haunted house, this is one of the most iconic props ever. It is too expensive and creepy to get the real thing. The shape of this skull is carved from foam, with a few layers of papier-mâché to give it a finer surface and a bit of durability. MATERIALS • Pattern pieces (at end of chapter or online)

• Drill and drill bit

• Rigid polystyrene foam

• Newsprint

• PVA glue

• Tissue (facial tissue, no lotion)

• Masking tape

• Acrylic paint: grey and white

• Saw or serrated knife

• Paintbrush

• Toothpicks

• Dust mask

• Snap-​off blade knife

• Vacuum cleaner to collect foam dust

• Sandpaper

• Surform tool

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INSTRUCTIONS S T E P 1 ( F I G U R E 7 . 1 ) . Rigid polystyrene foam is often called “Styrofoam,” and can

be found in craft and floral stores (avoid the green “wet” floral foam). It can also be found in large sheets as insulation, appearing in blue, pink, and light green. You may also use bead foam from packaging. If you cannot find a block of foam large enough for your skull, you can glue two or more pieces together. Spread a layer of PVA glue over the surface and press the two pieces together. Place a weight on top to clamp it as it dries. S T E P 2 ( F I G U R E   7 . 2 ) . Cut out the side pattern piece but leave the face uncut so

you can line up the pattern along the edge of the foam. Trace the pattern of the side view onto the foam. Mark the eyeline.

S T E P 3 ( F I G U R E   7 . 3 ) . Draw the eyeline perpendicularly along the front of the foam

to line up the pattern pieces for the other side and the front. Flip the side pattern piece and draw it on the other side. Cut off the rest of the pattern and trace the remainder of the profile on both sides. Trace the front pattern onto the foam. S T E P 4 ( F I G U R E   7 . 4 ) . With a long thin serrated blade, such as a home repair saw or

even a bread knife, cut out the profile of the skull. It is important to keep the blade square to the surface you are cutting; check frequently as you cut that the blade is following the marks on both sides. Cut just outside of the line you drew; you can cut it down more precisely later. You will need to cut relief cuts for the tighter curves and corners. Save the offcuts.

S T E P 5 ( F I G U R E   7 . 5 ) . Reattach the offcuts of foam with toothpicks and

masking tape. S T E P 6 ( F I G U R E   7 . 6 ) . Cut out the front of the skull. You may now discard all the

offcuts.

63

Skull   63

FIGURE 7.1

FIGURE 7.2

FIGURE 7.3

FIGURE 7.4

FIGURE 7.5

FIGURE 7.6

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64   Projects

S T E P 7 ( F I G U R E   7 . 7 ) . Using a snap-​off blade, start slicing off the corners and edges.

You want to cut away as much as you are able, to minimize the dust that will be created in later steps. Regularly check the shape of your skull against your research and from every angle. Make sure your skull becomes fully rounded, rather than a flat cube with rounded edges. S T E P 8 ( F I G U R E   7 . 8 ) . Use your templates to draw on the additional details, such as

the eyes, nose, and mandible.

S T E P 9 ( F I G U R E   7 . 9 ) . Use a reference image of the bottom of the skull to cut away

the inside of the jaw and further refine the shape. S T E P 1 0 ( F I G U R E   7 . 1 0 ) . A surform tool acts like a cheese grater to quickly remove

foam. Smooth out all the angled edges and remove as many flat spots as you can. The surform leaves a rough finish to the foam that you will clean up later.

S T E P 1 1 ( F I G U R E   7 . 1 1 ) . A drill with a large bit is useful for gouging out the eyes

and nose, and for adding holes around the jawbone. The sides of the drill bit are sharp enough to carve away foam as well. Hold onto the skull to prevent it from spinning while you drill. S T E P 1 2 ( F I G U R E   7 . 1 2 ) . Use sandpaper to smooth all the surfaces and remove any

loose bits. Sandpaper is also helpful to add finer detail. Keep a vacuum cleaner handy to clean the foam dust as you make it. Be sure to wear a dust mask to avoid breathing any of the dust!

65

Skull   65

FIGURE 7.7

FIGURE 7.8

FIGURE 7.9

FIGURE 7.10

FIGURE 7.11

FIGURE 7.12

6

66   Projects

S T E P 1 3 ( F I G U R E   7 . 1 3 ) . Mix an equal amount of white glue and water in a shallow

dish. Tear up small squares of newsprint (do not cut them apart; the torn edges help them blend more smoothly). Dip a square in the glue mixture, squeeze off as much excess glue as you can, and lay it onto the skull. Use your finger to smooth out the paper and squeeze out any air bubbles underneath. The pieces should be small enough that they can lay on the skull without any wrinkles. You can use larger pieces for the smooth surfaces on the back of the skull but will need many smaller pieces to cover the facial region. Do not overlap the pieces; just overlap the edges enough to cover all the foam. After the first layer dries, add a second layer. Try to overlap the seams in the first layer as much as possible. S T E P 1 4 ( F I G U R E   7 . 1 4 ) . For the third layer, use facial tissue (be sure it is free of

lotion). Paint the glue onto the skull itself and lay the dry tissue onto the glue. Use a brush to apply glue on top of the tissue. Smooth this out as much as possible with your fingers. Do not worry about tiny wrinkles; these will give your skull an aged texture when painted.

S T E P 1 5 ( F I G U R E   7 . 1 5 ) . If you fully saturate the tissue with glue, you can sculpt

it almost like clay. Build up details on the face with tissue to sculpt the finer details, particularly around the eyes, nose, and teeth. S T E P 1 6 ( F I G U R E   7 . 1 6 ) . When the skull is fully dry, paint the surface with a neutral

grey color.

S T E P 1 7 ( F I G U R E   7 . 1 7 ) . After the grey dries, dry brush some white paint over the

top. To dry brush, load up your paintbrush with white paint, then wipe away as much of the paint as possible onto a rag or towel. Scrape the paintbrush across the surface of the skull at a steep angle. The paint should color the high points of the texture, while leaving the grey paint in the low points. Create some shading by using extra paint along the edges and top half of the skull, while leaving the bottom half and deep recesses mostly grey. S T E P 1 8 ( F I G U R E   7 . 1 8 ) . Once the paint dries, the skull is ready to make an

appear­ance.

67

Skull   67

FIGURE 7.13

FIGURE 7.14

FIGURE 7.15

FIGURE 7.16

FIGURE 7.17

FIGURE 7.18

68

F I G U R E   7 . 1 9   Skull reference. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

69

F I G U R E   7 . 2 0   Skull reference. Enlarge this drawing onto a 1 inch (25 mm) grid. Copyright material from Hart (2021), Prop Building for Beginners, Routledge

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71

C H AP T E R   8 K EY

Many keys are small and fit in your pocket, but when you have a royal dungeon or large treasure vault, you need a key that can be seen from a distance. This key is modeled after many of the keys used in 16th and 17th century European castles. This project introduces us to epoxy putty, a waterproof sculpting material that hardens within minutes. MATERIALS • Epoxy putty

• Silver paint pen

• Wooden dowel, ¼″ (6 mm) diameter, 7″ (178 mm) long

• Paintbrush • Toothbrush

• Wooden or plastic sculpting tools

• Rag

• Craft knife

• Sandpaper

• Acrylic paint: black, silver, burnt sienna

• Nitrile gloves

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INSTRUCTIONS S T E P 1 ( F I G U R E 8 . 1 ) . Create a full-​scale drawing of your key. Cut a piece of dowel

to the length of the stem. S T E P 2 ( F I G U R E   8 . 2 ) . Epoxy putty is a two-​part compound. When you knead the

two parts together, it begins to solidify. Wear nitrile gloves when working with it. The two parts are typically different colors; you know you have mixed the parts together sufficiently when it becomes a single uniform color. The putty solidifies in three to five minutes, so work in small batches at a time (about the size of a green olive).

S T E P 3 ( F I G U R E   8 . 3 ) . Begin with a rectangle of putty for the bit. Wrap a small

layer firmly against the dowel to give the rectangle something to adhere to. Use wooden sculpting tools to refine the shape and add notches and holes. You can smooth the putty with a bit of water while it is still soft. S T E P 4 ( F I G U R E   8 . 4 ) . Because the putty solidifies so quickly, it is easier to make a

rough sculpt and then carve it away later to add precision and smoothness. After the putty becomes rigid, it goes through a long phase where it is stiff but not rock hard. During this phase, you can use a sharp craft knife to shave the edges flat and smooth.

S T E P 5 ( F I G U R E   8 . 5 ) . Mix another batch of putty and roll it into a long cylinder.

Bend the cylinder into the shape of the key head (or bow). Allow this part to stiffen. S T E P 6 ( F I G U R E   8 . 6 ) . Mix a batch of putty and roll part of it into a ball. Stick this

firmly onto the wooden dowel and adhere the head from step 5 to it. Use the rest of this batch to thicken and add details to the head.

73

Key   73

FIGURE 8.1

FIGURE 8.2

FIGURE 8.3

FIGURE 8.4

FIGURE 8.5

FIGURE 8.6

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74   Projects

S T E P 7 ( F I G U R E   8 . 7 ) . Spread a new batch of putty over the whole shaft of the key.

Form the shoulders, grooves, and beads along the shaft by rolling the shaft while pressing down with sculpting tools. S T E P 8 ( F I G U R E   8 . 8 ) . When the epoxy has fully cured, you can sand it smooth

and refine the surfaces with sandpaper. You can spend a lot of time on this step to make the surface pristine or keep some of the imperfections to make the key look like an old piece of pitted metal. When finished, wipe the dust away with a damp rag, especially in the crevices. Coat the whole key with a base color of black acrylic paint.

S T E P 9 ( F I G U R E   8 . 9 ) . Load up a paintbrush with silver paint and wipe it away so

you can dry brush the paint onto the key. Use a rag or paper towel to wipe away any thick areas of paint. The result should be an even but thin layer of silver with the black still showing through. S T E P 1 0 ( F I G U R E   8 . 1 0 ) . Use a silver paint pen to lightly color all the edges and

high points of the key. Use a rag to lightly wipe the pen marks and remove any hard edges.

S T E P 1 1 ( F I G U R E   8 . 1 1 ) . Dip a toothbrush in some thinned down burnt sienna,

or another color that resembles rust. Aim the toothbrush toward the key and run your thumb through the bristles to flick the paint forward in a light splatter. You may want to test this out first on a piece of scrap to find the best position to hold your toothbrush. Add splatter to the whole key. S T E P 1 2 ( F I G U R E   8 . 1 2 ) . You can also brush the paint directly on the key with the

toothbrush to make some areas extra rusty. When the paint has fully dried, your key is ready to unlock your potential.

75

Key   75

FIGURE 8.7

FIGURE 8.8

FIGURE 8.9

FIGURE 8.10

FIGURE 8.11

FIGURE 8.12

76

7

C H AP T E R   9 S CEPTE R

A scepter naturally adds an air of theatricality to any event, so it fits in well in any show or event with kings, queens, and officers. The construction is simple: sculpted paperclay on the top and bottom of a length of PVC pipe. While the materials are cheap, the technique can take some practice to achieve good results. This process can be used on many other types of props, since so many objects consist of a pole or staff with a decorative top. MATERIALS • Full-​scale drawing of lion head (at end of chapter or online) • PVC pipe, ¾″ (25 mm) diameter* and 18″ (46 cm) long • Hand saw • Paperclay • Aluminum foil • Drill with small drill bit • Sculpting tools • Fan or small heater to accelerate dry time • Craft foam

• Rubber cement • Nitrile gloves • Twine • Screw • Wire • Sandpaper • PVA glue • Decoupage glue • Sandpaper • Acrylic paint: black and bronze • Paintbrushes

* The actual outer diameter of ¾″ PVC pipe is 1.05″. 77

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78   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 9 . 1 ) . Cut your PVC pipe to a length of 18″ (46 cm). A regular

hand saw for wood is sufficient for the task. Sand down the cut end to make it smooth. S T E P 2 ( F I G U R E   9 . 2 ) . Drive a long screw through the top end of the PVC. This will

give you a base to build an armature that does not slip off.

S T E P 3 ( F I G U R E   9 . 3 ) . Begin bulking up the top end by wrapping aluminum foil

around the screw. S T E P 4 ( F I G U R E   9 . 4 ) . Continue adding aluminum foil until you have a shape that is

slightly smaller than the sculpture you will create. Keep your full-​scale drawing of the lion close at hand. You can hold your armature up to the drawing to check the size and shape as you go.

S T E P 5 ( F I G U R E   9 . 5 ) . Drill a small hole through the bottom of the PVC. Run a

small length of wire through it, then twist it into the rough outline of the finial that you wish to sculpt down there. S T E P 6 ( F I G U R E   9 . 6 ) . Crumple aluminum foil around this wire to build up an

armature for the finial.

79

Scepter   79

FIGURE 9.1

FIGURE 9.2

FIGURE 9.3

FIGURE 9.4

FIGURE 9.5

FIGURE 9.6

80

80   Projects

S T E P 7 ( F I G U R E   9 . 7 ) . Begin covering the armature at the top with paperclay. Wet

your fingers as you work and rub the water onto the surface of the paperclay as you apply it to the foil. Wet both sides of any pieces of paperclay that you want to stick together. S T E P 8 ( F I G U R E   9 . 8 ) . Continue adding paperclay to rough out the form of the

lion’s head. Check your progress frequently against your full-​scale drawing. Remember to look at the head from all angles to monitor symmetry and shape.

S T E P 9 ( F I G U R E   9 . 9 ) . Certain elements are easier to form separately and then

attach to the main sculpture. For example, the eyes are small balls you can roll out and then press into the head. The ears and teeth are other parts you may wish to create in this way. S T E P 1 0 ( F I G U R E   9 . 1 0 ) . With all elements in place, you can continue to refine the

shape and add textures. You can smooth surfaces with wet fingers. Small wooden sculpting tools, or even popsicle sticks, are handy for adding more precise detail. The texture for the hair can be created by pinching little bits of the paperclay with your fingers.

S T E P 1 1 ( F I G U R E   9 . 1 1 ) . Cover the armature for the finial with the paperclay

and sculpt it into the shape you want. Again, use wooden tools or popsicle sticks to add precise details. When you are happy with your sculpts, leave them undisturbed to dry for one to three days. You can use a fan or small heater to speed up the drying process but avoid having the fan blow directly onto the paperclay. The paperclay will crack if it dries too quickly or unevenly, especially in the beginning. After the first day or so, it will be dry to the touch and you can speed up the drying process more aggressively without fear of cracking. S T E P 1 2 ( F I G U R E   9 . 1 2 ) . For the spiral detail along the handle, cut out ½-​inch

(13 mm) strips of 2-​mm craft foam. Apply rubber cement to the entire length of PVC and the back of the foam strips. When the cement is dry to the touch you can adhere the strips. Wrap two strips next to each other, leaving about 1⁄8-​inch gap in between. Wear nitrile gloves and work in a well-​ventilated space while the rubber cement is wet!

81

Scepter   81

FIGURE 9.7

FIGURE 9.8

FIGURE 9.9

FIGURE 9.10

FIGURE 9.11

FIGURE 9.12

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S T E P 1 3 ( F I G U R E   9 . 1 3 ) . Soak some twine in glue. Wipe away the excess glue and

wrap it tightly around the seam between the paperclay and PVC on both the top and bottom. This creates a decorative element to hide the transition in materials as well as strengthens the joint. S T E P 1 4 ( F I G U R E   9 . 1 4 ) . When the paperclay has dried fully, you can smooth and

refine the surface with sandpaper.

