When I was writing my Prop Building Guidebook, I gathered together all the other books I could find that dealt with the world of props. I looked at everything from antique books to self-published pamphlets. While I could find many books on theatrical props, I found nothing written about film or television props. Sure, there were books showing pictures of the props, or maybe a bit of “behind-the-scenes” stuff tucked into a “making-of” book about a specific movie, but no books existed that were written by a film props master or for a film props master. So when I heard Steven M. Levine was publishing a book about his life as a Hollywood props master, I pre-ordered it and eagerly awaited its arrival. Continue reading
I wanted to make a “Top Ten” list of prop making books, but it turns out there aren’t enough to do that. As it is, I have to include one that’s nearly 80 years old. In other words, books dealing solely with how to make props are few and far between. Plenty of books exist for the various specialties of prop making, such as woodworking, sewing and sculpting, but these do not deal with the specifics of prop making, which often uses a more limited range of materials and has an emphasis on faster techniques rather than slow processes. In addition, making props for the stage or screen has its own considerations beyond just making an object look good.
So, with my own book coming out this week, I thought I would step through the prop making books which have come before. I am not including books such as Amy Mussman’s The Prop Master or Sandra Strawn’s The Properties Director’s Handbook. Though both of these have sections on making props, they are more geared toward the management of propping a show or running a prop shop. There are also plenty of books on set design or stagecraft which include a chapter on props, but these rarely delve into the subject with enough detail to be useful. If anyone knows of other prop making books, let me know in the comments; I think I found them all, though.
Small Stage Properties and Furniture, by Mrs. Nesfield Cookson (UK, 1934)
I quite liked this book in terms of layout and how comprehensive it was for its time. What really kills it is its datedness, both in terms of materials and in the stilted and formal language it uses, making it difficult to follow in parts (and yes, the author is actually credited as “Mrs.”). Still, it is divided up into useful sections, such as furniture, papier mâché, molds and modelling, jewellery and painting. It also has two chapters to cover some “catch-all” categories. One is on armatures and foundations, the other on projections and ornamentations (“projections”, in this case, refers to three-dimensional details which stick out from the prop’s surface). The material covered in these two chapters are useful for the props artisan but the information is often overlooked because it does not fit neatly into one category or the other, particularly when you divide prop making into specific materials and tools. It is clearly illustrated in parts, though not nearly enough.
Stage Properties, by Heather Conway (UK, 1959)
This book is a disappointment. It spends a scant 27 pages on the making of properties; the techniques are the same dated ones (sized felt, perforated zinc, papier-mâché, et al) found in better detail in other books on this list. The bulk of this book is spent on “reference” for historical plays. Each of the main “theatrical periods” in vogue at the time, such as Ancient Greece or Elizabethan England, are described in quick detail, with line drawings of the most archetypal objects, such as goblets or sword handles. It reminds me of The Theater Props What, Where, When, by Thurston James, and is especially useless in an era of Internet searching. It would certainly be nice to have a quick reference for the common objects of any particular era or period, but this book does not even go that far.
Stage Properties, and How to Make Them, by Warren Kenton (UK, 1964)
This book is an improvement in that the illustrations are shaded, thus imparting more detail. It is also the first in our list to mention plastics, but only so far as to say a) they exist, and b) they are too expensive for the prop maker to use. Still, I like the way this presents the more traditional aspects of prop making, giving a description on the left page and various illustrations on the right. The basic techniques it covers only last for about twenty pages. The rest of the book falls victim to what many prop making books succumb to; rather than trying to break down the craft into simpler components, or attempt to describe an approach to building props, it simply lists common props (candlesticks, masks, powder horns, etc.) and describes one way to make them. Nonetheless, it does so in a way that is clear and approachable.
Theatre Props, by Motley (UK, 1975)
The “Motley” listed as the author is not someone’s name; rather, it describes how the book is written by a diverse set of people. It has seven chapters written by five people, with a sixth writing the introduction. This does give it an advantage of avoiding a single prop maker’s point of view or experience. The chapters included are strange in their selection: “Hand Props and Soft Props”, “Moulding and Casting”, “Light Fittings and Fires”, “Special and Trick Props”, “Carpentry Props”, “Flowers and Foliage”, “Jewellery and Decoration”. While it is nice to get away from the “papier mâché and chicken wire” approach the previous books take, this book is far from comprehensive. It is more like a collection of magazine articles compiled into a single volume. Still, you can tell from the chapters that, though not a complete guide to prop building, this book contains useful information that is absent from many other prop books. It is also the first on our list to feature photographs in addition to illustrations.
