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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 BeginnersTwenty 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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vii

C O N T E N T S

Introduction ix

Safety xi

A Note About Patterns 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 191

Glossary 193

Index 199

newgenprepdf

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I N T R O D U C T I O N

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 A F E T Y

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

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xii Safety

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 N O T E A B O U T   P A T T E R N S

Some of the projects in this book use patterns or templates. These can be found both at the end of each chapter or online. The patterns in the book have a grid overlaid. The patterns need to be enlarged so that the grid lines are exactly 1 inch apart (25 mm).

The online patterns are scaled correctly and will fit onto a standard sheet of paper (both letter and A4). When you print them, be sure that the “Actual Size” option is selected, and that you are not enlarging or shrinking them to fit on the page.

Some of the pattern pieces are too large to fit onto a standard sheet of paper.

You will need to cut out pieces from two sheets of paper and tape them together. These pattern pieces have a dashed line which acts as a registration mark. If you match the dashed line on both halves, the pattern pieces will be lined up correctly when taping.

Be sure to follow all directions on the pattern pieces. Some of the pages need to be printed out twice, and some of the pattern pieces need to be used multiple times. For some of the fabric pieces, the fabric needs to be folded. The pattern is placed along the fold line and two layers of fabric are cut at once.

Please refer to the Support Materials, www.routledge.com/ 9780367366926

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1

PART I

P R O J E C T S

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CHAPTER 1

L E T T E 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

• Pen or thin marker

• Scissors

• Oven

• Baking sheet or baking tray

• Coffee and coffee grounds

• Brush

• Red candle or sealing wax

• Metal stamp

• Pliers

• Napkin

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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.

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Letter 5

F I G U R E   1 . 1 F I G U R E   1 . 2

F I G U R E   1 . 3 F I G U R E   1 . 4

F I G U R E   1 . 5 F I G U R E   1 . 6

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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.

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Letter 7

F I G U R E   1 . 7   F I G U R E   1 . 8  

F I G U R E   1 . 9   F I G U R E   1 . 1 0  

F I G U R E   1 . 1 1   F I G U R E   1 . 1 2