S T E P 1 5 ( F I G U R E   9 . 1 5 ) . Wipe all the dust from the scepter and coat it with a thin

layer of decoupage glue. Be sure to work the glue into every crack and crevice. S T E P 1 6 ( F I G U R E   9 . 1 6 ) . After the glue dries, apply a basecoat of black acrylic paint

to the entire surface.

S T E P 1 7 ( F I G U R E   9 . 1 7 ) . When the black paint dries, take some bronze acrylic

paint and brush it over the surface. Use a modified dry brush technique so that the higher surfaces receive a decent coating of bronze, but the cracks and valleys remain mostly black. This approach gives you a more realistic metallic appearance than just a solid coating of bronze paint. S T E P 1 8 ( F I G U R E   9 . 1 8 ) . Your scepter is ready after the paint fully cures. A clear

coating will make the finish more durable but will dull the appearance of the paint; the acrylic paint without a clear coat is durable enough for light handling of the prop.

83

Scepter   83

FIGURE 9.13

FIGURE 9.14

FIGURE 9.15

FIGURE 9.16

FIGURE 9.17

FIGURE 9.18

84

F I G U R E   9 . 1 9   Lion reference. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

85

C H AP T E R   1 0 LO AF

OF  B R E A D

Bread is a fairly cheap item to buy, but a fake loaf of bread is often preferred. You do not have to worry about it going bad, leaving crumbs behind, and attracting pests. It can also get expensive if you need many loaves at once. Using upholstery foam and flexible glue gives you a loaf of bread with some softness, so that it behaves like a real loaf when your actor handles it. MATERIALS • Upholstery foam, 2″ (5 cm) thick, about 9″ by 6″ (230 mm by 150 mm)

• Flexible PVA glue

• Marker

• Paintbrushes

• Snap-​off blade knife • Surform tool

• Acrylic paint: white, burnt umber, raw sienna, burnt sienna, yellow

• Scissors

• Painting sponge

• Paintbrush for glue

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INSTRUCTIONS S T E P 1 ( F I G U R E   1 0 . 1 ) . Draw the outline of your loaf of bread onto the upholstery

foam. Use yellow or white upholstery foam; if you use green or black foam, you will need a lot more paint to cover up those colors. Cut out your loaf with the full length of a snap-​off blade knife. S T E P 2 ( F I G U R E   1 0 . 2 ) . Use the snap-​off blade knife to round over the top edge of

your bread. The foam blunts the knife quickly, so use fresh blades whenever the knife starts to tear the foam.

S T E P 3 ( F I G U R E   1 0 . 3 ) . Continue to round over and refine the shape of your bread

with scissors. Clip off just a small amount at a time; if you try to cut off too big of a piece, you will squeeze the foam and leave a curved gouge, rather than a straight cut. S T E P 4 ( F I G U R E   1 0 . 4 ) . To get the deep scored slashes in the top of your bread loaf,

squeeze the loaf in a “U” shape so the top is pushed outward. Cut deep gouges with your scissors wherever you want a slash.

S T E P 5 ( F I G U R E   1 0 . 5 ) . Tear away a few small pieces from inside the slash with your

fingers to give it a natural-​looking texture. S T E P 6 ( F I G U R E   1 0 . 6 ) . When you have finished shaping the loaf, smooth out the

surface with a surform tool. A surform works very slowly on flexible upholstery foam, but it helps remove the straight edges left by the scissors.

87

Loaf of Bread   87

FIGURE 10.1

FIGURE 10.2

FIGURE 10.3

FIGURE 10.4

FIGURE 10.5

FIGURE 10.6

8

88   Projects

S T E P 7 ( F I G U R E   1 0 . 7 ) . Coat the entire surface of the loaf with flexible PVA glue.

Start with the bottom. If you stick pins into the bottom, you can flip it over and coat the top without the bottom sticking to your table. S T E P 8 ( F I G U R E   1 0 . 8 ) . When dry, give it another coat of flexible PVA glue. You may

need a third coat as well. You want the surface to be fully sealed so that none of the paint will soak into the interior of the foam.

S T E P 9 ( F I G U R E   1 0 . 9 ) . Mix some burnt umber and white paint to use as a base

coat. This color should match the lightest color in your reference image. Paint the entire surface and allow to dry. S T E P 1 0 ( F I G U R E   1 0 . 1 0 ) . Take some burnt umber paint and some raw sienna

paint, each thinned down with a bit of water. Sponge each color over the loaf, covering the entire surface except for inside the slashes. Use the same sponge for each color. The colors can blend together in some spots but leave a few areas where each color remains unblended.

S T E P 1 1 ( F I G U R E   1 0 . 1 1 ) . When the paint is dry, mix some yellow paint with water

until it is transparent enough that any paint underneath it remains visible. Paint it over the entire surface of the bread. S T E P 1 2 ( F I G U R E   1 0 . 1 2 ) . The final glaze will take a few hours to dry. Your bread is

now finished.

89

Loaf of Bread   89

FIGURE 10.7

FIGURE 10.8

FIGURE 10.9

FIGURE 10.10

FIGURE 10.11

FIGURE 10.12

90

91

C H AP T E R   1 1 CRO W N

A crown can instantly identify a character onstage, as well as create symbolic weight to a moment. This crown is loosely based on one appearing in a 17th-​century painting of William the Conqueror. Craft foam allows this crown to be comfortable, lightweight, and safe for the actor. The use of gold leaf gives it an authentic metallic appearance which remains flexible. MATERIALS • Craft foam, 5 mm thick

• Flexible PVA glue

• Craft foam, 2 mm thick

• Metal leaf adhesive

• Tape

• Imitation gold leaf

• Craft knife

• Paintbrushes

• Rubber cement

• Acrylic paint: brown or dark gold

• Nitrile gloves

91

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INSTRUCTIONS S T E P 1 ( F I G U R E 1 1 . 1 ) . Cut a strip of 5 mm foam to a width of 1 ½″ (38 mm). The

strip should be at least 24″ (61 cm) long. You can join two pieces together with tape if your foam is not long enough. Wrap the strip around the head of the person who will be wearing it and cut it so it fits snugly. Join the ends with another piece of tape to make a ring of foam. S T E P 2 ( F I G U R E   1 1 . 2 ) . Cut a strip of 2 mm foam to a width of 3 ½″ (89 mm).

Wrap it around the outside of your other ring of foam and cut it so the two ends meet without overlapping or leaving a gap. Do not attach it yet.

S T E P 3 ( F I G U R E   1 1 . 3 ) . Lay the strip of 2 mm foam flat. Draw a line along the

length of the foam 1 ½″ (38 mm) from the bottom. Divide the line into eight even sections. You can take a strip of paper of the same length and fold it in half. Fold that in half, then fold it in half again. Unfold it, lay it onto your foam, and make a mark at every fold. S T E P 4 ( F I G U R E   1 1 . 4 ) . Create a triangular pattern piece from paper. Make it 2″

(50 mm) tall and as wide as one of the eight sections. You can curve the sides a little to create concave edges for a more interesting appearance. Fold the pattern piece down the center and make a single cut so you have a symmetrical triangle when you unfold it. Trace this pattern piece onto each of the eight sections.

S T E P 5 ( F I G U R E   1 1 . 5 ) . Cut out the crown shape you just drew. S T E P 6 ( F I G U R E   1 1 . 6 ) . Apply a coat of rubber cement to the outside of the first

ring of foam, and to the inside of the second ring of foam. Only apply glue to the bottom 1 ½″ (38 mm) of the second ring of foam, not to the triangular points up above. Allow the glue to dry for a few minutes until no wet spots remain. Line up the two pieces carefully and begin attaching them together from one end and work your way around the ring to the other end. The glue creates an instant bond when the two sides touch each other and cannot be repositioned, so proceed carefully. Be sure to press firmly everywhere, particularly at the edges to create a secure bond. Wear nitrile gloves and use adequate ventilation when working with rubber cement!

93

Crown   93

FIGURE 11.1

FIGURE 11.2

FIGURE 11.3

FIGURE 11.4

FIGURE 11.5

FIGURE 11.6

94

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S T E P 7 ( F I G U R E   1 1 . 7 ) . Mark a line along the center of each triangular segment. Use

a square piece of material to keep the line straight. S T E P 8 ( F I G U R E   1 1 . 8 ) . Cut out ¼″ (6 mm) strips of 2 mm foam. You need enough

to wrap the entirety of the crown on the top and on the bottom, plus eight 1″ (26 mm) long strips.

S T E P 9 ( F I G U R E   1 1 . 9 ) . Attach the strips with rubber cement. First, attach a strip

lined up with the bottom. Next, adhere the 1″ (26 mm) strips along the line you made in step 7. S T E P 1 0 ( F I G U R E   1 1 . 1 0 ) . Finish by attaching another strip lined up with the top of

the solid portion of the crown. Be sure not to leave any gap between this strip and the 1″ (26 mm) strips.

S T E P 1 1 ( F I G U R E   1 1 . 1 1 ) . Snip about ¼″ (6 mm) off the bottom of the paper

pattern piece you made in step 4. Trace and cut out eight pieces of 2 mm foam with this pattern. Attach them to the triangular points of the crown with rubber cement. Center them inside each point, with the bottom edge touching the strip from step 10. S T E P 1 2 ( F I G U R E   1 1 . 1 2 ) . Seal the entire crown with a layer of flexible PVA glue.

Minimize brush strokes as much as possible.

95

Crown   95

FIGURE 11.7

FIGURE 11.8

FIGURE 11.9

FIGURE 11.10

FIGURE 11.11

FIGURE 11.12

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S T E P 1 3 ( F I G U R E   1 1 . 1 3 ) . The first step when gold leafing a prop is to apply metal

leaf adhesive. Apply as smoothly as possible. Allow it to dry for about 20 minutes. It should remain tacky, but there must not be any wet spots. S T E P 1 4 ( F I G U R E   1 1 . 1 4 ) . Carefully lift a sheet of gold leaf from its wrapper and

lay it on a section of the crown. Wear gloves to keep the oils from your finger off the leaf. Once the leaf touches the glue, it cannot be repositioned. It is okay if any of the leaf overlaps previously applied leaf. Prop builders prefer imitation gold leaf because it is nearly indistinguishable from genuine gold leaf and you can buy about three dozen sheets for the same cost as a single sheet of the genuine.

S T E P 1 5 ( F I G U R E   1 1 . 1 5 ) . Use a soft brush to gently smooth down the leaf over

the adhesive and to brush away any loose pieces of leaf that have not adhered. S T E P 1 6 ( F I G U R E   1 1 . 1 6 ) . Save any loose pieces of leaf to fill in any gaps or large

seams left over. If you are left with any areas that the gold leaf will not stick to, add some more metal leaf adhesive, wait for it to dry, and then apply a piece of gold leaf again. When the entire surface is covered, you can brush over it again to give everything a soft burnish.

S T E P 1 7 ( F I G U R E   1 1 . 1 7 ) . Water down some dark gold or brown paint, and lightly

wash it into all the corners to create some shading and depth to the crown. S T E P 1 8 ( F I G U R E   1 1 . 1 8 ) . Your crown is ready once the paint and glue are dry. It

will remain flexible to conform to the shape of your head when worn.

97

Crown   97

FIGURE 11.13

FIGURE 11.14

FIGURE 11.15

FIGURE 11.16

FIGURE 11.17

FIGURE 11.18

98

9

C H AP T E R   1 2 S WO RD

Countless stories use a sword to establish the time and place, define the characters, and punctuate the drama. The sword in this chapter is based on a Roman gladius, a weapon which was used in a large geographical area for a period of several centuries. Its foam construction makes it lightweight and comfortable enough to hang from costumes and to carry for long periods of time, while also keeping it safe if wielded about. MATERIALS • Sword pattern pieces (at end of chapter or online)

• Hot glue gun

• Craft foam, 5 mm thick, 18″ by 6″ (457 mm by 153 mm)

• Flexible PVA glue

• Craft foam, 2 mm thick, 16″ by 5/​8″ (406 mm by 16 mm) • Craft foam, ½″ (12 mm) thick, about 5″ x 6″ (127 mm by 153 mm)

• Rubber cement • Electrical tape • Acrylic paint: black, silver, raw sienna, burnt sienna, burnt umber • Paintbrushes

• Basswood strip 1⁄8″ by ½″ by 24″ (3mm by 12 mm by 610 mm)

• Painting sponge

• 1″ (25 mm) diameter cardboard tube

• Paper towels or tissue

• Snap-​off blade knife

• Sandpaper, 400 grit

• Cutting mat

• Nitrile gloves

• Metallic silver paint pen

• Twine 99

10

100   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E   1 2 . 1 ) . Cut out the blade pattern found at the end of this chapter

or online. You may also draw your own blade pattern that is 18″ (457 mm) long. Trace this pattern twice onto a sheet of 5 mm foam. S T E P 2 ( F I G U R E   1 2 . 2 ) . Hold your knife at an angle as you cut out one of the blade

halves so the edge bevels inward.

S T E P 3 ( F I G U R E   1 2 . 3 ) . Cut the second blade half out but leave extra foam outside

of the lines you drew. This will be cut away later. S T E P 4 ( F I G U R E   1 2 . 4 ) . Apply rubber cement to both blade halves on the side you

drew the pattern on. Measure out 14″ (356 mm) on the basswood strip to sit inside the blade; apply rubber cement to both sides of this portion of the wood. Allow the rubber cement to dry for a few minutes until no wet spots remain. Wear nitrile gloves and use adequate ventilation when working with rubber cement!

S T E P 5 ( F I G U R E   1 2 . 5 ) . Stick the basswood strip directly down the center of one of

the blade halves. The rubber cement creates an instant bond that is not repositionable, so line it up carefully without touching the pieces together before you connect them. S T E P 6 ( F I G U R E   1 2 . 6 ) . Lay the second piece of foam onto the first, carefully lining

up the edges. Press the two halves together firmly all over the surface, particularly around the edges.

10

Sword   101

FIGURE 12.1

FIGURE 12.2

FIGURE 12.3

FIGURE 12.4

FIGURE 12.5

FIGURE 12.6

102

102   Projects

S T E P 7 ( F I G U R E   1 2 . 7 ) . Cut a beveled edge in the second piece of foam so the two

edges are flush with each other. The bevel should angle the opposite direction as the first. S T E P 8 ( F I G U R E   1 2 . 8 ) . Coat the entire blade with a flexible PVA glue. Apply a thin

coat and try to minimize brush strokes. Allow it to dry and add another coat. Continue until the blade has four coats. You may continue with the next steps as you wait for the glue to dry.

S T E P 9 ( F I G U R E   1 2 . 9 ) . Cut out two circles with a 3″ (76 mm) diameter from the

½″ (12 mm) foam to make the pommel. Cut a slit in the center of each that will allow the basswood strip to pass through. S T E P 1 0 ( F I G U R E   1 2 . 1 0 ) . Make a paper pattern piece for the cross guard. Cut out

two pieces from ½″ (12 mm) foam, and one piece from 5 mm foam. Mark a ½″ (12 mm) strip down the center of the 5 mm piece. Cut it out and keep the two end pieces. Sandwich these in between the two pieces of ½″ (12 mm) foam.

S T E P 1 1 ( F I G U R E   1 2 . 1 1 ) . Adhere the pommel pieces and the cross-​guard pieces

together with rubber cement. Glue the smooth surfaces of the ½″ (12 mm) foam together, leaving the textured surface on the outside. Sand down the edges to make everything smooth and flush.

S T E P 1 2 ( F I G U R E   1 2 . 1 2 ) . Cut two strips of 2 mm foam. One will wrap around the

pommel, the other will wrap around the cross guard. Make the strips long enough that the two ends meet together without overlapping or leaving a gap. Adhere with rubber cement.