Create Your Own Stage Props, by Jacquie Govier (UK, 1984)
This book is aimed at the amateur or school theatre, and as such, feels very “crafty”. It also takes a step back in time and uses only illustrations, rather than including photographs. As a craft book for amateurs, it is actually quite well; it covers a lot of the basics, and is the first book on our list to deal with foam carving, one of the staples of any prop shop. For the budding professional though, the techniques can seem a bit embarrassing, even when you forgive the book its age. Even at the time, professional theatres were vacuum forming and using fiberglass, not to mention welding steel and constructing real furniture. They certainly weren’t wrapping glue-soaked string around a balloon.
The Theater Props Handbook, by Thurston James (US, 1987)
The first US book on our list is also one of the most well-known. While it attempts to be a comprehensive guide to all manner of theatrical property construction, the layout and organization is quite strange. James puts the chapters in alphabetical order, meaning you go from reading about “eyeglasses” on one page to reading about “fire” on the next. The chapters also differ greatly in scope; one chapter is dedicated to “construction techniques”, while another deals simply with “confetti”. The chapter on “construction techniques” is broken down to a few different materials, though one of the sub-headings is “making a butter churn.” Later, he has a whole chapter titled “Gramophone.” Why gramophone gets its own chapter while butter churn is included in a larger chapter is beyond me. Basically, this book is a collection of props which James has built and tricks James has learned with no attempt to find the standards of our industry or organize any of the information. If you want to know how to construct wooden furniture, head to the “Rehearsal Furniture” chapter, but if you want to know how to cut wood on the jigsaw, it’s back to the section on making a butter churn. This book has a lot of great information and tricks—don’t get me wrong—but only if you can find it. And don’t even get me started with how the columns are laid out on the page! Every page has two columns of text. However, you switch from the left column to the right whenever you reach a new sub-chapter, rather than following each column all the way down the page.
The Prop Builder’s Molding & Casting Handbook, by Thurston James (US, 1989)
James is perhaps more well-known for this book, and it has probably done more to cement his legacy as a writer of props books. Unlike his first book, this one is laid out in a very organized manner, giving a general introduction and then stepping through each of the materials in turn. The introduction even has a photograph comparing the various materials covered in the book, which helps clue you into what will follow. Though the book is nearly a quarter of a century old, the techniques described still hold true. A few of the materials have better alternatives available, and a couple have become obsolete, but on the whole, we still use most of what is in the book. Materials like plaster, latex, silicone rubber, alginate and plastic resins are some of the workhorses of the props shop, and any advances have not made this book any less useful. Like the other James’ books, it has the same confusing column layout where you switch from the left column to the right and back again several times on a page.
Making Stage Props, by Andy Wilson (UK, 2003)
Wilson has written one of the most up-to-date and well-organized prop building books. This book covers a great deal of the materials and methods one might actually use in a professional theatre’s prop shop. While it has a great deal of information in it, it does not have everything; for example, it covers steel, but none of the other metals one might use, such as aluminum or brass. It covers upholstery, but nothing else about fabric. In fact, it skips over a lot of the craft and soft goods portions of prop making, and omits entirely any mention of plastic sheet goods such as plexiglass. It is also uneven in the amount of space it devotes to various topics. The section on turning, for instance, spends over nine pages discussing the setup of the lathe, the various tools used, and methods employed. This is not to say the lathe is not a useful tool for a props shop — it is — but a machine like the table saw is far more frequently used in props shops, and it gets only an off-handed mention in the middle of a sentence. Likewise, Wilson spends a few paragraphs and a photograph on “fire cement”, which is one of his specialties but practically unheard of in the majority of props shops. This would be fine if you had an infinite number of pages to cover everything, but not if your book neglects to include how to make a single stitch or seam in fabric. The photographs and illustrations are nice, though they are in black and white. None of the books on our list, in fact, use color photographs, nor do any talk about prop making in film or television.
