Posts Tagged With: Paintshop

End of term trio

It has been a steady few weeks with injections of hysteria as we have been working on the three sets over the spring term in Design Realisation.

We have been preparing our Silk Street stage for ‘Go Make you Ready,’ Designed by Mark Simmons.  This was a vast and open set divided into an indoor/outdoor space with a strong contrast of colour and texture.

The Cloth

The main challenge of the set was taken on by our scenic art students Becca and Claudia who were led by our third year Sneha. The task was to paint two cloths at 8m x 4.5m and 8m x 3m with a dense forest scene inspired by the painting, ‘A Stag Hunt in a Forest’ by Jan Hackaert and Nicholaes Berchem, to hang up-stage, left of the set.

A Stag Hunt in  a Forest. Oil on canvas by Jan Hackaert and Nicholaes Berchem. 1660

 

Here you can see the cloth being worked on in it’s various stages. The shapes of the trees were traced onto the cloth by projecting the artists image onto it and tracing round the trees in charcoal. The darker background tones were then blocked in and then the lighter shades were painted on top in stages to give the illusion of a 3D image.

The Floor

The stage itself was on a raised steel deck platform and was covered 2/3 in laminate flooring and 1/3 in painted carpet tiles. The carpet tiles (of which there were about 300) were individually primed with Covent Garden primer to prevent the paint from rubbing off and painted using a stencil. This took a big group effort to finish  but was effective once laid all together onstage.

 

Up-stage right consisted of a large steel frame which was constructed by our 2nd year student Lana and was clad in plywood in order to provide a screen to project on during the show.

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Prospero’s Staff

In props Hellen had the task of creating Prospero’s staff  which she did by drawing the shape in Sketch-up and 3D printing it. Then she created a mould out of Latex and cast the shape in crystal clear resin. The final piece had to be sanded and polished to give it a smooth cut glass look. The staff needed to be made as a break-away prop. This was done by sawing the cue in half and inserting a dowel into one end and drilling a hole to insert the dowel in the other half. This way the staff could be snapped along this seam each performance and reset by inserting a new dowel into the socket.

White LEDs were placed under the end of the crystal to make the staff glow which made for an effective looking practical prop.

 

Once the set was fitted up there were a few tweaks to make before the show went up. We put an extra wash on the forest cloth to bring the bushes into shadow a little more and there was a little dulling down of the yellow crosses on carpet tiles. Overall it was a job well done.

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Alongside this our scenic art students were also preparing a cloth for the set of ‘Guns and Drums’ designed by our own third year student Sunny Smith. This piece was to be the floor cloth and was designed to look like a birds eye view of war trenches.

The organic waving lines were traced onto the cloth using a projected image from the model. The lines were then painted onto the cloth and finally washes were then applied to break up and blend the background colour with the red and blue lines.

Our spring term Opera Scenes set was designed my another of our third year students Alena, who’s design resembled an abandoned industrial space. The main structure consisted of a platform and a ramp which the actors were to slide down and was made by Vincent, Ollie, and Lana. The set was dressed with a selection of found items which our trusty Tom Downing scoured around London in junk yards to find. Superhero!

These items were then given various paint treatments to enhance their rust and to break down the surfaces.

The set had a great grungy industrial feel and was very effective onstage. Well done to everyone!

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Full speed ahead into the New Year

 

As the first blog of 2016, I would like to wish you all a Happy New Year and welcome you to an exciting peek at what we’ve have been getting our teeth into in Design Realisation.

The start of the new term has given our DR students three shows to work on, which means their hands have been full and the workshops bustling but they have produced some great work.

The first to go up was combination of two drama’s ‘Pinter’ and ‘Dealers Choice.’ The set, designed by Amelia Jane-Hankin, had to adapt to both pieces of drama and is a simple yet effective, uniformed structure made up of wood panelled columns and flooring.