103

Sword   103

FIGURE 12.7

FIGURE 12.8

FIGURE 12.9

FIGURE 12.10

FIGURE 12.11

FIGURE 12.12

104

104   Projects

S T E P 1 3 ( F I G U R E   1 2 . 1 3 ) . Coat the pommel and cross guard with at least two

layers of flexible PVA glue. S T E P 1 4 ( F I G U R E   1 2 . 1 4 ) . Cut a length of cardboard tube about 3 ½″ (89 mm)

long. It should be long enough to fit your hand. Cut five pieces of twine long enough to wrap around the tube. Place two strings about ½″ (12 mm) from either end and one in the center. Place the other two strings halfway between the others. Hot glue them to the tube. Be very careful with hot glue, as even a single drip can burn your skin!

S T E P 1 5 ( F I G U R E   1 2 . 1 5 ) . Tightly wrap electrical tape around the tube in a spiral,

slightly overlapping each turn with the previous. S T E P 1 6 ( F I G U R E   1 2 . 1 6 ) . For the first coat of paint on the pommel and cross

guard, create a wet blend of raw sienna and burnt sienna. With a wet blend, you alternate dipping the same paintbrush into each of the two colors. Blend the two colors as you paint but leave some areas unblended. Paint the brushstrokes in a direction to mimic woodgrain.

S T E P 1 7 ( F I G U R E   1 2 . 1 7 ) . When the wet blend has dried, dry brush on some burnt

umber. You want to make stripes in the direction of the wood grain to simulate darker grain lines. For the handle, dry brush on a bit of burnt sienna over the electrical tape. S T E P 1 8 ( F I G U R E   1 2 . 1 8 ) . When the glue on the blade is completely dry, wet sand

it smooth with 400 grit sandpaper. With wet sanding, you dip the sandpaper into water and keep the blade surface wet while you sand. This keeps the sandpaper from clogging up and washes the dust away from the sword.

105

Sword   105

FIGURE 12.13

FIGURE 12.14

FIGURE 12.15

FIGURE 12.16

FIGURE 12.17

FIGURE 12.18

106

106   Projects

S T E P 1 9 ( F I G U R E   1 2 . 1 9 ) . Paint a base coat of black acrylic paint onto the blade.

Apply the paint, and then use the side of the bristles to smooth it out and remove the brush strokes. S T E P 2 0 ( F I G U R E   1 2 . 2 0 ) . When the black dries, paint on a coat of metallic silver

acrylic paint. Again, apply the paint with your brush and smooth it out with the side of the bristles.

S T E P 2 1 ( F I G U R E   1 2 . 2 1 ) . When the silver paint has dried, lightly sponge on some

watered-​down black paint to the center of each side of the blade to give it some age. You can blot up the paint with paper towels or tissues if you accidentally apply too much. Take a silver paint pen and paint every corner of the blade to add a highlight. S T E P 2 2 ( F I G U R E   1 2 . 2 2 ) . Slide the cross guard onto the basswood strip all the

way down to the blade and hot glue it into place. Use some scraps of ½″ (12 mm) foam to position the handle onto the basswood. Hot glue everything into place.

S T E P 2 3 ( F I G U R E   1 2 . 2 3 ) . Slide the pommel onto the basswood strip and hot glue

it to the handle. Cut the extra basswood off but leave about ¼″ sticking out from the pommel. Round it over and paint it black. S T E P 2 4 ( F I G U R E   1 2 . 2 4 ) . The finished sword is lightweight and safe, but still

durable.

107

Sword   107

FIGURE 12.19

FIGURE 12.20

FIGURE 12.21

FIGURE 12.22

FIGURE 12.23

FIGURE 12.24

108

F I G U R E   1 2 . 2 5   Sword Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

109

C H AP T E R   1 3 TREE

B R A N CH

W ITH   L E AV E S

Many shows call for branches and leaves or take place within a forest. Real leaves wilt over time, and real branches can be fragile or carry insects. These fake branches are made mainly with fabric, paper, and wire, and the instructions can be adapted to reproduce nearly any species of tree. MATERIALS • Leaf pattern (at end of chapter or online)

• Acrylic paint: brown, dark green, light yellow-​green

• 1 yard/​1 meter of green silk or other lightweight fabric

• Small paintbrushes

• Brown kraft paper

• Hot glue gun

• Flexible PVA glue • PVA glue

• Cutting pliers (or pliers with a cutting edge)

• 20-​gauge steel wire

• Scissors

• Floral wire

• Pencil

• Masking tape

• Green floral tape

109

10

110   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E   1 3 . 1 ) . Create a full-​size paper template of the leaf you wish to

make. This is a maple leaf. The size and shape can be traced from an existing leaf. Fold the paper in half when you cut it so the template will be symmetrical. S T E P 2 ( F I G U R E   1 3 . 2 ) . Wire on the inside will help the fabric maintain its shape.

Cut a length of 20-​gauge steel wire with your cutting pliers for each of the veins, leaving a bit of extra at the end to attach to the stem. Attach these veins to the stem with a bit of masking tape.

S T E P 3 ( F I G U R E   1 3 . 3 ) . Cut a piece of green fabric that is twice the height of your

leaf. Spread white glue completely over one side. Lay your wire inside so the stem is sticking out of one of the short sides. Fold over and press the two halves together. Make sure to rub all the air bubbles out. Allow the glue to dry. S T E P 4 ( F I G U R E   1 3 . 4 ) . Trace the leaf pattern onto the fabric and cut it out with

scissors.

S T E P 5 ( F I G U R E   1 3 . 5 ) . Paint the shadows of the leaf on the front and back with a

dark shade of green and add highlights on the front with a light shade of yellow-​green. S T E P 6 ( F I G U R E   1 3 . 6 ) . Snip a length of wire for the branch. Bend it into the shape

you want your branch to follow. Snip a second piece and twist it around the first down nearly the whole length, but have it fork off and form a side branch for a second leaf. Continue with additional pieces of wire until you have enough side branches for all your leaves.

1

Tree Branch with Leaves   111

FIGURE 13.1

FIGURE 13.2

FIGURE 13.3

FIGURE 13.4

FIGURE 13.5

FIGURE 13.6

12

112   Projects

S T E P 7 ( F I G U R E   1 3 . 7 ) . Use masking tape to hold the pieces of wire together. Rip

up strips of brown paper, crumple them up slightly, and wrap them around the outside of the branch. Use masking tape to hold the paper on and help shape the branch. S T E P 8 ( F I G U R E   1 3 . 8 ) . Leave a small length of wire poking out of the end of each

branch for attaching the leaves later.

S T E P 9 ( F I G U R E   1 3 . 9 ) . Rip small rectangles of brown paper. Dip them in PVA glue

and wrap them around the branch. They do not need to be applied smoothly; the wrinkles and folds help mimic the organic appearance of bark. Allow the branch to dry fully. S T E P 1 0 ( F I G U R E   1 3 . 1 0 ) . Brush some dark brown acrylic paint over the branch.

Brush lightly so some of the unpainted paper remains visible.

S T E P 1 1 ( F I G U R E   1 3 . 1 1 ) . To attach the leaves, first wrap floral wire tightly around

both the stem of the leaf and the end of the branch. Next, apply a bit of hot glue over the joint. Be very careful with hot glue, as even a single drip can burn your skin! When the glue has cooled, wrap the joint with floral tape. Paint a bit of brown and green acrylic to blend the tape in to the branch and the leaf. S T E P 1 2 ( F I G U R E   1 3 . 1 2 ) . The wire in the branch allows the shape to be

manipulated even after the glue has fully dried. These branches can be a stand-​alone prop or attach to a larger artificial tree.

13

Tree Branch with Leaves   113

FIGURE 13.7

FIGURE 13.8

FIGURE 13.9

FIGURE 13.10

FIGURE 13.11

FIGURE 13.12

14

F I G U R E   1 3 . 1 3   Leaf Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

15

C H AP T E R   1 4 F OLDIN G  FA N

The folding fan has appeared in countless variations around the world for over 2,000 years. You can convey a lot of information by the specific design you use and say a lot about a character by having them wield one. Their construction is straightforward but can be easily modified to suit the needs of your prop. The use of a stencil here allows you to create a pattern on the fabric that perfectly fits the size and shape of your fan. MATERIALS • Pattern pieces (at end of chapter or online)

• Hobby knife

• 18 large tongue depressors (or similar thin wood)

• Parchment or greaseproof paper

• Cotton broadcloth fabric, about 16″ by 9″ (40 cm by 23 cm)

• Tailor’s chalk

• Cardstock • Fabric paint: silver

• Sandpaper

• Wire

• Steel wool #000

• Pliers

• Amber shellac

• PVA glue

• Hobby knife

• Liquid seam sealant

• Fabric scissors

• Clear packing tape

• Paper scissors

• Furniture polish and a rag

115

16

116   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 1 4 . 1 ) . Create a pattern for the sticks or use the one at the end of

this chapter. The 16 inner sticks have a thin rib on the top half where the fabric is attached. Trace the pattern onto the wood and cut them out. A hobby knife is sufficient for thin wood like this. S T E P 2 ( F I G U R E   1 4 . 2 ) . The two outer sticks, or guards, have the same shape on

their lower half as the inner sticks, but the top half remains the full thickness of the tongue depressor. Cut these out next. Sand all the sticks smooth. It is vital they do not have any sharp corners or splinters that may catch on the fabric.

S T E P 3 ( F I G U R E   1 4 . 3 ) . Drill a hole into the center of the head of all 18 sticks to fit

the wire you are using. If you do not have a drill, you can punch a hole with a nail by hand. S T E P 4 ( F I G U R E   1 4 . 4 ) . Coat all the sticks with amber shellac. It is helpful when

painting both sides of an object to have a rack that can hold it off the ground while it dries. Since the sticks already have a hole, that makes a useful point to hang the sticks from. Wear nitrile gloves and work in a well-​ventilated space when working with shellac!

S T E P 5 ( F I G U R E   1 4 . 5 ) . When the shellac has fully dried, rub them smooth with

a piece of #000 steel wool. Steel wool is highly flammable so keep it away from flames and heat! S T E P 6 ( F I G U R E   1 4 . 6 ) . Clean all the sticks with some wood furniture polish.

Besides removing all the dust, wood furniture polish contains small amounts of wax or similar polishing compounds. It makes the surface a bit slicker which aids in opening and closing the fan.

17

Folding  Fan   117

FIGURE 14.1

FIGURE 14.2

FIGURE 14.3

FIGURE 14.4

FIGURE 14.5

FIGURE 14.6

18

118   Projects

S T E P 7 ( F I G U R E   1 4 . 7 ) . Use a compass to draw a semicircle paper pattern for the

fabric. The outer radius should be a bit longer than the distance from the hole in the stick to the end of the rib. The inner radius should be slightly less than the distance from the hole to the beginning of the rib. Cut this pattern out with paper scissors or a hobby knife. Mark out even intervals to place your stencils. This is done easily by folding your paper pattern into however many segments you want, and then using the folds as a template for your marks. This pattern was folded in half and then folded in thirds to create five evenly spaced lines for the stencil. S T E P 8 ( F I G U R E   1 4 . 8 ) . Line up all your sticks with the guards on the outside and

run a length of wire through all the holes. Bend one end of the wire at a right angle, and then coil it up to create a head that prevents the wire from falling out. Hold all the sticks firmly together, pull on the other end of the wire, and bend it at a right angle too. The wire should hold all the sticks together tightly but still allow them to freely slide. Bend another small coil in this end of the wire and snip off the excess. S T E P 9 ( F I G U R E   1 4 . 9 ) . Draw or print your stencil design onto a piece of cardstock

or heavy paper. You can use the one provided at the end of this chapter or make your own. Cover the stencil on both sides of the paper with clear packing tape. Carefully cut out the design with a hobby knife. The packing tape prevents the paint from soaking into the paper and makes it easier to wipe clean. S T E P 1 0 ( F I G U R E   1 4 . 1 0 ) . Lay your fabric flat on a piece of parchment or greaseproof

paper on a hard, flat surface.Trace the paper pattern onto the fabric with chalk and make marks at the folds. Line your stencil up on your first mark. A stencil brush should have a round flat top. Dip the brush into your paint, and then swirl it around on a sacrificial surface to remove any excess paint.You dab the paint straight down with your brush; do not drag it along the surface of the fabric. Be sure to dab paint into every corner of the stencil, holding the stencil firmly to keep it from moving from its place. When you have added paint to the entire stencil, carefully lift it off the fabric. Do not let the stencil shift as you lift it, or it may smear the paint. Wipe away any excess paint around the edges of the stencil, especially on the back. Lay it down on your next mark and repeat the process. S T E P 1 1 ( F I G U R E   1 4 . 1 1 ) . Hang up your fabric so it can dry without being

disturbed. When dry, cut the fan shape out of the fabric with a pair of fabric scissors. S T E P 1 2 ( F I G U R E   1 4 . 1 2 ) . Apply a thin amount of liquid seam sealant to all the cut

edges of the fabric. You can use a brand like Fray Check, or substitute clear nail polish or even thinned PVA glue. Be careful about applying too much; you only need to wet the first two or three threads to prevent the edge from unravelling.

19

Folding  Fan   119

FIGURE 14.7

FIGURE 14.8

FIGURE 14.9

FIGURE 14.10

FIGURE 14.11

FIGURE 14.12

120

120   Projects

S T E P 1 3 ( F I G U R E   1 4 . 1 3 ) . When your fabric paint has dried, lay the fabric upside

down on a flat surface. Place the wooden skeleton on top. Line up the edges of each guard with the edges of the fabric and spread out the ribs so they are evenly spaced along the fabric. Make a small mark in chalk where each rib will be placed. S T E P 1 4 ( F I G U R E   1 4 . 1 4 ) . All the sticks will be glued to the back of the fabric

except for the guard that will be in the front of the folded fan. Weave the fabric between this guard and the neighboring rib and glue the front of the fabric to the back of this guard.

S T E P 1 5 ( F I G U R E   1 4 . 1 5 ) . Glue the remaining ribs and rear guard to the back of

the fabric. Place a thin bead of glue on the rib, line up the fabric using the chalk marks, and press it into position. Glue the ribs on one at a time in order, making sure the fabric remains unwrinkled and taut. S T E P 1 6 ( F I G U R E   1 4 . 1 6 ) . When the glue has dried, you can trim any excess fabric

from the edge of the guards and reapply liquid seam sealant to the edge.

S T E P 1 7 ( F I G U R E   1 4 . 1 7 ) . The fan should fold up easily. The creases in the fabric will

become more pronounced over time. S T E P 1 8 ( F I G U R E   1 4 . 1 8 ) . The completed fan will help your actor get into character

as well as stay cool under the spotlight.

12

Folding  Fan   121

FIGURE 14.13

FIGURE 14.14

FIGURE 14.15

FIGURE 14.16

FIGURE 14.17

FIGURE 14.18

12

F I G U R E   1 4 . 1 9   Fan Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

123

C H AP T E R   1 5 CO IN  PU R S E

A simple coin purse can be found on the belts of many medieval and Elizabethan characters. This design can easily be modified to fit rustic costumes from a wide variety of time periods. A small bag is frequently called upon to allow an actor to carry or conceal some small trinket or token that will become vital at some point in the story. MATERIALS • Purple fabric 6″ by 19 ¾″ (152 mm by 502 mm) • White fabric 6″ by 19 ¾″ (152 mm by 502 mm) • Gold cord • Scissors • Fabric scissors • Sewing machine

• Pins • Kraft paper • Tailor’s chalk • Safety pin • Thread • Needle • Masking tape • Iron

123

124

124   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E   1 5 . 1 ) . Make a pattern by cutting out a rectangle of brown paper

that is 6″ by 19 ¾″ (152 mm by 502 mm). Trace this onto your two pieces of fabric. The fabric should lay completely straight on a flat surface, so it is not being deformed or pulled in any direction. Carefully cut out the rectangles you traced with a pair of fabric scissors. S T E P 2 ( F I G U R E   1 5 . 2 ) . Place the two pieces of fabric together so the hidden sides

are touching each other. Pin the two long edges. The pins should be perpendicular to the seam with the sharp end pointing toward the inside of the fabric.

