Tag Archives: armor

Friday Props Roundup

Hi everyone. If you noticed a lack of posts this week, it was because I was in tech for our second show of the season at Triad Stage. And I bought a house and moved. And I have a newborn. But there’s still some cool props stuff this week:

New York Theatre Workshop has transformed its space for a unique production of Scenes From a Marriage. The New York Times is on the story of how director Ivo van Hove and his production designer Jan Versweyveld chopped the space into three rooms that audiences wander through in the first act, and then return to an amphitheater after intermission. Crazy. If those names sound familiar, it’s because I made a fake dead lamb for a previous production that van Hove and Versweyveld did at NYTW.

The Credits delves into the challenges of building massive sets on location in the upcoming film, The Maze RunnerThey had to hire a snake wrangler just to get rid of the snakes on set. So many snakes.

For fans of Firefly, a user named Yellowjacket has created his own high-quality printable files of all sorts of paper props from the show.

Over on the RPF, Steven K. Smith has documented the construction of a very impressive suit of armor from the Dragon Age: Inquisition video game. The whole thing is made entirely of EVA foam with acrylic paint on top.

Finally, on a personal note, Ben Harris, the founder of the Alamance Makers Guild which I’m a member of, has a Kickstarter going. Ben makes science kits for kids, where you can make your own light bulb or telegraph and such. He’s raising money to make some more kits and even to help the Makers Guild find a permanent home.  So check it out if you like science and making stuff.

Last Links in April

Last Links in April

Hey, if you haven’t gotten my Prop Building Guidebook yet, you can get it direct from Focal Press for 20% off until April 29th! Just use code MRK95 at checkout. It makes a great gift for graduation (hint hint).

This seems like one of those weird Buzzfeed articles, but it actually has a whole lot of cool photographs from a tour inside Jim Henson’s Creature Shop.

Legacy Effects has a great video on the making of the suit from the new Robocop film. Sure, there is a lot of 3D printing and digital fabrication involved, but there is also a surprising amount of traditional artistry going on, including sculpting, painting and sewing.

La Bricoleuse discovers an armor maker right here in North Carolina. Dr. Eric Juengst is the Director of the Center of Bioethics at UNC Chapel Hill, and he spends his spare time fabricating historic suits of armor (and suits of armor for animals). Check out these photos and video of his workshop and his creations.

Here’s a good step-by-step tutorial on how to do a life cast of a face from Lauren Daisy Williams, a student at UNCSA. I met Lauren at the USITT Young Designer’s Forum this year, where she had all sorts of fun molding and casting projects on display, so it’s nice to see her share the process for some of her work online.

Black Friday Props Links

Black Friday Props Links

David Neat, author of Model-Making: Materials and Methods, has a blog going with all sorts of model making techniques. Posts on painting, mold-making, working in scale, and more are described and shown with ample photographs.

I really like this illustrated chart of hand tools over at Popular Mechanics. The chart itself is good-looking enough to hang up in your shop, while the tools pictured on it give you a great idea of what your shop is missing.

Smooth-On has a ton of great videos over at their website showing how to mold and cast with many of their materials. If you haven’t checked them out yet, start with one of their newer ones on how to make a mold for a replica of an antique rifle.

If you ever wanted to take the time to make chain mail by hand (as opposed to just spray-painting some crocheted yarn), Make Projects has a great tutorial on just that.

Friday Links on Display

Friday Links on Display

It’s another Friday, and another September. This always seems like the busiest time of the year for the whole entertainment industry. Some of you may have gotten a four-day week this past week, but for most of us, it was an eight-day week. So take a seat, relax, and enjoy these links for a few minutes:

Huffington Post has an interview with props master Peter Bankins. Bankins has been a prop master in film for the past 25 years, working on movies such as Young GunsGrumpier Old MenErin Brockovitch and many more.

On the other side of the pond, Farfetch has a short photo essay called “Our Day With Thomas Petherick“. Petherick is a young prop maker and set designer working mainly on fashion photography shoots.

Bill Doran and his wife created a fairly detailed set of armor and weapons from the video game Skyrim for this year’s Dragon Con. He details the lengthy build process as they fashion parts out of wood, EVA foam, Worbla, resin and more.

Finally, here is a familiar face; I was displaying some of my props at last month’s Burlington Mini Maker Faire. Coffey Productions was going around filming the various exhibits, and shot this video of me talking about my props and my book. Check it out!

20000 Objects in Opera Property Room, part 5, 1912

The following is the fifth portion of an article which first appeared in the New York Sun in 1912. You can catch up on the first partthe second partthird part and the fourth part.

In addition to the mass of less frequently used properties which are distributed among the storehouses there are at the opera house itself five large rooms filled with hundreds and hundreds of the objects oftenest in demand. In one of these rooms, which is called the armory, are rows of helmets, great stands of spears, racks full of guns, innumerable swords, including the famous one of Siegfried, the white one of Lohengrin and that of Telramund. Here is Caruso’s armor, which, as he dislikes to wear or carry anything heavy, is made of aluminum. His helmets are of aluminum too. These stage weapons are never sharp enough to do any damage, even if some one accidentally got in their way.

The guns are the real thing and are loaded with powder. A permit to keep explosives on the premises has to be had every time an opera is given in which guns are fired or conflagrations imitated.

In one of the property rooms at the opera house, which is always spoken of as “Frank Furst’s room,” an employee is generally at work rubbing up gun barrels, swords and armor, or polishing brass armlets. Guns are used not only on he stage, as in “Tosca” and “Carmen,” but off stage in taking up cues.

If a great crash is to be produced half a dozen stage hands are armed beside them with a prompt book following the score. As the cue approaches he counts, “one, two, three, four, five!” At five they fire simultaneously, while at the same time there comes a clap of stage thunder. The resulting noise is big enough for any kind of a crash.

A curious phase of the property department’s work is the way it sometimes has to dovetail a job with some other department. For instance, in the last act of “Tosca” there is a flag which floats on the top of the tower. It really does float, the breeze blowing it with every appearance of naturalness. An electric fan adjusted behind the side scenes provides the breeze. In this case the flag is put in place by the property department, while the electric fan belongs to the electrical department, which must see that it is set up and running.

In the second act of “Madama Butterfly” several large Japanese lanterns with standards are brought in by Suzuki and set about the stage. Lights are burning inside them. The third act opens with the same scene after a lapse of several hours, which passage of time is indicated by having the lights in the lanterns flicker and go out one by one. This is the way it is done. When the lanterns are brought on they contain lighted candles which come under the head of properties and which therefore are put in and lighted by some one in that department.

When the curtain goes down a property man takes out these candles. Then an electrician sees that the standards are placed over metal plates in the matting, Suzuki having set them in approximately the correct position. Then he puts in electric bulbs, wires from under the stage are connected with the metal plates, contact is secured through the base of the standard and the resulting light is then turned on and off from below to simulate a flickering candle flame. After the scene the electrician comes and gets his bulbs before the property man can carry off the lanterns.

This article will conclude in a later post. It was originally published in the New York Sun, February 25, 1912, page 16.