The Prop Building Guidebook: For Theatre, Film, and TV, by Eric Hart (US, 2013)
Yes, this is my book. While writing it, I have attempted to pull all the good stuff from the aforementioned books while avoiding all the criticisms. I’ve looked at a variety of prop shops, both through interviewing various prop makers, visiting shops of all sizes, and through my own experience working around the country, to avoid prescribing one single way to build props. In the photograph above, you can see it is the largest and most comprehensive book, and it is also the first to feature color photographs and illustrations. I have geared the book to be useful to all levels of both amateur and professional, but I avoided making it “amateurish”; even if you have no budget, you can still work to high standards. My hope is that it will be a major leap in prop-making books to a new standard of professionalism that better reflects what our industry is like.
I only recently came across this book for the first time. I’ve never noticed it before because of the title; if I had seen it before, I would have assumed it dealt only with costumes, not props, and I would have moved right along. Make no mistake though, this book is vital to the props maker. It actually contains almost nothing about making clothes or fitting actors or even that much about fabrics and sewing. Instead, Costumes & Chemistry: A Comprehensive Guide to Materials and Applications, by Silvia Moss, covers all sorts of paints, adhesives, and plastics (in both sheet and casting form) which the prop shop uses. Though the examples shown are mostly costume props and accessories and giant character heads and suits, you can very easily apply it to many of the props you need to build.
Costumes & Chemistry reveals a lot of research and development. It turns costume crafts and props into more of a science where the materials are thoroughly tested and described, rather than a hodge-podge of traditions and assumptions swirling around in each person’s head. Moss talked with chemists, technicians, salespeople and manufacturers of many of the materials you use from basically every company you’ve ever heard of who makes these materials. Armed with a number of grants from UCLA and interviews with so many people working in the field, she has created a reference book that should be on the shelf of anyone working in props and costume crafts, as well as those interested in cosplay and convention costumes, replica prop making, LARP, and even model making.
Part 1 of the book is brief, providing much of the same safety information found in Monona Rossol’s book. The bulk of the book is divided between parts 2 and 3, or materials and applications.
The section on materials divides them into categories such as paints, adhesives, plastic sheets, and thermoform plastics. For each type of material in these categories, Moss gives the brand names of the various products that she tested, examples of why and how they are used, a description of the physical properties, how to clean them up (where applicable), precautions and health and safety information, where to buy them, and what sizes and forms they come in. This isn’t where you will find information about making props from paper plates and pipe cleaners; this covers all the modern materials you’ve used or read about such as Sintra, latex foam, leather dye, Kydex, etc.
In the section on applications, Moss breaks down how many example costumes were made. These include costume accessories, headpieces and jewelry from Las Vegas revues, Broadway musicals, advertising characters in commercials, various mascots, and other venues. This section provides some illustrations giving general techniques, but for the most part, it discusses the applications of various materials through very specific examples from a wide variety of craftspeople. Some of the pieces chosen for the book are quite recognizable, and it can be interesting and surprising once you find out what materials and techniques were used to create their look.
Costumes & Chemistry was published in 2004, so it should remain up to date for awhile. I could see an update in a few years to include new formulations of current materials and new brands (as well as the deletion of defunct brands; Phlex-Glu, for example, is listed in the book but no longer produced). For the most part though, most of these materials have been in use for several decades now, and barring some dramatic new invention, should remain in use for several decades more.
It’s difficult for me to write a review about the Health and Safety Guide for Film, TV, and Theater (Second Edition) by Monona Rossol for several reasons:
- The information inside is mandatory.
- No other book is dedicated to this information.
- Monona Rossol has been teaching health and safety to theatres since at least 1986 and is uniquely qualified to write this book.
So rather than a review, this is more of an introduction about being aware of your own health and safety, and an encouragement to read this book and act on the information contained within. This goes for those working professionally, as well as the growing number of hobbyist prop makers (I would say especially for hobbyist prop makers).
I’ve attended Monona’s safety seminars three times, and even with this book, I am still learning about the hazards we face in our line of work and the precautions we need to take. Luckily, she uses a very factual and empirical approach with this book. Rather than present her personal opinions, she discusses what the laws and regulations are. She will also present the various studies done where she feels the laws don’t go far enough in protecting workers. This is perhaps one of the more striking lessons to take from this book or her seminars; as stringent as we may feel OSHA is, the dangers we face remain woefully understudied, and manufacturers have great latitude to push untested chemicals on the market or provide misleading safety claims on their labels.