S T E P 3 ( F I G U R E   1 5 . 3 ) . Line up your fabric on your sewing machine so you will

have a ¼″ (6 mm) seam allowance; that is, the seam will be ¼″ (6 mm) away from the edge of the fabric. Start your stitch about ½″ (12 mm) from the front end of the fabric. Stitch in reverse until you reach the front end, then proceed to stitch forward, overlapping those first few backstitches. Remove the pins as you go, before they reach the presser foot. When you reach the end of the seam, add two or three more stitches in reverse. Repeat for the seam on the other side of the fabric. Use a backstitch at the beginning and end of every seam during this project. S T E P 4 ( F I G U R E   1 5 . 4 ) . After finishing a seam, fold it open and press it with a hot

iron. When pressing, use minimal pressure and lift and move your iron rather than sliding it. Pressing a seam helps the thread meld into the fabric, giving you a stronger and cleaner-​ looking seam. Repeat this for every seam you sew on this project and be sure to press a seam before you stitch another seam that crosses it. S T E P 5 ( F I G U R E   1 5 . 5 ) . After pressing both seams, turn the fabric inside out. S T E P 6 ( F I G U R E   1 5 . 6 ) . Fold one of the short sides over ½″ (12 mm). Iron this fold

flat to give it a sharp crease. Fold it again 1″ (25 mm) and iron flat. Pin the fabric. Stitch about ¼″ (6 mm) from the inner fold. Remove the pins. Repeat this for the other short side. These will be the pockets for the cord that ties the top closed.

125

Coin  Purse   125

FIGURE 15.1

FIGURE 15.2

FIGURE 15.3

FIGURE 15.4

FIGURE 15.5

FIGURE 15.6

126

126   Projects

S T E P 7 ( F I G U R E   1 5 . 7 ) . Fold the fabric in half with the two outer sides touching

each other. Pin the edges. You will stitch each edge, but the stitch should stop about ½″ (12 mm) before it reaches the pockets (indicated by where the pencil is pointing in this picture). S T E P 8 ( F I G U R E   1 5 . 8 ) . Stitch each edge. Turn the bag inside out.

S T E P 9 ( F I G U R E   1 5 . 9 ) . Wrap masking tape around the end of the cord and cut the

cord in the middle of the masking tape. Attach a safety pin to the end with the masking tape. The masking tape prevents the end of the cord from fraying and offers a solid end to attach the safety pin. S T E P 1 0 ( F I G U R E   1 5 . 1 0 ) . Feed the cord through one of the pockets on the top

of the bag. The safety pin helps you manipulate the cord through the fabric of the pocket. When the cord comes out of the end, feed it back into the other pocket.

S T E P 1 1 ( F I G U R E   1 5 . 1 1 ) . Remove the safety pin. Tie a square knot at the end of

the cord to prevent it from escaping the bag. Trim the ends of the cord to remove the masking tape. S T E P 1 2 ( F I G U R E   1 5 . 1 2 ) . Comb the cut edges of the cord to give it a frayed

appearance. You can clinch the coin purse closed by pulling on the cord and hanging it from a belt. If you want a wider bag, just add the extra width to your pattern piece. If you want to make a longer bag, add double the amount of length you want to your pattern.

127

Coin  Purse   127

FIGURE 15.7

FIGURE 15.8

FIGURE 15.9

FIGURE 15.10

FIGURE 15.11

FIGURE 15.12

128

129

C H AP T E R   1 6 HAVER S A CK

A haversack is a small bag with a single shoulder strap. A canvas haversack with a flap on top was a popular military item in the West from Colonial America up until World War I, making it a useful prop for a wide range of historical periods. They vary in shape and size. The haversack in this chapter is based on a pack issued to soldiers in Massachusetts at the beginning of the US Civil War. MATERIALS • Pattern (at end of chapter or online)

• Iron

• Medium-​weight canvas, half a yard/​ meter

• Sewing machine

• Pencil or tailor’s chalk

• Hand sewing needles

• Sewing pins

• Straight edge ruler

• Fabric scissors

• Two buttons

• Heavy duty thread (off-​white)

129

130

130   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 1 6 . 1 ) . Fold your canvas in half and press the fold flat. Lay your

pattern pieces against the fold and pin them in place. Trace with a piece of tailor’s chalk or a pencil, then remove the paper. Cut both layers of fabric together, taking care that the fabric does not slide around. S T E P 2 ( F I G U R E   1 6 . 2 ) . When you unfold the fabric, you will have symmetrical

pieces.

S T E P 3 ( F I G U R E   1 6 . 3 ) . Take the front piece (the shorter of the two main pieces)

and fold the top down ¼″ (6 mm). Fold it again another ¼″ (6 mm) and press it flat. Stitch this hem closed with your sewing machine. This encloses the raw edge along the top of this fabric so it will not fray as you use the haversack. S T E P 4 ( F I G U R E   1 6 . 4 ) . Pin the front piece to the back piece so the edges all line

up. The outsides of the two pieces should be facing each other; you are stitching them together inside out and will turn it right-​side out during a later step. The folded part of the hem you made in step 3 should be facing out.

S T E P 5 ( F I G U R E   1 6 . 5 ) . Stitch the two pieces together with one continuous seam

along the edges and the bottom (do not stitch the top closed). Leave ½″ (12 mm) seam allowance. S T E P 6 ( F I G U R E   1 6 . 6 ) . Take your flap piece of fabric and fold the longest edge up

½″ (12 mm). Pin in place and press flat. Snip off the corners.

13

Haversack   131

FIGURE 16.1

FIGURE 16.2

FIGURE 16.3

FIGURE 16.4

FIGURE 16.5

FIGURE 16.6

132

132   Projects

S T E P 7 ( F I G U R E   1 6 . 7 ) . Pin the flap piece to the top of the bag so that the fold is

facing up toward you. Stitch the sides and top leaving a ½″ (12 mm) seam allowance. Do not stitch the folded edge yet. S T E P 8 ( F I G U R E   1 6 . 8 ) . Whenever you have curved stitches or corners, you need

to cut the seam allowance so the fabric will lay flat when turned right-​side out. Make your cuts as close to the stitch as possible without cutting into the stitch. Cut away the fabric at the corners. Add notches about every ½″ (12 mm) along the convex curves. Cut slits along the concave curves.

S T E P 9 ( F I G U R E   1 6 . 9 ) . Press the seams, then turn both the bag and the flap

right-​side  out. S T E P 1 0 ( F I G U R E   1 6 . 1 0 ) . Re-​pin the folded edge so that all the layers of fabric are

pinned. You also have two short areas of exposed edges between the bag and the flap. Fold those over twice to hide the exposed edge. Pin them in place and press them flat.

S T E P 1 1 ( F I G U R E   1 6 . 1 1 ) . Stitch the two sides and the bottom of the flap piece

with one continuous seam. S T E P 1 2 ( F I G U R E   1 6 . 1 2 ) . In the next two steps, you will mark where the straps

will attach to the bag. Flip the bag over and close the flap. Measure down 2″ (50 mm) from the fold on each side and make a mark. Lay a straight edge ruler on both marks, and measure in ¾″ (19 mm) from the edge. Draw a line 1″ (25 mm) long. Repeat on the other side.

13

Haversack   133

FIGURE 16.7

FIGURE 16.8

FIGURE 16.9

FIGURE 16.10

FIGURE 16.11

FIGURE 16.12

134

134   Projects

S T E P 1 3 ( F I G U R E   1 6 . 1 3 ) . Draw a line perpendicularly from the inside edge of

this line. Line up a piece of paper along the fold to give you a square edge for making this mark perpendicular. Draw this line 1″ (25 mm) long. Repeat on the other side. S T E P 1 4 ( F I G U R E   1 6 . 1 4 ) . Take the fabric for the strap. Fold in ¼″ (6 mm) from

each long edge and press this fold flat. Fold the entire length of strap in half and press this flat. Open the strap back up. Fold in ½″ (12 mm) from each short end and press this fold flat.

S T E P 1 5 ( F I G U R E   1 6 . 1 5 ) . Cut away the folded end on half of the strap. This will

reduce bulk on the seam when it is all stitched together. Repeat on the other end, making sure to cut away the opposite half. Fold the strap back in half, then fold the flap on the end over the entire end. S T E P 1 6 ( F I G U R E   1 6 . 1 6 ) . Stitch each side of the strap as close to the edge as your

machine will allow.

S T E P 1 7 ( F I G U R E   1 6 . 1 7 ) . Line up the inside corners of your strap with the marks

you made in step 12. Pin each side in place. S T E P 1 8 ( F I G U R E   1 6 . 1 8 ) . When you stitch the straps on, you will need to pull the

bag open, so you are not accidentally stitching the front and the back of the bag together.

135

Haversack   135

FIGURE 16.13

FIGURE 16.14

FIGURE 16.15

FIGURE 16.16

FIGURE 16.17

FIGURE 16.18

136

136   Projects

S T E P 1 9 ( F I G U R E   1 6 . 1 9 ) . Stitch the strap to the bag using a box with an X pattern,

pivoting the fabric at each corner. You will need to double back over one of the edges to make this possible. S T E P 2 0 ( F I G U R E   1 6 . 2 0 ) . Mark where to place the two buttons. Cut a slit that is

⁄8″ (3 mm) longer than the diameter of your button.

1

S T E P 2 1 ( F I G U R E   1 6 . 2 1 ) . Run a double length of heavy-​duty thread through

a hand needle and knot the end. Sew a buttonhole stitch around both sides of the buttonhole (see Chapter 23 for instructions). Tie the thread off when done to secure the stitch. Repeat for the other buttonhole. S T E P 2 2 ( F I G U R E   1 6 . 2 2 ) . Place your buttons on the front of the bag so they line

up with the buttonholes when the flap is closed. Use a double length of heavy-​duty thread on a hand needle, knotted at the end. Start from the back of the fabric and pull the thread through the top hole in the button. Lay a needle or toothpick over the button as a spacer; bring the thread over this needle and poke it through the bottom buttonhole back into the fabric. Repeat this a second time. Next, poke the thread through the right buttonhole, over the spacer needle, and back into the left buttonhole. Repeat.

S T E P 2 3 ( F I G U R E   1 6 . 2 3 ) . Remove the spacer needle. Poke the thread through to

the front of the fabric, but do not go into any buttonholes. Wrap the thread around the shaft of threads to secure it; make six wraps. Poke the thread through to the back. Make three tiny stitches to secure it in place, tie it off, and snip off the excess. S T E P 2 4 ( F I G U R E   1 6 . 2 4 ) . Repeat the previous step for the second button. Iron

your fabric one more time to finish your haversack.

137

Haversack   137

FIGURE 16.19

FIGURE 16.20

FIGURE 16.21

FIGURE 16.22

FIGURE 16.23

FIGURE 16.24

138

F I G U R E   1 6 . 2 5   Haversack Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

139

F I G U R E   1 6 . 2 6   Haversack Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid. Copyright material from Hart (2021), Prop Building for Beginners, Routledge

140

F I G U R E   1 6 . 2 7   Haversack Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

14

C H AP T E R   1 7 D EAD  B IRD

Animal forms can either be the bane of a theater’s existence, or a chance for the prop builder to shine. They are not easy to purchase; stuffed toys have the wrong proportions, and taxidermy animals are too stiff and fragile to use in performance. This seagull can be used in many different shows. Substituting different colors will give you different birds, and once you understand how the pattern works, you can modify it to make birds of all shapes and sizes. MATERIALS • Bird pattern (at end of chapter or online)

• Dried beans (optional)

• White fleece, half a yard/​meter

• Black paint or marker

• Corrugated cardboard

• Hot glue gun

• Rope

• PVA glue for sealing

• Wire

• Masking tape

• Wire cutters

• Acrylic paint: orange and brown

• 50–​60 turkey feathers (or equivalent), 4″ to 6″ (10 cm to 15 cm) long

• Needle and thread

• Polyester fiberfill

• Two yellow pony beads (or similar)

• Sewing machine • Pins

141

142

142   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E   1 7 . 1 ) . For birds on stage, it is often sufficient to use fake fur or

fleece for the body. The main body is made from four pattern pieces. Trace them onto your fabric and cut out. Be sure to orient all the pattern pieces on your fabric so the fur or fleece lays down in the same direction that the feathers would: from front to back. S T E P 2 ( F I G U R E   1 7 . 2 ) . Stitch together the two side pieces and the bottom, leaving

a ¼″ (6 mm) seam allowance.

S T E P 3 ( F I G U R E   1 7 . 3 ) . Stitch on the top piece but leave a hole open to insert the

wings in a later step. S T E P 4 ( F I G U R E   1 7 . 4 ) . Cut out four wing pieces. Place them right-​side together

and stitch along the top of each wing.

S T E P 5 ( F I G U R E   1 7 . 5 ) . Feathers curve to either the right or the left. Separate your

feathers so only right ones go with the right wing and left ones with the left. Use around 20–​25 for each wing. Begin attaching the feathers with hot glue along the seam. Start at the tip and work your way toward the body. Overlap each feather halfway with the previous. Continue filling the whole wing with feathers but leave the last inch (25 mm) of the wing empty. S T E P 6 ( F I G U R E   1 7 . 6 ) . Attach a length of rope along the top of each wing with

hot glue.

143

Dead  Bird   143

FIGURE 17.1

FIGURE 17.2

FIGURE 17.3

FIGURE 17.4

FIGURE 17.5

FIGURE 17.6

14

144   Projects

S T E P 7 ( F I G U R E   1 7 . 7 ) . Flip the wing right-​side out. Pin a hem on the raw edges,

then pin the two halves together. Sew it all together with a top stitch. You may need to sew this by hand since the quills of the feathers may be too hard for your sewing machine to punch through. S T E P 8 ( F I G U R E   1 7 . 8 ) . Slide the end of the wings into the holes you left in the

body. Stitch in place.

S T E P 9 ( F I G U R E   1 7 . 9 ) . Attach feathers on the back to create the tail. Use hot glue

and adhere the quills to the inside of the body. After the feathers are attached, stitch the back of the body closed. S T E P 1 0 ( F I G U R E   1 7 . 1 0 ) . To create the feet, cut a piece of rope as long as the

leg. The bottom part of this rope will be the tarsus (the portion of the leg with no feathers). The top half will slide into the feathered portion, or the thigh. Cut three pieces of wire. The first should be long enough to overlap with the leg and then form the left talon. The second is the middle talon and back talon. The third is just the right talon.

S T E P 1 1 ( F I G U R E 1 7 . 1 1 ) . Tape the wires together and to the rope. Bend them into

the shape of a foot and use enough tape to prevent them from sliding around. Use hot glue to create bumps at the various knuckle joints. Be very careful with hot glue, as even a single drip can burn your skin! S T E P 1 2 ( F I G U R E   1 7 . 1 2 ) . Wrap more tape to completely cover all the wire and

rope. Add two layers of tape between the toes to create the webbed feet.