 

In construction our students prepared the frames fro the columns by making each side as a separate flat which were then screwed together to make the cuboid structures. Plywood was then cut to size on the wall saw and used to clad the sides of the columns.

Sam took the ‘assassins’ approach to the task at hand.

 

In scenic art the team painted the ply cladding with a smokey brown woodgrain effect and highlighted areas using a dry brush effect in a lighter grey.

The floorboards were given a woodgrain treatment in two shades of brown, a wash was then applied on top to blend and finally they were glazed over.

 

Alongside work on the Studio Theatre drama, our DR students were also preparing and beginning work on our Milton Court drama, ‘Top Girls.’ The design, by Dora Schweitzer, includes a collection of wonderfully distorted and somewhat frightening drawn and sculpted figures of women and children.

Scenic art have had their hands full with this one; the first task being to attack the large back cloth. The design featured several sketchy figurative drawings of women which were to be drawn in pastels and oil bars onto a black cloth.

Our scenic artists began by producing several samples from the references that had been given by the designer. The drawings were mainly created with a white chalky outline and then had highlighted elements and shading added in a selection of yellow, red and orange hues.

Once the designer was happy with the samples it was time to start work on the cloth.

Once the images were traced out onto the cloth using the projector, the students were able to work on individual figures to build up the collective figurative piece.

In addition to the back cloth the design included several sets of tables and chairs which all requires a heavy paint treatment. They started their life as white ikea dining sets and were transformed to look like dark, heavily rusted metal. This effect was achieved in a variety of stages.

Firstly the table frames and chairs had to be sealed with transparent polish and covent garden primer to allow the paint to stick to the metal and plastic. They were then primed with a mix of black and blue/grey paint. Sections of silver foil wrap were glued to small areas and the excess peeled off, to give metallic highlights and pieces of bogus paper were stuck to the table tops to create some texture. After this all the surfaces were given a rusty orange and blue sponge wash and once this had dried then the painters were able to go over elements of the chairs and tables adding more detailed and saturated rust colours before glazing over them to seal the paint treatment.

The results were pretty impressive…

 

Our students in props also had their hands full making a number of dummies that were to be flown in over the set.

These were made by pasting brown paper with glue around a foam figurine, cutting the dried paper shell away from the figure and filling inside with two part expandable foam to make the figures solid. Armature wire was then inserted into the bodies to create joints to enable the figures to be manipulated into different positions.

erm…

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No comment…  :-/

The props department then added hands and facial features using armature wire and mod-rock and the figures were painted and clothed ready to be placed in the set.

 

The last of the trio of shows is the Opera which this term is, ‘The Rape of Lucretia.’

The design, by Jamie Vartan, resembles that of a war trench which has required scenic art to create a ‘mud’ floor which covers the stage. This was achieved by covering sheets of MDF with a layer of idenden and working into the texture. The texture around the edges of the floor were enhanced by mixing the idenden with foam crumbs and layering that onto the MDF.

Once dried the floor was then painted.

The set is surrounded by a timber border which is made up of the largest lumps of wood I’ve ever seen! Getting these into the building took an act of God!….Or perhaps just an incredible team effort!

These along with the treads made by construction are all in the process of being treated with a paint wash before they are glazed.

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Props is probably the busiest department with regards to work on the opera. As part of the final scene there is a dramatic reveal of a graveyard complete with 1 million white crucifix’s and a blooming meadow. Lana and Jonathan have been working hard to create these pieces using a combination of artificial turf and dried shrubbery which they are painting to resemble wild flowering plants. As the plants have to be harvested as part of the Opera, each plant stem had to have a hole drilled into the plywood base under the turf for it to be planted in and harvested from. This was no quick job!

As opera fit up approaches, our DR students are making the finishing touches to the set. I would usually be saying there’s a frantic rush or final push to get everything finished but there is actually a rather calm and relaxed atmosphere circulating the workshop… I’m expecting there to be a huge panic next week when we realise we forgot to build that life size carousel!