You’ll notice the mention of OSHA above. This book is very much grounded in the legalities of working in the United States. Though she may occasionally mention regulations in Canada, the UK or Europe, her focus remains firmly enmeshed in US law. Unfortunately, there is no real equivalent to this book outside of the US. All is not lost for my international readers, though. Since US laws protecting workers are among the most lax in the developed world, this book can be seen as presenting the absolute minimum guidelines for protecting yourself on the job.
While the book does deal with electrical safety, shop safety, fall hazards and other areas of physical danger, the majority deals with materials and chemicals and the less-understood danger of chronic exposure. We all know that you should avoid chemicals that could instantly kill you if you accidentally breathe them. What is far less understood is the result of your body somehow absorbing a myriad of chemicals and products throughout the day and over the years you are in the workforce. Some of these can live in your body for years, reacting in unknown ways with all of your genes and the other chemicals present in your body. Steve McQueen died from mesothelioma at a time when asbestos was used frequently in the theatre and film industry for painting and prop making; what are you being exposed to?
If you’ve never given thought to any of this, this book will be overwhelming in the information it provides. You may think we are safer these days with our stronger laws and new products. After all, lead paint only comes from China and we don’t use crazy materials like Celastic anymore. But as Monona points out, lead has only been banned in indoor house paint; it can still be found in any number of industrial paints. Some filling materials and putties were still being taken from a mine which contained asbestos as late as 1998. We are also exposed to far more chemicals on a daily basis than our fore-bearers in the past. Every one of us is already carrying a certain amount of mercury, dioxin, PCBs and countless other chemicals in the tissues of our body (known as our total body burden); scientists estimate we carry as many as 700 contaminants regardless of where we live in the world. Any additional chemicals we add from our work place enter that toxic soup and can have all sorts of additive or synergistic effects. So it’s even more important for us to monitor what we use than it was for our grandparents.
This second edition is long overdue; the first edition came out over 11 years ago in 2000. Monona includes many of the important changes to the laws as well as advancements in the science behind the effects of the chemicals (both of which have a lot owed to Monona’s own tireless work), and the addition of new types of products in the marketplace, such as nanoparticles. Unfortunately, the through-line remains the same: companies don’t want to spend money on safety training, manufacturers add more toxic products to the market, scientists can’t afford to study even a small percentage of their effects on the body, and governments refuse to pass stronger laws or give their agencies the power to enforce existing ones.
Until all that changes, though, we have this book. Read it and use it.
I got The Complete Illustrated Guide to Joinery a few years ago, but it’s such a great book I thought I’d give it a review here. Written by Gary Rogowski and published by Taunton Press, this is a beautiful book just to look at and hold. Page after page is filled with crisp color photography alongside clean and clear text. But look deeper and you’ll also find a wealth of information.
This book attempts to break down and categorize many common types of joinery. First, into the two basic systems of box joinery and frame joinery, and then into a number of subcategories, such as mortises, miter joints, lap joints, and dovetails. Each chapter defines and describes a number of related joints, along with numerous variations and deviations. It then steps through a number of methods to create each one. For many joints, this means it gives a method to build it out of either hand tools or power tools depending on which you prefer or what the situation calls for.
In addition to the photographs generously peppered throughout, Rogowski also intersperses a number of diagrams and illustrations to give further clarity to how these joints come together.
Though some of these joints may look fancy and complicated, the joints in this book are really the more common workhouse joints used to solve the majority of carpentry problems. You won’t find the extremely complex and decorated types of joints used in previous centuries, or any of the exotic joinery solutions of Japanese and Chinese carpenters. This book deals almost entirely with joints where two pieces of wood meet; it’s when three pieces of wood come together that joinery starts getting really interesting (this book does have a few such joints toward the back, so it is not completely devoid of them).
Still, I love this book. It’s the kind of book you can buy and learn a lot from, then let sit on your bookshelf looking pretty for a few years, then pick up again and realize you still have a lot to learn.