145

Dead  Bird   145

FIGURE 17.7

FIGURE 17.8

FIGURE 17.9

FIGURE 17.10

FIGURE 17.11

FIGURE 17.12

146

146   Projects

S T E P 1 3 ( F I G U R E   1 7 . 1 3 ) . For the beak, cut out the side profile of the head and

beak from corrugated cardboard. Cut out two small wedges for each side of the beak to add thickness. Attach these with hot glue. S T E P 1 4 ( F I G U R E   1 7 . 1 4 ) . Wrap the beak with tape to create a solid shape. Add a

second layer of tape with the pieces running front to back so the surface is smooth.

S T E P 1 5 ( F I G U R E   1 7 . 1 5 ) . Seal the feet and beak with a thin coat of PVA glue. Let

it dry. S T E P 1 6 ( F I G U R E   1 7 . 1 6 ) . Paint the beak and feet with orange acrylic. When dry,

use a thinned-​down brown acrylic paint to add some depth into the crevices.

S T E P 1 7 ( F I G U R E   1 7 . 1 7 ) . Cut out four legs from your fabric; cut two with the

pattern facing one way, then flip the pattern and cut two facing the other way. Take two mirrored pieces and pin them right-​side together. Stitch the two sides with a ¼″ (6 mm) seam allowance, leaving the top and bottom open. Turn it right-​side out. Repeat for the second leg. S T E P 1 8 ( F I G U R E   1 7 . 1 8 ) . Slide the orange leg (the tarsus) through the hole in the

bottom of the fabric thigh, leaving a bit of the tarsus hanging out. Apply some hot glue at the hole to secure the tarsus to the thigh and to seal the bottom hole together. Fill the thigh with polyester fiberfill and stitch the top closed. Repeat for the second leg.

147

Dead  Bird   147

FIGURE 17.13

FIGURE 17.14

FIGURE 17.15

FIGURE 17.16

FIGURE 17.17

FIGURE 17.18

148

148   Projects

S T E P 1 9 ( F I G U R E   1 7 . 1 9 ) . Locate where the leg should be placed on the body and

stitch it on along the top of the leg. Repeat with the second leg. Be sure that both legs are placed symmetrically. S T E P 2 0 ( F I G U R E   1 7 . 2 0 ) . Stuff the bird’s body from the hole in the front. Use

polyester fiberfill to create a lightweight and safe prop. You can substitute dried beans or beads to create a weighted prop with realistic movement as it is handled.

S T E P 2 1 ( F I G U R E   1 7 . 2 1 ) . Place the beak into the hole in the head and hot glue it

to the fleece. Trim the edge of the fleece before gluing so it wraps around the beak like on a real bird. Stitch the remaining portion of the head closed. S T E P 2 2 ( F I G U R E   1 7 . 2 2 ) . To make the eyes, fill the holes of two yellow pony beads.

Hot glue works well for this. Color the filling with a black marker or with paint.

S T E P 2 3 ( F I G U R E   1 7 . 2 3 ) . Attach the eyes to the head with hot glue. Pinch the

fleece around the eye while the glue is still melted to create a bit of an eyelid. To shape the neck, insert a threaded needle into the bottom of the neck and pull it out the top. Push the needle back through about a quarter of an inch (6 mm) where it came out and pull it out the bottom. Tie together the two ends of thread at the bottom; as you tighten them, it will pull the top of the neck in. Do not tie it too tightly; you want a subtle curve. S T E P 2 4 ( F I G U R E   1 7 . 2 4 ) . Your finished bird will move and flop in a realistic manner

when handled by an actor. You also do not have to worry about shedding feathers as it is used. With more time and practice, you can find ways to bring even more realism to its appearance.

149

Dead  Bird   149

FIGURE 17.19

FIGURE 17.20

FIGURE 17.21

FIGURE 17.22

FIGURE 17.23

FIGURE 17.24

150

F I G U R E   1 7 . 2 5   Bird Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

15

F I G U R E   1 7 . 2 6   Bird Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

152

F I G U R E   1 7 . 2 7   Bird Pattern. Enlarge this drawing onto a 1 inch (25 mm) grid.

Copyright material from Hart (2021), Prop Building for Beginners, Routledge

153

C H AP T E R   1 8 WO OD EN   CR ATE

A wooden crate can be a key prop for countless time periods, from Shakespearean England to Caribbean pirates to a contemporary warehouse filled with ancient artifacts. They come in countless sizes and forms; this particular design is based on a 1923 drawing. Building your own crate gives you the option to customize the dimensions while ensuring it is sturdy enough to sit and stand on, which is inevitably asked by every director. The following crate is made from standard construction lumber using simple tools and requires no special hardware, making it very low cost and a great way to use up scraps of wood from larger projects. MATERIALS • 1 by 4 construction lumber* • Ten pieces 12″ (305 mm) long (lid and bottom) • Nine pieces 10 ½″ (267 mm) long (ends) • Six pieces 17 ½″ (445 mm) long (sides) • One piece 14 ¼″ (369 mm) long (lid joists) • Hand saw

• Ruler • Speed square • Brad nails, 1 ¼″ (32 mm) • Nail gun or hammer • Nail set (if using a hammer) • Sandpaper (80 grit, 120 grit) • Wood glue • Acrylic paint: raw umber • Paintbrush

• Miter box (optional) *  the actual measurement of 1 by 4 lumber is ¾″ (19 mm) thick by 3 ½″ (89 mm) wide. 153

154

154   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E   1 8 . 1 ) . Cut all your 1 by 4s to length. A miter box will guide the

saw to make a perfectly straight cut. Otherwise, use a speed square to make a straight mark around the whole piece of wood, and guide the saw carefully along these marks. Sand the edges smooth at every cut you make. Take three of the end pieces, and the one lid joist piece, and saw them in half lengthwise. You will now have six pieces that are about 1 11⁄16″ (43 mm) wide by 10 ½″ (267 mm) long, and two pieces about 1 11⁄16″ (43 mm) by 14 ¼″ (369 mm). These will be the joists and handles for your ends, and the lid joists. S T E P 2 ( F I G U R E   1 8 . 2 ) . Lay down three end pieces, and glue them together, edge to

edge. Lay a joist on either side, so it crosses all three pieces perpendicularly. Glue and nail them down. A nail gun makes this job very quick. Without a nail gun, you can use a regular hammer; hit the nail as close to the surface of the wood as you can without hitting the wood. Use a nail set to hit the nail below the surface of the wood. Repeat step 2 to create the other end. S T E P 3 ( F I G U R E   1 8 . 3 ) . Stand up the two end assemblies. Glue and nail the side

pieces on with two brads on each end. Start at the bottom and work upwards. The ends of the side pieces should be flush with the edge of the joists. Use a speed square to ensure everything remains square. S T E P 4 ( F I G U R E   1 8 . 4 ) . Before continuing the crate, it is helpful to build the lid at

this point. Lay out the five lid pieces into a rectangle. Glue the edges together.

S T E P 5 ( F I G U R E   1 8 . 5 ) . Before this glue dries, lay the crate on top of the lid so

you can position the lid joists. Glue and nail the lid joists to the lid. The lid joists should be placed close to the walls of the crate so the lid will fit snugly on, but not so close that the lid cannot be removed. Set the lid aside to allow it to dry. S T E P 6 ( F I G U R E   1 8 . 6 ) . With the crate still upside down, place the five bottom

pieces on the bottom. Glue and nail one of the pieces on the end first. Glue the next piece down. Apply glue to the edge as well. Push this piece firmly against the first piece while you nail it down.

15

Wooden  Crate   155

FIGURE 18.1

FIGURE 18.2

FIGURE 18.3

FIGURE 18.4

FIGURE 18.5

FIGURE 18.6

156

156   Projects

S T E P 7 ( F I G U R E   1 8 . 7 ) . Repeat step 6 until all five bottom pieces are attached. Each

piece should have at least four nails in it. Use a wet rag to wipe away any excess glue that squeezes out of the joints. Flip the box right-​side up. S T E P 8 ( F I G U R E   1 8 . 8 ) . Center the handle horizontally on the end of the crate.

Line up the bottom of the handle with the bottom of the upper board. Glue and nail it on using at least eight nails.

S T E P 9 ( F I G U R E   1 8 . 9 ) . Repeat step 8 for the handle on the other side. S T E P 1 0 ( F I G U R E   1 8 . 1 0 ) . Water down some raw umber acrylic paint to make a

very thin wash. The paint should not obscure any of the grain but should darken the wood and make it look dirty and more rustic. Be sure to paint the inside, bottom, and backs of the handles.

S T E P 1 1 ( F I G U R E   1 8 . 1 1 ) . Allow the glue to dry for about 24 hours before anyone

sits or stands on it.

157

Wooden  Crate   157

FIGURE 18.7

FIGURE 18.8

FIGURE 18.9

FIGURE 18.10

FIGURE 18.11

158

159

C H AP T E R   1 9 REHEA RS A L   CU BE

A rehearsal cube is meant to be a stand-​in for actors to use during rehearsals. Its size allows it to be used for a variety of standard sitting surfaces, while several can be pushed together to simulate a bench or couch. They can also be stacked to act as tables. This design keeps the cube lightweight but gives it plenty of strength regardless of which direction it is sat or stood on. MATERIALS • ½″ (12 mm) plywood

• Nail gun or hammer

• Two pieces 18″ by 18″ (460 mm by 460 mm) (top and bottom)

• Nail set (if using a hammer)

• Two pieces 18″ by 17″ (460 mm by 436 mm) (front and back)

• 1 ¼″ (32 mm) spade drill bit

• Two pieces 17″ by 17″ (436 mm by 436 mm) (sides)

• Sandpaper (80 grit, 120 grit)

• Jigsaw • Drill

• Eight pieces of 1 by 4* cut to 3.5″ (89 mm) (glue blocks)

• Ruler

• Wood glue

• Paintbrush

• Acrylic or house paint: black

• Brad nails *  the actual measurement of 1 by 4 lumber is ¾″ (19 mm) thick by 3 ½″ (89 mm) wide.

159

160

160   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E   1 9 . 1 ) . Cut out all the pieces of wood. If you use a different

thickness of plywood, the dimensions of the front, back, and sides will need to be changed to compensate. S T E P 2 ( F I G U R E   1 9 . 2 ) . The hand holes will be cut into the two side pieces. Make

two marks by measuring down 2 ½″ (64 mm) from the top, and 6″ (152 mm) from the left and from the right.

S T E P 3 ( F I G U R E   1 9 . 3 ) . With a 1 ¼″ (32 mm) spade drill bit (or similar), drill two

holes using these marks as the center points. Use a straight edge to draw lines connecting the tops and bottoms of these holes. S T E P 4 ( F I G U R E   1 9 . 4 ) . Cut these lines with a jigsaw. Smooth the holes with

sandpaper; start with 80 grit, and then finish with 120 grit. Doublecheck that no one will get a splinter from these holes when they carry the box. Repeat steps 2 to 4 on the other side piece.

S T E P 5 ( F I G U R E   1 9 . 5 ) . Glue and nail one side to the back. A pneumatic brad nail

gun is easiest, but a hammer and brad nails will work as well. Place a nail at each end, and space them evenly in the middle, with no more than 12″ (305 mm) between brads. Be sure to line up the nail gun so the nails go into the wood straight and not at an angle. S T E P 6 ( F I G U R E   1 9 . 6 ) . Glue and nail the bottom to the side and back pieces.

16

Rehearsal  Cube   161

FIGURE 19.1

FIGURE 19.2

FIGURE 19.3

FIGURE 19.4

FIGURE 19.5

FIGURE 19.6

162

162   Projects

S T E P 7 ( F I G U R E   1 9 . 7 ) . Attach one of the glue blocks in the corner of these three

pieces. Apply glue to all the surfaces that will be attached. Apply pressure on the block so it is pressed tightly into the corner as you nail it in place. S T E P 8 ( F I G U R E   1 9 . 8 ) . Glue and nail four glue blocks to the top piece. Inset the

blocks to leave room for the thickness of the sides, front, and back. Set the top aside for now.

S T E P 9 ( F I G U R E   1 9 . 9 ) . Glue and nail the other side to the cube. Attach a glue

block to the new corner you just made. S T E P 1 0 ( F I G U R E   1 9 . 1 0 ) . Glue and nail the front to the cube. Attach the last two

glue blocks to the other two corners.

S T E P 1 1 ( F I G U R E   1 9 . 1 1 ) . Glue and nail the top to the box. Do not move your

cube for at least 30 minutes as the glue dries. Sand down all the edges to remove any sharp corners. Begin with 80 grit sandpaper, followed by 120 grit. Wipe all the dust off and paint the box black. S T E P 1 2 ( F I G U R E   1 9 . 1 2 ) . Paint a second coat if the first coat does not cover

all the wood evenly. You may also choose to add a gloss black topcoat or seal the paint with a water-​based polyurethane in either gloss or semi-​gloss (an oil-​based polyurethane produces a lot more fumes that require substantial ventilation). Allow the glue to fully dry for at least 24 hours before letting anyone sit and stand on your cube.

163

Rehearsal  Cube   163

FIGURE 19.7

FIGURE 19.8

FIGURE 19.9

FIGURE 19.10

FIGURE 19.11

FIGURE 19.12

164

165

C H AP T E R   2 0 UPHOL S TE R E D

F OOT   ST O O L

A small foot stool with a padded fabric top can help dress up any living room set, from Colonial America, to Victorian England, to modern times. This project can easily be enlarged to make an upholstered stool for sitting. The construction methods used are the same for building tables, while the upholstery techniques can be applied to other pieces of furniture that you wish to update with a different fabric. MATERIALS • Hardwood, ¾″ (19 mm) thick • Two pieces 1 ¾″ by 11″ (44 mm by 279 mm) (front and back aprons)

• Upholstery foam rubber, 1″ (25 mm) thick, 9″ by 14″ (229 mm by 356 mm) • Fabric 16″ by 21″ (406 mm by 533 mm)

• Two pieces 1 ¾″ by 6″ (44 mm by 152 mm) (side aprons)

• Batting or wadding 16″ by 21″ (406 mm by 533 mm)

• Four pieces 1 ½″ by 7″ (38mm by 178 mm) (legs)

• Ruler

• ½″ (12 mm) plywood, 9″ by 14″ (229 mm by 356 mm) (top) • Two spacers, 3⁄8″ (10 mm) thick • Handsaw and miter box • Table saw (optional) • Clamps

• Wood glue • 16 dowels, ¼″ (6 mm) diameter • Thin nails • Hammer • Diagonal pliers • Drill

165

16

166   Projects

• Drill bits: 1⁄8″, ¼″, and 3⁄8″ (3 mm, 6 mm, and 10 mm)

• Upholstery staple remover

• Serrated bread knife or snap-​blade  knife

• Amber shellac

• Fabric scissors • Upholstery stapler with 3⁄8″ (10 mm) staples

• Acrylic paint: raw umber • Paintbrushes • Sandpaper

167

168

168   Projects

INSTRUCTIONS S T E P 1 ( F I G U R E 2 0 . 1 ) . For the thicker legs, it may be easiest to stack and glue

two pieces of ¾″ (19 mm) thick wood to make a single piece that is 1 ½″ (38 mm) thick. Cut the wood a bit oversized and glue them together before cutting them to their exact dimensions. Otherwise, it may be difficult to line the pieces up exactly when gluing, and the seam will be noticeable. S T E P 2 ( F I G U R E   2 0 . 2 ) . Cut all your wood pieces to width and length. Sand the

edges and corners to prevent sharp areas or potential splinters. Mark each piece lightly with a pencil to avoid mixing them up.

S T E P 3 ( F I G U R E   2 0 . 3 ) . Hammer two thin nails into the end of one of your apron

pieces. They only need to go in far enough to prevent them from falling out. Use diagonal cutting pliers to snip the nail as close to the wood as possible. S T E P 4 ( F I G U R E   2 0 . 4 ) . Set the apron piece on top of a 3⁄8″ (10 mm) spacer. Line

up the top of the apron piece with the top of one of the legs. Press the apron to the leg so the nails create an indentation into the leg. Remove the nails from the apron using the pliers.

