We are still about a year away from the release, but I just turned in my last chapters for the second edition ofÂ The Prop Building Guidebook: For Theatre, Film, and TV. I am very excited about this book. The first edition filled a void in the props world, and continues to be a great success. Now that it has been out for a few years, I can take everything I learned from it and incorporate that into a new edition.
But let’s skip all that for now; I really want to talk about the cover. I always wanted to do a custom setup showing a prop being built, but did not have time during the first edition.
Coming up with a cover idea for prop building is tricky. Most finished props just look like a regular object. If you have a picture of a chair, people will think it’s a book about chairs. A picture of a treasure chest will make it look like a book about treasures. I neededÂ a process shot. I did not want a collage or series of images for the cover, so I realized I would need to build some weird hybrid prop where half of it wasÂ finished, and the other half was stillÂ raw materials.
I wanted to incorporate the “most proppy” kinds of materials and techniques into the cover. I knew I wanted foam carving, molding and casting, paper mache, and a cool paint job. I would have loved to get some metal and thermoplastics in too, but I only had a weekend to plan, build, and photograph this. I did manage to get some plywood and found-object decorating in though.
Figuring out the prop itself took some thinking. It would have to be something that could conceivably come from a show; something you would not just buy or adapt from existing items. With the different materials I wanted to show off, I realized it would need to be quite fanciful. It would be the proppiest prop that ever propped.
I also needed it to fill the square cover. I could not make anything long, like a staff or wand. I did not want to stick a gun or other weapons on the cover either. I dug back into my opera roots and decided some kind of chalice or vase would be best; a bowl with carved handles, held by three sculpted figures.
First I had to find the sculpted figure that I would mold and cast. I had nothing in stock and I did not have the time to sculpt something. I headed out to the stores and looked high and low. I needed something that would be easy to mold and cast, but that looked cool enough to warrant molding and casting. I finally found a little seahorse figurine. My prop would now have an underwater theme.
I made a two-part mold using Smooth-On Oomoo 30. I realized using $20 in materials to make three copies of a $3 figure was silly, but hey, he’s going to be a star.
With the seahorse in place, I searched for a bowl that would look good on top. A stainless steel mixing bowl in stock fit the bill perfectly; it was also a good shape to use as a form for the paper mache. I cheated a bit here; I did not have time to actually paper mache a bowl and wait for it to dry. I molded a piece of Wonderflex over the bowl first, then added a single layer of paper mache to the inside and outside of that. So now my prop was actually a prop version of a prop.
With these in place, all that remained were the handles and the base. I carved a piece of foam into a handle, and cut another one out so it looked like it was about to be carved. I cut a circle of plywood and nailed some upholstery tacks along the edge for decoration.
I painted half of the prop with a faux marble treatment and a drybrushed brass. All that was left now was to pop it onto some butcher paper in my “photo studio” and artfully arrange the various materials, tools, and molds around the prop.
Ta da! I feel like I have an image that better captures what the book is about. And now I have a weird half-finished seahorse trophy I can carry around with me.
I just got back from this year’s SETC Conference in Louisville, KY. Focal Press had a nice display forÂ The Prop Building Guidebook: For Theatre, Film, and TV, which will (hopefully) become available at some point today. As you can see from the photograph below, there is another exciting announcement:
That’s right, a contest! You can send in a photo or video of Â a prop you make and win a pretty cool collection of prizes, including my book, some more Focal Press books, and some prop-making supplies and materials. The contest page has more details on the prizes and how to enter; there are separate categories for students and professionals, as well as a category for group entries, since we often build props in collaboration with others. The contest runs until April 30th, so you have some time to prepare your entry, but don’t wait too long!
In other news, I will be at USITT (March 20-23 in Milwaukee, WI). Stage Directions magazine is hosting a book signing at their booth (#100) on Friday, March 22nd, at 12:30 pm. You will be able to purchase the book there if you do not already have one. You can also check out the latest issue of Stage Directions magazine, which has an article on the Milwaukee Rep props shop by yours truly. A press release about the signing will be going out later today, but I thought I would let everyone know now, since schedules at USITT tend to fill up fast.
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’sÂ The Prop Master or Sandra Strawn’sÂ 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)
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.
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 bitÂ 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 inÂ 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 tricksâ€”don’t get me wrongâ€”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 â€” it is â€” 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.
Okay, you can’t read my whole book online. But I do haveÂ two whole chaptersÂ you can check out on The Prop Building Guidebook’s companion website.
What are these chapters, you may ask? Well, as you can imagine, prop making covers a vast amount of information, and choosing what to put in and what to leave out was one of my biggest challenges. We could have made the book longer, but that would have pushed the price up, which we didn’t want to do. We could have made the pictures smaller, but that would not be good either. In the end, we decided to take the last two chapters and put them up on the website for free. This way, the book can remain affordable, the pictures can remain a decent size, and you get a sneak peek at some of the book. These chapters have been edited and proofed just like everything else in the book, they just appear online rather than in print.
The two chapters are called “Formal Training” and “Maintaining a Portfolio”. The first digs through the tricky question of what kind of training or schooling you may wish to pursue to become a better prop maker. Vocational classes, colleges and universities, graduate schools and more are talked about here. I also look at the various types of jobs and work one can get. I present information useful whether you wish to be a prop maker for film, television, theatre or any of the related industries, and whether you wish to pursue a full-time job or work as a freelancer on different gigs. It can be a tricky field to navigate, so I try to present as much information as I’ve gleaned along the way.
The second chapter gives an introduction on creating and maintaining a portfolio of all the work you do. I discuss both online sites and paper portfolios; though paper portfolios have become far less prevalent these days, I’ve still used them in the last couple of years, both in applying for work and in hiring people. This chapter also discusses photography and how to take better pictures of your work. A bad picture of a good prop can make it look like a bad prop.
This week I’ve addedÂ three videos to the Prop Building Guidebook’s companion video page. They are all shorter than previous videos and each involves a common technique for painting props. I shot a video for wet blending, dry brushing and glazes. You can watch the video on dry brushing below, watch the individual videos on YouTube by clicking the previous links, or check out all my videos by heading to the companion video page. See, I’m all about providing options.
Making and finding props for theatre, film, and hobbies