 

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Blog is back for a Cunning Christmas

Hello world! Would you believe it?! Already the jolly season is with us and we are thus far blogless… No excuses I’m afraid other than being ear deep in set making and Design Realising, nonetheless; here comes the blog…

It’s been a very interesting term so far with two productions going out on the main stage at Silk Street: The Cunning Peasant and Her Naked Skin. While two more productions: True Dare Kiss and South Downs/The Browning Version – a double bill, were climbing the treads over at our Milton Court Studio Theatre. This blog is a quick run down of what went on during the build for The Cunning Peasant by Dvořák.

In the workshops it was a polystyrene skills fest bonanza as the team set to realising the darkly imagined Tudor timber framed Burton-esque vision of Thomas Hardy’s Essex as designed by Francis O’Connor.

First port of call on the build was – as it so often is – the construction of mass flattage. On this occasion steel frame flats were the order of the day, clad with 4mm ply to provide a base on to which we can glue polystyrene sheets which could then be carved into the herringbone brick infill. Strips of MDF cladding were fixed on top of the polystyrene to create a timber frame appearance synonymous with Tudor Period buildings.

Once the polystryrene had been marked up with the brick formation it was out with the kitchen knives and flat head screwdrivers to carve out the mortar lines and apply plenty of distressing to the edges of the ‘bricks’ adding to the realism. After this we use heat guns to consolidate the carved surface by slightly melt the surface of the poly before finally applying that ubiquitous flexible coating medium – Idenden; which provides a textured surface ready for painting.

Another element of the design which provided a great opportunity to hone our poly carving skills were the plentiful roof tiles. Each tile was cut from 8’ x 4’ sheets of foil covered insulation board, more often found insulating the walls and ceilings of buildings but as always we’re making use of everyday materials in innovative ways. So, the foil was peeled off and the edges of each tile distressed a little with the kitchen knives to look like slate, and once again the Idenden goes on prior to final paint effects, spatter, dry brushing and washes and voilà, roof tiles!!

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Some elements of the design were sky high and this called for some heavy industrial metal processing; time for our monster Ring Rolling machine to be rolled out so we could curve some huge sections of steel tubing. All of our best remembered geometry and GCSE mathematics knowledge were dragged up from the depths and it was best sohcahtoa’s forward to employ some marvelous numeric wizardry and where that didn’t work we bent it a bit more until it did fit!

Our Ring Rolling machine is able to create large or tight curves in anything from light to heavy gauge steel, in square section, flat bar, rod and tube. This section of the design was to be flown above the stage, yet appear to be a continuation of the curved walls, in order to provide enough strength across the span of this section we used 3mm wall mild steel scaffold tubing – which is a demonstration the power of this Ring Rolling machine. The curves were carefully calculated and welded together before extra sections were added creating a branch like structure, on to which more roof tiles were T-nailed into place to create a kind of deconstructing blown away house morphing in to a tree effect, as I perceived it, for me it was a rich and conceptual design which was both interesting and functional in drawing attention to the whole space.

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Two movable houses were also part of the build, one made from wooden flats and the other house from welded steel, as the 1st storey had to be fully functioning as a 1st floor. Both were mounted on wheeled trucks and both required more poly carving and of course roof tiles! End result; two extremely des-res, well-appointed – if a little compact, mock Tudor properties in a prime location in Central London. Not sure we can afford the rent on those, maybe we could use them as halls of residence for our new first years…

Speaking of whom….

I would like to extend a warm welcome to all of our new first years who have thus far been inducted into the beginning of their technical theatre education. After spending the first few weeks sampling various areas of our cross discipline faculty we threw then head first into a major build for their self-led Design Realisation Project! Results were stunning BUT… I’m giving nothing away until January, when a full run down with photographic evidence will take the form of our first blog of 2015, that’s right I said it 2015! Ouch!

See you then blogland

Design Realisation

 

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The revolving door spins no more.

Hello everybody!!