S T E P 5 ( F I G U R E   2 0 . 5 ) . Drill into the apron and the legs using the indentations as

the center point for the ¼″ (6 mm) drill bit. Most ¼″ (6 mm) dowels are 1″ (25 mm) long, so drill to a depth of slightly more than ½″ (12 mm). Be sure the drill bit remains perfectly perpendicular to the surface of the wood as you drill; a drill press helps keep the bit aligned if you have one. S T E P 6 ( F I G U R E   2 0 . 6 ) . Place the dowels in the holes and check that the pieces

fit together snugly; you may need to enlarge some of the holes a bit to get a tighter fit. Repeat steps 4 through 6 for both sides of every apron and all four legs. Be sure to mark all the pieces to keep track of which holes in the aprons line up with the holes in the legs.

169

Upholstered Foot Stool   169

FIGURE 20.1

FIGURE 20.2

FIGURE 20.3

FIGURE 20.4

FIGURE 20.5

FIGURE 20.6

170

170   Projects

S T E P 7 ( F I G U R E   2 0 . 7 ) . Before gluing, dry fit all the pieces together and make sure

everything lines up correctly. Take the pieces apart and apply glue to all the dowels and all the joints. Reattach all the pieces and clamp them together. Let the glue dry for at least 30 minutes before you unclamp. S T E P 8 ( F I G U R E   2 0 . 8 ) . Drill four pilot holes through the top of the aprons. Choose

a drill bit that is at least as wide as the body of the screws you will use, not including the threads; if the hole is smaller, it may split when you screw the top on.

S T E P 9 ( F I G U R E   2 0 . 9 ) . From the bottom, drill a countersink hole into the four pilot

holes. The countersink hole should be larger than the head of the screws you are using. Wrap a piece of masking tape on the drill bit to mark how far down you want to drill so you do not drill all the way through. S T E P 1 0 ( F I G U R E   2 0 . 1 0 ) . Mix some water into a bit of raw umber acrylic paint to

make a wash. The paint should be thin enough that you can still see the grain of the wood underneath, and so that the brush strokes disappear as you paint it on. Paint all the visible surfaces of the stool and set it aside to dry.

S T E P 1 1 ( F I G U R E   2 0 . 1 1 ) . When dry, seal the wood with a coat of amber shellac.

After it dries (between 20 minutes and an hour), sand it down with 220-​grit sandpaper or very fine steel wool. Steel wool is highly flammable so keep it away from flames and heat! Wipe away the dust with a damp rag. Repeat this step to apply a second coat. S T E P 1 2 ( F I G U R E   2 0 . 1 2 ) . Cut the plywood to size. Cut the foam rubber to the

same size using a serrated bread knife or snap-​blade knife. Stack the foam on top of the plywood.

17

Upholstered Foot Stool   171

FIGURE 20.7

FIGURE 20.8

FIGURE 20.9

FIGURE 20.10

FIGURE 20.11

FIGURE 20.12

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S T E P 1 3 ( F I G U R E   2 0 . 1 3 ) . Center the piece of batting or wadding over the foam

and flip all the materials upside down. Staple the batting to the underside of the plywood in the center of each side. S T E P 1 4 ( F I G U R E   2 0 . 1 4 ) . Continue stapling the batting from the center of each

side to the edges. Pull the batting snug as you go, but not so tight that it deforms the foam rubber or rips the batting. When you get to the corners, carefully manipulate the batting to avoid any creases or folds at the corners. When it is completely attached, trim away the excess batting past the line of staples.

S T E P 1 5 ( F I G U R E   2 0 . 1 5 ) . Repeat step 14 for the layer of fabric. Place the staples

so the fabric completely covers all the batting. The fabric should be pulled snug, so it does not shift around. Be careful about pulling it too tightly; it should not deform the foam rubber underneath. If your fabric has any sort of pattern or design, keep it straight so it is perfectly lined up where it wraps under the wood. Staple all the sides working from the center outward, stopping about an inch from each corner. S T E P 1 6 ( F I G U R E   2 0 . 1 6 ) . Grab the fabric at the corner and pull it back snugly at a

45-​degree angle. The fabric will need a bit of a fold to sit flatly, but with a bit of massaging and finessing, you can manipulate this fold so it is on the bottom of the plywood and not on the visible portion. Once you are happy that the corner looks clean and straight, staple the fabric in place. Once again, if anything needs adjusting, you can remove a few staples and try again. S T E P 1 7 ( F I G U R E   2 0 . 1 7 ) . Place the foot stool upside down. Line up the wooden

base on top of it. Screw the base to the footrest; be sure the screws are short enough that they do not stick out the other end of the footrest and create a poking hazard. Do not glue the base to the footrest. S T E P 1 8 ( F I G U R E   2 0 . 1 8 ) . Allow any glue you used to dry for 24 hours before

applying any weight or force to the stool. You can separate the base from the footrest by removing the four screws, giving you the option of reupholstering the fabric or repainting the wood for endless transformations for future shows.

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Upholstered Foot Stool   173

FIGURE 20.13

FIGURE 20.14

FIGURE 20.15

FIGURE 20.16

FIGURE 20.17

FIGURE 20.18

174

175

PART   I I MATER IA L S

176

17

C H AP T E R   2 1 PAPER

A N D

P A P I E R - ​M Â C H É

Paper is one of the oldest prop building materials and remains one of the cheapest and most sustainable alternatives for many props. Standard office paper is useful for all sorts of paper props like letters and book pages. Cardstock is a stiffer type of paper. Kraft paper is a thick, hearty paper (though not stiff like cardstock) that is typically brown. Brown paper shopping bags are made of kraft paper; you can also buy it in giant rolls, making it useful for drawing large, full-​scale patterns and plans. Paperboard is formed when paper pulp is pressed together with glue into thicker sheets. Think of the material that cereal boxes are made of. For small hand props, a slightly thicker paperboard is used, between 1 and 2 mm. The cheapest types of paperboard are made of recycled pulp and are uncoated and unwaxed. These are sufficient for the projects in this book. It is often either a brown color riddled with speckles, or a light grey. The brown kind may be sold as kraft card or chipboard. The grey is also known as modelling card or greyboard. When a smoother surface is required, prop builders use Bristol board or mat board. Thicker sheets of paperboard are sold as book binder’s board, which is used to create the covers of hardbound books. Corrugated cardboard is made of at least three layers: a corrugated inner layer and two flat outer layers. It may be made of kraft paper, chipboard, or any number of other paper products. When cutting paper, a large flat surface with a cutting mat is useful. The cutting mat protects the underlying surface and prevents your knife from dulling too quickly. Most papers can be cut with a hobby knife (such as the brand name X-​Acto) using a #11 steel blade. Thicker papers and cardboard can be cut with a box knife or snap-​blade knife. A steel or aluminum straight edge helps you cut straight lines. Many cutting mats have grids printed on them to assist you in keeping cuts square. 177

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Papier-mâché can refer to two different processes: mixing paper pulp with adhesive to create a clay-​like paste or using small strips of paper and adhesive to build up layers. The projects in this book mainly deal with the second. Careful application of papier-mâché can lead to strong, lightweight props. It may form a coating over another material (such as the skull in c­ hapter 7), or a hollow shell that stands on its own (like the chalice in c­ hapter 5). Thick and bulky layers can be built up quickly with heavy paper and glue. Thinner and more refined layers can be made with thin newsprint or tissue and glue. Intricately sculpted details can be achieved with pulped paper and glue. A wide range of papers can be used, but they need to be uncoated. Most office copy paper, for example, has coatings that prevent the glue from properly soaking in. Tissue, newsprint, watercolor paper, and even paperboard are all useful papers to try. Tear the paper into small strips and squares rather than cutting; the torn edges are easier to blend together. You can make your own glue out of flour and water or use commercially available glues to save time. White PVA glue is perfect for papier-mâché and can be thinned down a bit with water to help it soak into the paper. To make your own paste, mix two parts of water with one part flour. Use wheat flour (be careful of any gluten allergies or sensitivities). Take out just enough water to mix into the flour and make a runny liquid. Boil the rest of the water. As it boils, stir in the flour. Boil it for three to five minutes. It is ready to use when cool, and it will last for two to three days if refrigerated.

179

C H AP T E R   2 2 F OAM

A N D   CL AY

Sculpting and carving solid three-​dimensional props can be done with a variety of foams and clay. Foam is any material that has air bubbles inside to make it lighter without losing strength. A foam can be flexible like the kind in your couch cushions, or rigid like the foam used as a packing material. Upholstery foam is a flexible polyurethane foam. Other than upholstery, it is also useful for sculpting soft props, like fake bread or puppet heads. It is commonly found in thicknesses up to 6″ (15 cm), though thicker pieces may be special ordered. Polystyrene foam is a rigid foam that comes in several different forms, many of which are useful for sculpting solid but lightweight props. Styrofoam is a popular brand name. The blue and pink insulation foam you find at hardware stores is another type. The spongey foam made of large beads is not terribly useful for prop making, but craft and floral stores often have a variety of polystyrene foam blocks to use for your props. Polystyrene is not biodegradable or commonly recycled, so take care to minimize waste for the sake of the environment. It is possible to salvage small chunks from packaging or from construction sites. “Craft” foam is a thick, flexible sheet of foam. It has an exceptionally smooth texture throughout; you cannot see the air bubbles. The same type of foam is used for foam floor mats and camping mats, which are a cheap and readily available option when you need very thick or long pieces of craft foam. Luckily, the growing popularity of cosplay means that large sheets of high-​quality craft foam is becoming available in more stores. It is usually sold in thickness from 1 mm to 12 mm (½″). Prop builders use many types of clay for a variety of processes. Water-​based clays and oil-​based clays are useful for molding and casting projects and other complicated techniques. This book focuses on two specific types of clay that can be incorporated directly into a prop: paper clay and epoxy clay. 179

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Paperclay is made of finely shredded paper pulp mixed with an adhesive. You can find a variety of recipes for making your own, but the easiest option is to buy some prepared paperclay from a craft store. It is a water-​based clay that air dries to a lightweight but strong material which is easily sanded and readily accepts paint and glue. Do not confuse this with “paper clay”, which is ceramic clay mixed with paper pulp. This type of paper clay needs to be fired in a kiln, which is not often found in a prop shop. Epoxy clay is a two-​part putty. When the two parts are mixed, they harden quickly with very little shrinkage. Epoxy clay adheres easily to many other materials and is waterproof even in its putty form. You can find various brands of epoxy clay in art and craft stores. You can also find small tubes of epoxy clay sold in the plumbing section of hardware stores, where it is intended to repair leaky pipes. The unhardened epoxy clay is somewhat toxic, so wear nitrile gloves when handling it!

18

C H AP T E R   2 3 FABRIC

Fabric comes in endless varieties depending on the fiber content and how it is woven or knit together. Muslin is a cheap, thin type of cotton, and it is a staple in prop building. Though often reserved for patterns, it can be used wherever a cheap utilitarian fabric is needed. Canvas is another common fabric with many functional uses in props. It comes in a range of weights. Fabric is sold by the bolt, which is the name of the roll it comes on. This means fabric has a limited width, but an almost unlimited length. When buying fabric, you typically specify how many yards or meters you want. Most props use upholstery fabric, which comes on wider bolts than clothing fabric, and is thicker and more durable. It needs to withstand people constantly sitting, laying, and even standing on it. It is easy to find many sources of cheap or free fabric for reuse as props. When furniture is reupholstered, the old fabric may have a large enough section for reuse on a smaller piece of furniture. Curtains, clothes, bedsheets, and tablecloths are other great sources. The scenery shop often produces scraps of muslin and canvas which are large enough for props. Besides the cost savings, this has an environmental benefit. When measuring and marking your fabric, lay it out flat on a large clean surface. You do not want it shifting or sliding around. A standard ruler can be used when the fabric is stiff. A fabric tape measure is a flexible strip of cloth or plastic which is useful for measuring fabric that is draped over a form and not laying flat. Marking fabric is best done with chalk, as it leaves a visible mark that will rub off when no longer needed. You can find tailor’s chalk which is particularly suited for fabric and which is made in a variety of colors for use on different colored fabrics. Pens and markers may soak into the fabric and cannot be erased, while pencil marks are harder to remove and difficult to see on many fabrics. 181

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Use a pair of sharp fabric scissors to cut your fabric. Fabric scissors should only be used for fabric. Cutting any other material, even paper, will dull them enough to make cutting fabric difficult or even impossible. A sewing machine makes sewing exponentially faster. If you do any sort of work with fabric, you will want regular access to a sewing machine. Modern ones come with multiple functions, but a prop-​builder only needs to do a few basic stitches. More important is getting a heavy-​duty machine that can stitch through multiple layers of thick upholstery fabrics without slowing down. Even with a sewing machine, you will always need to do a bit of hand stitching. A prop builder should know a few basic hand stitches to complete the projects in this book. A hand sewing needle will have the eye (the hole for the thread) on the opposite end to the sharp point, as opposed to a machine sewing needle which has the eye and the point on the same end. A straight point needle is the best general-​purpose needle for most projects. A curved needle is vital for upholstery and for stitching complex three-​ dimensional shapes. To start any hand stitch, pass a piece of thread through the eye of the needle and pull a few inches or centimeters to hang loose. Pull about 18 to 20″ (46 to 50 cm) of thread from the spool and cut it off. This is known as the “working thread.” Tie an overhand knot at the very end. Begin your stitch and pull all the thread through until it hits the knot. Be sure not to pull the thread free from the eye of the needle. Using a single thread is acceptable for light work, but for heavier fabrics and more robust props, you will want to double thread your needle. Pull the thread through the eye of the needle and make it as long as your working thread. Tie both ends together in an overhand knot. A running stitch is the most basic stitch. Insert the needle from the back or inside of the fabric and pull it through to the front. Insert the needle a few millimeters forward from where it came through and pull it through to the back. Move forward another few millimeters and pull the needle back to the front. Repeat this for the length of your seam and you will end up with a dashed line of thread. The running stitch is not very strong and is only useful for temporary stitches or for marking the fabric. For a more robust straight stitch, you will want to use a backstitch. Pull the needle from the back to the front of the fabric like a running stitch, but on the top, you want to reinsert the needle back a few millimeters from where it came out and pull the thread all the way through. From the back, move the needle forward double the distance of the thread that appears on top. Pull the thread to the front. Reinsert the needle back a few millimeters, directly in front of where the previous stitch ended. Repeat this process along the entire seam. To finish a stitch, pull your needle all the way through the fabric after your last stitch. You need about 6″ (15 cm) to make this work. Slide the needle under the nearest stitch and pull it through to make a loop. Insert the needle through this loop and pull it to make a knot. Tie the thread through another loop to make a double knot. Do this on the wrong side of the fabric whenever possible to prevent the knot from being seen.

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Fabric   183

F I G U R E   2 3 . 1   A backstitch. F I G U R E   2 3 . 2   A buttonhole stitch.

A buttonhole stitch creates a strong opening in the fabric for a button to pass through. Begin by cutting a slit that is about 1⁄8″ (3 mm) larger than the diameter of your button. With a single thread, sew two running stitches, one along each side of the slit. These will mark the outside of the buttonhole stitch and should be as close to the slit as you can get them. To start the buttonhole stitch itself, thread the needle with about 25″ (64 cm) of thick thread and knot the end. Pull the needle from the back of the fabric near one end of the slit and make a backstitch or two to anchor it. Pull the thread through the buttonhole from the back. Make a loop in the working thread. Pass the needle over the top of the loop and through the buttonhole. Stick the needle through the back of the fabric to the front just outside of the running stitch you made previously. Pull the needle through and pass it over the loop of thread again. As you pull this stitch tight, use your fingers to maneuver the knot that forms so it is directly at the end of the cut fabric. Begin a new buttonhole stitch directly next to the first one. You can have each buttonhole stitch touch the previous one for a very strong but time-​consuming hole or leave a little gap between stitches to speed up the process. Repeat these stitches around the whole circumference of the hole. At the sides, you can fan out the stitches in a semicircle pattern.

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C H AP T E R   2 4 WO OD

Wood has always been one of the most popular materials for prop builders. It is cheap, easy to work with, and can mimic many different materials. It is also one of the least toxic materials available and can be very environmentally friendly as well. Most home improvement stores and lumberyards sell a variety of construction lumber and finished hardwood boards, as well as sheets of plywood and other engineered lumber products. You can buy rough lumber from lumberyards and sawmills as well, though the tools and techniques for turning them into finished boards are beyond what can be presented in this book. Wood has a grain, and the types of blades for chopping a piece of wood to a shorter length are different from the blades for ripping a piece of wood to a thinner width. Cutting and sanding wood will create dust, especially when using power tools. Always wear a dust mask so the dust does not get into your mouth and nose, where it can travel to your lungs! A hand saw is an invaluable addition to your toolbox, even when powered saws are available. You want a rip saw if you are ripping wood parallel to the grain; a crosscut saw is used for cutting perpendicular to the grain. Many modern hand saws have a combination blade, which can do both kinds of cuts reasonably well. You will want a sturdy surface that you can clamp or secure your wood to when cutting it by hand. A miter box gives you greater precision for cutting wood squarely to length. It can also cut a few common angles. Most carpentry shops are equipped with a chop saw or miter saw to cut long boards to shorter lengths. Ripping wide boards into thinner pieces is done with a table saw. Cutting curves and irregular shapes can be done with an electric jigsaw. A jigsaw can also cut straight lines if you have a steady hand, or by setting up a guide rail. Many kinds of blades are available for the jigsaw, and it is easy to switch blades as needed. You can find blades for hardwood, for softwood, for rough and fast cuts, for smooth cuts, and even for 185

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other materials such as metal and plastic. Cutting curves by hand is best achieved with a coping saw. A cordless drill is invaluable for drilling holes into wood and other materials. It is often the first powered tool that a prop builder buys. Besides a drill, the projects in this book can all be achieved in a reasonable time with hand tools if you do not have access to their powered equivalents.

187

C H AP T E R   2 5 GLUE

A N D   TA PE

No single glue can accomplish everything a prop builder needs to do. Choosing the correct glue for the job will make your props more durable and better looking. This book limits the use of glues to some of the most versatile and readily available ones to keep things simple. PVA glue is a vast group of glues, such as white glue and wood glue, used in many different crafts. White PVA glue typically dries clear and works great for papier-mâché and other paper products. School glue is very similar to regular white glue, but it will soften up and wash away with water even after it has dried. Prop builders usually want a glue that withstands the elements, so school glue should be avoided. Some white PVA glues are sold as high-​tack or tacky glues. These have a higher initial tack, meaning the two surfaces stick together quickly and will not move as the glue dries. This glue is handy when you cannot clamp or hold the items together. Regular white PVA glue has a bit of flexibility when it dries. If you need a lot of flexibility, such as when gluing fabric, you can find PVA glues which bill themselves as “flexible PVA glue.” Look for these in the fabric section of a craft store. The clear fabric glues are solvent-​based and produce a lot of fumes and are not used in this book. Decoupage glue (like the brand Mod-​Podge) is a thinner version of PVA that dries hard. Because of these characteristics, it also makes a good clear coating on props that need to be sealed. You can make your own by mixing three parts of your white PVA with one part of water. Carpenter or wood glue is another type of PVA. It is often yellow, though white wood glue acts the same. It has a high initial tack and dries very hard and crisp, making it ideal for gluing together wood, and less ideal for gluing together flexible materials. Hot glue is a prop builder’s secret weapon. It adheres to many different surfaces, it can help fill gaps, and it sets in only a few seconds. In some cases, it is removable, or at 187

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least repositionable if you reheat it. While the novice prop builder may be admonished for relying on hot glue for absolutely everything, there are many situations where hot glue is the perfect solution. Be careful though as even a single drop of hot glue can burn your skin! If you accidentally get some hot glue on your skin, do not try to wipe it off; you will just spread it around and burn more areas of your skin. Instead, wait for it to cool and harden before removing it. It is helpful to keep a small container of water nearby so you can dip your fingers when they get hot glue on them and instantly cool it down. Finally, keep your hot glue gun on a stand with a small tray to catch the glue drips so you do not damage your work area. For adhering large surface areas together, it is best to use a contact adhesive. With a contact cement, you apply a thin layer to both surfaces, wait for the cement to dry, then press the two surfaces together. It creates an instant bond, so you cannot reposition the two pieces once they touch; however, it creates a very strong bond. Many contact adhesives are quite toxic, so the projects in this book use rubber cement as a contact adhesive. Rubber cement contains some volatile solvents, so use in a ventilated area and wear nitrile gloves when applying it! Tape is often considered a temporary means of attachment. However, many kinds of tapes can be used as prop building materials themselves. This book deals with three common kinds, but there are many more out there for you to experiment with. Masking tape is made of paper, so it easily accepts paint or glue. Electrical tape is made of vinyl and can be used to make faux leather wraps. Floral tape is a waxy, stretchy kind of tape that reminds you of crepe paper. It is not particularly adhesive, but it sticks to itself well, and is typically wrapped around thin stems.

189

C H AP T E R   2 6 PAINT

Paint can be the most important step in building a prop. An amazing paint treatment can transform the simplest of materials into the most stunning facsimile of an object, while a poor paint job can make the most expensive item look like a cheap toy. Understanding how to achieve good results from paint will serve you well as a prop builder. The chemistry and physics behind paint and all the other coatings and colorants we use is complicated and vast. This book keeps things simple by focusing on the least toxic kinds of paint you can find at most craft and hardware stores. Acrylic paint is one of the most versatile paints for the prop builder. You can find tubes of the major colors in art stores, or endless mixes of different shades in craft stores. The colors can be very brilliant and retain their brilliance when they dry. It is water-​based, so you can thin it down with water or wash your wet brushes with water; once it dries, however, it is waterproof. You can mix it with many kinds of water-​based clear finishes to make translucent glazes. Acrylic paint sticks to a variety of prop building materials, and it can go over almost any other kind of paint or finish without a problem. Fabric paint is often an acrylic paint which is thin and flexible enough that it can be applied to fabric without stiffening it or cracking off when dry. House paint is readily available at your local hardware store or paint shop. They can often mix the exact color you need. It uses lower-​quality pigments then acrylic paint, so if you try to mix your own color from two or more buckets of paint, the results may turn to mud. However, it is cheap and easy to brush or roll onto large surfaces. It also creates a very durable finish, and its thickness sometimes helps coat over tiny imperfections in your surface. It is available in a variety of sheens, from flat to gloss. For props, you typically want a water-​based flat interior paint. Thankfully, this is also usually the cheapest kind of paint. Some of the water-​based clear coatings you can find are water-​based polyurethane, clear acrylic medium, or a combination poly-​acrylic. These can be tinted with acrylic or 189

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latex paint for translucent colors or used separately at the end to give a protective clear coat to the prop. They also come in a variety of sheens to help make your prop as shiny as you want. You can find many oil-​based and solvent-​based clear coatings as well if your shop has the appropriate ventilation to handle them. They are not used for any of the projects in this book, except for one exception. Shellac is a clear coating made from the shells of lac beetles. These are dissolved in a solvent called denatured alcohol in the US and methylated spirits in the UK and Australia. Once the solvent evaporates and the shellac is dry, it is non-​toxic. You can find both clear shellac and amber shellac, which gives a rich yellow glow to the surface. Shellac requires adequate ventilation and nitrile gloves when being applied, but it is a very handy material. Besides paint, we also use inks, stains, and dyes to color props. There is not always a clear distinction between these and paint, but in general, paint creates a coating of color over the material, while inks, stains, and dyes soak into the material to change its color. You can find a variety of commercially available inks, stains, and dyes, or use existing materials to create your own stains. For example, coffee and tea are useful stains to make materials look old. For prop building, you will want a small variety of paintbrushes in different shapes and sizes. Be sure to wash them as soon as you are finished painting to avoid the paint drying on the bristles. Brushes used for oil-​based products cannot be washed in water; they need to be cleaned with a solvent. Often, the health risks of washing a brush in a harsh solvent outweigh the environmental harm of throwing the brush away, so using cheap disposable brushes for oil-​based materials may be a better option. Dried shellac will soften when soaked in wet shellac, so you should have a dedicated shellac brush that you continually reuse. When you need to use it, let it sit in your can of shellac for a few minutes. Natural sponges are useful for painting random splotches and avoiding brush strokes. Foam brushes may be used to spread an even layer of paint or glue with minimal brush strokes.

19

S PEC IA L   TH A NK S

This book could not have happened without the help of so many people along the way. A big thank you to Natalie Taylor Hart for drafting and arranging all the patterns into a format that could be shared. She was also an invaluable sounding board over the 15 months it took me to write this book. We discussed what types of props I should include and what kinds of materials I should work with all the way up until this book was finished. Thanks to Dot Young, my technical editor, for catching anything that was unclear or poorly worded. She helped remind me where to insert important information on safety and sustainability for many of the projects. She was also vital in navigating the different materials and practices between the UK and the US, and the result is a book that should prove useful regardless of where you live. A big thank you and shout out to the members of S*P*A*M (the Society of Properties Artisan Managers) who were always ready to chime in with ideas and suggestions whenever I posed some questions about this book. I also want to thank Lucia Accorsi at Taylor & Francis, who guided this book from start to finish. She worked with me at the very beginning so that we all knew what I was trying to create and answered all my questions throughout the process. Finally, thank you to Stacey Walker, who has worked on all my books in some capacity since the very beginning. Her excitement for this book when I first proposed it showed me I was on the right path, and her help and suggestions made sure this book was off on the right foot.

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193

G L O S S A R Y

Acrylic paint A water-​based paint that dries quickly. Once dry, it becomes water-​resistant. Alcohol Or ethyl alcohol (grain alcohol). A solvent used for thinning shellac, acrylic paints, and some inks. For these purposes, ingredients are added to make ethyl alcohol undrinkable so it can avoid the high beverage taxes on alcohol. In the US, this is known as denatured alcohol, while other English-​speaking countries call it Methylated spirits. Ethyl alcohol produces fumes while in a liquid form, which requires adequate ventilation to use. Alcohol ink A colored liquid using ethyl alcohol as the base ingredient. Basswood Wood from a few species of tree with a fine grain that is easy to cut and lightweight. Batting A sheet of loosely tangled fibers to make a soft cushion. Commonly used between the fabric and the padding in upholstered furniture. Also known as wadding. Binder’s board A thick and stiff paperboard used for making hard book covers. Typically denser than chipboard, with common thicknesses ranging from 2 to 4 mm. Box cutter An inexpensive knife with a razor blade designed for opening cardboard boxes. The blade may be retractable, replaceable, or both. Brad nails A thin nail with a small head that can be driven completely into the material.

Brad nails come in long strips of many nails lightly glued together for use in a pneumatic or electric nailer. They are also sold loose in boxes for use with a standard hammer. Bristol board A high-​quality paperboard, typically white, that comes in a variety of thicknesses. Buttonhole stitch A stitch used around a slit in fabric to form an opening for a button. It is similar to an overcast stitch or blanket stitch but adds a series of knots to prevent the stitch from unraveling if any of the thread is cut. See ­chapter 23 for step-​ by-​step instructions. Canvas A plain-​weave, sturdy natural fabric. It comes in different weights, and is used as a painting surface, for boat sails, and for utility items. Cardboard While it may refer to a single sheet of thick pasteboard, it is commonly used to refer to corrugated cardboard: an inner layer of thick brown paper that is crimped into rows of ridges, sandwiched between two outer layers of smooth brown paper. The result is a rigid but very lightweight material. Card stock Paper which is thicker and stronger than typical writing paper. Chipboard A thick and cheap paperboard made of recycled paper pulp. It is frequently used to make food containers, such as cereal boxes, or placed in the back of drawing pads to stiffen them up. Thickness is measured in points. Light chipboard, the kind used for cereal boxes, is 20 points. The 193

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194   Glossary

props in this book use 50-​point chipboard, which is roughly 1.5 mm thick. Chipboard may be brown and speckled (also known as kraft chipboard) or grey (also called greyboard). Paper chipboard should not be confused with wood chipboard, which is a rigid construction material used for floors and countertops. Clamp A device that can hold materials or objects together to prevent movement. Known as a cramp in the UK and Australia. Contact adhesive A type of adhesive that sticks tightly to itself immediately on contact. A contact adhesive is applied to both surfaces meant to be joined. After the solvent evaporates, both surfaces are brought into contact. The bond is immediate, and the surfaces cannot be repositioned. Contact adhesives work well when large surface areas need to be bonded with each other and when the materials need to remain flexible. Most contact adhesives produce strong fumes and require ample ventilation while working with them in their liquid form. Countersink A beveled hole drilled over another hole so that a screw or bolt can sit flush or below the outer surface of the material. It may also refer to the specific drill bit used to drill a countersink. Craft foam A soft, flexible foam with a smooth surface and texture throughout. It comes in a variety of thicknesses, colors, and densities. May be either EVA foam or XLPE (cross-​linked-​polyethylene)  foam. Cramp See clamp. Cutting mat A flat surface for cutting out materials with a knife. It protects the work surface from damage and prevents the knife blade from dulling as quick. Decoupage glue A particular type of PVA glue formulated to go on thinly and to avoid the wrinkling of paper and cardboard products. It can also be used as a sealer as it dries clear and can be sanded smooth. It

can be homemade with three parts white glue to one part water, or sold as brands such as Mod Podge or Collage Pauge. Diagonal pliers Pliers made to cut wire without the ability to grab or turn anything. Dowel A cylindrical piece of material. A dowel can be a long rod used to build an object, or a short pin to help strengthen the joint of two materials. Drill A tool with a spinning bit that cuts holes into materials and objects. Drill press A drill on an upright stand, which typically allows you to clamp the material to a table and drill perpendicular (or at a set angle) to the surface. Dry brush A paint technique in which a paintbrush holds paint but is relatively dry. The brush is dragged across the surface to create a characteristic scratchy appearance. Dust mask A general term for a disposable mask to cover the nose and mouth for protection against dust and particles in the air, but not fumes and vapors. Surgical masks, pollen masks, and cloth masks should not be used when creating dust in prop building. Instead, use a mask (technically called a respirator) which meets the proper safety specifications in the country you are working in: NIOSH N95 (US), FFP2 (Europe), P2 (Australia and New Zealand), DS2 (Japan), 1st Class or KF94 (Korea), and KN95 (China). Dutch gold A type of brass that is used as an inexpensive imitation of gold leaf. Electrical tape A stretchy vinyl tape used to insulate electrical wires. Comes in a variety of basic colors. Fabric tape measure A flexible strip of cloth or plastic with markings to give units of measurement. The flexibility allows it to drape around curves and folds. Fleece A natural or synthetic fabric that resembles the soft and thick wool coat of sheep.

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Glossary   195

Floral tape A stretchable tape that only sticks to itself; used mainly for wrapping the stems of real and artificial flowers. Foam A material made by trapping air or gas bubbles inside a substance. The result can be rigid or flexible, but is always lighter than the solid material itself. Foamboard A lightweight panel of rigid polystyrene foam between two layers of paper. It comes in a variety of thicknesses and colors, with white being the cheapest and most popular. Also known as foam core. Foam rubber A squishy material made of rubber or plastic filled throughout with air bubbles, used for upholstery and other cushioning. Fray check glue A colorless liquid which can be applied to the edge of a cut piece of fabric to prevent the threads from unraveling. Gold leaf Extremely thin sheets of gold that are applied to the surface of an object to make it appear as if it is made of gold. Hand saw A general term for any simple hand-​powered saw used to cut wood to different sizes. A saw blade has a series of teeth that scrapes or slices little bits of wood and removes them, and can cut through any thickness of wood. A knife blade slices into the wood and can only cut very thin pieces before getting stuck. Hardwood Wood from a deciduous tree, such as oak, beech, ash, and poplar. In general, hardwoods are denser and more rigid than softwood. Hobby knife A small knife the size and shape of a pen that uses replaceable blades for precise and clean cuts in thin materials. Also known as a craft knife, X-​acto knife (which is actually a brand name), or scalpel in the UK. Hot glue A stick of plastic that becomes adhesive when melted and returns to a solid when it quickly cools. A hot glue gun

is a device that heats the hot glue sticks and allows you to apply the molten glue with the pull of a trigger. The glue is hot enough to burn skin in its molten state. House paint General term for paint used for the walls of a house. It is readily available at many hardware stores and is cheap compared to artists’ paint. It is about the consistency of maple syrup and flows easily. It dries quickly but stiffly and should not be used on flexible surfaces. It is available in many different sheens, with interior flat paint being the most useful for props. Iron A small appliance that uses heat to remove creases and wrinkles in fabric. Jigsaw A handheld power saw with a short, removable blade that rapidly moves up and down. It excels at cutting curves and other irregular shapes in a flat piece of material. Different blades allow it to be used on wood, plastic, or even metal. Joist A horizontal structural piece that provides a surface for attaching planks on top and adding stiffness. Kraft paper A strong and coarse brown paper that often comes on long rolls of various widths. It can also be found as a packing material or as grocery bags. Masking tape An inexpensive tape made of kraft paper with an adhesive on one side. It is meant to be applied to a surface to protect it from spray paint. It can be cleanly removed from a surface after the paint dries, though it will leave a residue after being left for a few days. Mat board A stiff paperboard used as a border for framed pictures. It is available in a variety of colors and finishes, and even with a surface that is a different color than the center. Miter box A small device used to guide a hand saw for making a cut in a piece of wood at a precise angle. Muslin A lightweight, plain weave cotton cloth. Often used to make patterns and

196

196   Glossary

linings, or as a utility fabric when something light and cheap is needed. Nail set A small pen-​like tool placed on top of a nail to allow you to hammer the nail just below the surface of the wood without accidentally hammering the wood itself. Needle-​nose pliers Pliers with a long nose which allows them to reach into small areas to grip and bend. Oil-​based A material, such as paint, in which the ingredients are mixed in with an oil rather than with water. This means that thinning down the material or cleaning it up needs to be done with an oil or solvent, as water would be incompatible. Paperboard A general term for a thick, heavy paper. It can be made by pressing thick pulp into a hard, stiff sheet, or by layering several sheets of paper together. Specific types of paperboard include binder’s board, Bristol board, chipboard, and mat board. Paperclay An air-​drying clay made of paper pulp and glue. Not to be confused with “paper clay,” which is a ceramic clay with paper pulp mixed in and intended to be fired in a kiln. Parchment paper A type of baking paper which has been treated to make it non-​stick. Also known as greaseproof paper. Pasteboard A thick sheet of material made of multiple layers of paper. It is basically an abandoned term for the material now known as paperboard. Patina The greenish film that appears on metals like copper and bronze as they are exposed to the elements over a long period of time. Pilot hole A small hole drilled into material that guides a nail or a screw and prevents the material from splitting apart. Pliers A number of hand tools shaped like a pincer and used to bend, grip, or cut various materials.

Plywood A type of wooden board made of multiple layers of wood glued together. Each layer has the wood grain running perpendicular to its neighbors, making it stiff in all directions and less likely to split when nailed or screwed. Polyester fiberfill A synthetic fiber designed to form fluffy clumps that can be used as stuffing for cushions, furniture, and soft toys. Polystyrene foam A rigid foam which is easily cut and carved into three-​dimensional shapes. It is often found as insulation for houses, as a packaging material, or at craft stores. Polyurethane sealer A clear finish available in a range of sheens, often referred to as urethane. It is often used over wood, metal, or painted surfaces. Pony beads A spherical bead about 4 to 4.5 mm in diameter with a hole through the center. May be made of wood or plastic in an endless variety of colors and translucencies. A pony bead is also a seed bead of a particular size. Press Lifting and lowering a hot iron onto a piece of fabric, as opposed to sliding it back and forth on the fabric. PVA glue A water-​based white glue ideal for wood, paper, cloth, and similar materials. PVA itself is non-​toxic to handle, though some products may contain ingredients which pose health risks in some way. PVC pipe Plastic tubes used for plumbing in buildings. Because they are low cost, easy to obtain, and simple to work with, they are a very popular material for prop builders. Respirator A mask that covers the mouth and nose to prevent breathing in dust or fumes. Different types of respirators are needed for different situations. Disposable respirators (sometimes called dust masks) can protect against dust and other particles, while reusable respirators with changeable cartridges are needed for

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Glossary   197

the fumes created by solvents and other chemicals. Rubber cement A type of glue made of a synthetic rubber dissolved in a solvent. It creates a flexible bond between materials. It can also be used as a contact adhesive. Rubber cement requires adequate ventilation to use until it has dried. Running stitch A simple stitch in which the thread is pulled from the front to the back and vice versa along a straight line. The thread in the finished stitch appears like a dashed line. It is easily unraveled, making it a temporary stitch suitable for marking a line in the fabric or securing pieces of fabric together while a permanent stitch is made. Safety pin A bent pin with a guard on one end to cover the sharp end when the pin is clasped closed. Sandpaper Paper with sand stuck on it used to smooth the surfaces of materials. The abrasiveness is indicated by the grit; the lower the grit, the more aggressive it is, and the higher the grit, the finer it is. Scissors A tool with two blades fastened in the middle which cut thin sheets of material by closing the blades. Fabric scissors are especially designed to cut fabric, and will quickly dull if used to cut any other type of material. Sewing machine A stationary power tool which rapidly adds a stitch to one or more pieces of fabric. While some machines can have very advanced features that automate a range of sewing tasks, even the most simple sewing machines greatly speed up the work of stitching fabric. Sheen The amount of shine that a surface has. It can range from gloss, which is almost like a mirror, to flat, which is the lack of any shine. Various terms describe sheens in the middle, though none of them are standardized: satin refers to a sheen between flat and gloss, and semi-​gloss is typically between satin and gloss.

Shellac A resin secreted by the lac bug. When dissolved in alcohol, it becomes a liquid that can be used as both a primer and sealer, or as a glossy clear coat over paint or raw materials. It can range in color from clear shellac to amber shellac (a deep yellow). Snap-​off knife A utility knife with a long replaceable razor blade. The blade has scored marks at regular intervals so small pieces can be snapped off as they get dull. Softwood Wood from conifer trees such as pine, spruce, and fir. The timber tends to be lighter and softer than hardwood; nails and screws can often be driven in without needing a pilot hole. Most construction lumber is softwood. Solvent-​based Often a synonym for oil-​ based products like paint, but also includes solvents other than oil used as the vehicle for a material. Spade drill bit Also known as a paddle bit. They have a flat end with a center point and a cutter at each end. They drill large holes rapidly through wood and some types of plastic. Sponge A type of animal whose skeleton is flexible and absorbent, or a foamed plastic that replicates the properties of a natural sponge. A natural sponge is useful for holding and applying paint in a patchy and irregular manner. Steel wool A clump of fine strands of steel that is used as an abrasive. It ranges in coarseness from 4 (extra coarse) down to 0 (medium-​fine), followed by 00, 000, and 0000 (finest). It is very flammable and should be used and stored away from flame and heat sources. Sticky notes A pad of small pieces of office paper with a strip of repositionable adhesive on the back. Often referred to by the most popular brand, Post-​It Notes. Surform tool Short for surface forming tool. It has a steel plane that resembles a cheese

198

198   Glossary

grater, and is used to shave material away from the surface. Tailor’s chalk A piece of chalk shaped like a flat triangle or rectangle used to mark fabric. The chalk marks rub off the fabric when you are done with the markings. Tongue Depressor A flat thin tool used in the medical world for depressing the tongue. The most common ones are made of wood and have many uses in the prop world. They may also be sold in bulk as “craft sticks” in a variety of sizes, with smaller ones sometimes called “popsicle sticks.” Upholstery foam Any flexible foam rubber used for cushioning on a piece of furniture. Upholstery stapler Any stapler with features which make it ideal for attaching upholstery fabric to the wooden frame. Many upholstery staplers use a thin staple with a wide crown and are powered through either electricity or pneumatics. Wadding See Batting Water-​based In a water-​based material, the ingredients are suspended in water rather than oil or a solvent. While the material can be thinned with water or cleaned up with water while still wet, it usually becomes

water-​resistant when all the water has evaporated. Wax A slightly greasy substance that melts at low temperatures. Waxes are used to make candles and crayons. Because they are smooth and water-​repellent, they are also used as a polish or a coating on top of other materials. They may come from animals (beeswax), vegetables (carnauba wax), minerals (paraffin), or be synthetic. White glue A generic term that typically refers to PVA glue. Wire cutters A tool for cutting wire or thin metal. Some tools are made solely to cut wire, such as diagonal pliers. Other tools may have a wire cutter integrated with other parts, such as needle-​nose pliers. Wood glue A particular type of PVA glue specialized for use on wood. It creates a rigid joint and dries stiff to make it easy to cut and sand without gumming up. Working thread The length of thread between the fabric and the needle that is used to create a stitch. The working thread should be long enough to complete the entire stitch, but not so long it becomes a tangled mess. Typical lengths range from 1 to 2 feet (30–​60 cm).

19

I N D E X

acrylic paint 189–​190, 193 alcohol 190, 193 alcohol ink 45, 52, 193 animal forms 141–​152 bags: coin purses 123–​127; haversacks 129–​140 banquet food 55–​60 basswood 99–​100, 102, 106, 193 batting 165, 172, 193 bird props 141–​152 book binder's board 9–​10, 177, 193 book props 9–​15 box cutter 55–​56, 193 brad nails 153, 159–​160, 193 bread 85–​89 Bristol board 177, 193 buttonhole stitch 136, 183, 193 canvas 129–​130, 181, 193 card stock 193 cardboard 56, 104, 146, 177, 193 carpenter glue 187 carpentry 185–​186; rehearsal cubes 159–​163; upholstered foot stools 165–​173; wooden crates 153–​157 chalices 45–​53 chipboard 177, 193–​194; see also paperboard clamps 10, 34, 170, 194 clay: keys 71–​75; as material 179–​180; scepters 77–​84 coin purses 123–​127 coloring techniques 189–​190 contact adhesive 188, 194, 197 corrugated cardboard 56, 177 countersink 170, 194 craft foam 194; crowns 91–​97; as material 179; swords 99–​108 cramps see clamps crates 153–​157 crowns 91–​97 cutting mats 20, 177, 194 dead birds 141–​152 decoupage glue 26, 38, 187, 194 denatured alcohol see alcohol diagonal pliers 194, 198 dowels 194; foot stools 165, 168, 170; keys 71, 72; lanterns 17, 24, 26; treasure chests 32, 38 drill press 168, 194 drills 186, 194 dry brush 14, 66, 82, 104, 190, 194 dust masks 64, 185, 194

Dutch gold 194 dyes 190 electrical tape 188, 194 epoxy putty 71–​75, 180 fabric paint 189 fabric tape measure 181, 194 fabrics 181–​183 fans 115–​122 fleece 194 floral tape 188, 195 foam 195; crowns 91–​97; as material 179; swords 99–​108; see also craft foam foam rubber 165, 172, 195, 198 foamboard 195 folding fans 115–​122 food props: loaf of bread 85–​89; roast chicken 55–​60 foot stools 165–​173 forests 109–​114 fray check glue 195 French Enamel Varnish (FEV) process 45 glues 187–​188 gold leaf 91, 96, 195; see also Dutch gold hand saw 78, 185, 195 hand stitch 182 handwritten notes 3–​7 hardwood 165, 185, 195 haversacks 129–​140 hobby knife 34, 116, 118, 177, 195 hot glue 195; bird props 142, 144, 146, 148; books 12; lanterns 26; as material 187–​188; roast chicken 56; swords 104, 106; tree branches 112 house paint 50, 189, 195 inks 190 ironing 124, 136, 195 jigsaws 160, 185–​186, 195 joists 154, 195 keys 71–​75 knives see swords kraft paper 177, 195 lanterns 17–​29 leaves 109–​114

199

20

200   Index

letters 3–​7 loaf of bread 85–​89 masking tape 195; chalices 46, 48; coin purses 126; foot stools 170; lanterns 24; as material 188; roast chicken 56; skulls 62; treasure chests 36; tree branches 110, 112 mat board 177, 195 methylated spirits see alcohol miter box 154, 185, 195 muslin 181, 195–​196 nail set 154, 196 needle-​nose pliers 196, 198 notes 3–​7 oil-​based paint 162, 179, 190, 196 paint 189–​190 paintbrushes 190 paper 177 paperboard 9–​10, 177, 193, 196 paperclay 77–​84, 180, 196 papier-​mâché 45–​50, 55–​58, 178, 187 parchment paper 118, 196 pasteboard 193, 196 patina 28, 196 pilot hole 170, 196 pliers 6, 109–​110, 168, 196, 198 plywood 196; foot stools 165, 170–​172; as material 185; rehearsal cubes 159–​160 polyester fiberfill 196 polystyrene foam 62, 179, 196 polyurethane sealer 196 pony beads 148, 196 press (ironing) 124, 130–​134, 196 purses 123–​127 PVA glue 187, 196 PVC pipe 77–​78, 196 rehearsal cubes 159–​163 respirators 196–​197; see also dust masks roast chicken 55–​60 rubber cement 197; books 10, 14; crowns 92, 94; lanterns 22, 26; as material 188; scepters 80; swords 100, 102 running stitch 182–​183, 197

safety pin 126, 197 sandpaper 197; foot stools 170; keys 74; rehearsal cubes 160, 162; scepters 82; skulls 64; swords 104 saws 185–​186 scepters 77–​84 scissors 197 seals 6–​7 sewing machines 182, 197 sheen 189–​190, 195, 196, 197 shellac 190, 197 skulls 61–​69 snap-​off knife 64, 86, 197 softwood 185, 197 solvent-​based paint 197; see also oil-​based  paint spade drill bit 160, 197 sponges 190, 197 stains 190 steel wool 116, 170, 197 sticky notes 34, 197 stitching 182–​183 surform tool 64, 86, 197–​198 swords 99–​108 tailor’s chalk 130, 181, 198 tape 188 tongue depressor 115, 116, 198 treasure chests 31–​43 tree branches 109–​114 upholstered foot stools 165–​173 upholstery foam 85–​89, 179, 198 upholstery stapler 166, 198 wadding see batting water-​based paint 189–​190, 198 wax 6, 116, 198 white glue 198 wire cutters 198 wood 185–​186 wood glue 187, 198 wooden chests 31–​43 wooden crates 153–​157 working thread 182, 183, 198