It’s been over two months since our last post and now at last, all the shows are up, the academic year is drawing to its close and we’ve got a massive blog to let you know what we’ve been up to.

Since you last heard from us we have built an amazing cast concrete effect set for the Opera double bill; we’ve curated, installed and hosted our annual 3rd Year Graduate Exhibition; slipped in a couple of paint calls, prop makes and fit ups for Opera scenes and Napoli Milionara in the Milton Court Studio Theatre.  Finally, with a massive push we managed to the fit up the phenomenal build for the end of year musical ‘Grand Hotel’. Just a bit busy then!

It’s been a real who’s who of materials and techniques this term right across our Construction, Painting and Props departments.

Construction have had the volume turned up to 11 this term working on the set for Grand Hotel; we’ve seen welding on an industrial scale to construct fully operational revolving doors and two huge frames to support the mirrored and glazed frontage of the Grand Hotel as viewed from the inside.

First thing out were the two metal frames for the frontage and interior of the hotel; box steel welded and then clad in timber and MDF. Once the frames had been constructed it was through to the Paint Shop for black gloss on the cladding and gold leaf on the fret work and window frame details.

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The Gold leaf we use is in fact brass leaf, it is applied directly from the roll onto surfaces coated with an adhesive called Gilding Size. The size is applied over a layer of yellow paint which hides any small holes in the leaf. Once the leaf is on and the size has dried, we brush off the excess leaf and apply two layers of french enamel varnish to seal it, and to achieve the antiqued effect the designer was looking for.

We’ve also been applying more black gloss effect to all the cladding, flats, panels, treads and handrails; you name it – we glossed it!

Before we could get anything fitted up in the Silk Street Theatre, we had to paint an intricate geometric floor design on the stage.

Our friends in the Technical Theatre department helped us out by rigging a projector on to a flying bar so we could project the design on to the stage and trace out the geometric pattern. The whole ellipse was first marbled in white before we marked on the lines for the masking. Thirty five rolls of masking tape later and we began to paint and marble the black tiles. Off with the masking tape the next day and finish the surface with a lovely glaze to create a beautiful marbled floor on to which the set could be installed.

Here’s the beautiful finished floor with a layer of Bona Mega gloss glaze over the marble painting. Amazing!

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We’ve seen the construction of a rotating concierge reception desk made from bendi-ply, a glorious curved and fanned Grand staircase, and seemingly never ending fret work to create art deco inspired hand rails for the various balconies and decorative elements which adorn the glazing and carefully disguised steel deck.

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All the glazing has also been dirtied down by spraying with a matt glaze with a bit of white paint mix in, adding to the slightly defunct look specified by the designer.

Props made three Belfast sinks on wheels complete with dressing room mirror lights.  We had some decorative brackets for the sinks laser cut by a CADCAM company in south London; CutLaserCut have a selection of industrial size laser cutters so we emailed over our design and they were put to work cutting 9mm MDF to make Art Deco style brackets…Laser Power!

End result is an absolutely epic set, I couldn’t wait to see the actors and musicians apply their magic and it certainly didn’t disappoint, it was a great show and a brilliant demonstration of the collaborative production process here at the Guildhall School of Music and Drama.

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So there you have it, many weeks of hard work was certainly worth it looking at the amazing result. If you want to see a fascinating time lapse video of the set being taken to pieces you’re in luck! It’s quite a cathartic process destructing a set, the thing I find hardest to comprehend is that all those weeks of hard labour can be undone such a short time, about 12 hours. But that’s the way it goes I suppose. See the video courtesy of  the Technical Theatre department either on their blog or by clicking here.

We’re checking out of The Grand Hotel now;

The Props Department have realised a host of interesting and challenging creations this term. We’ve seen the creation of a prosthetic body parts including the frighteningly realistic torso of St. John the Baptist in its unfortunate de-limbed, decapitated and disembolwled state – so goes the brutal end for St. John in the Stradella opera. Our props students have also served an apprenticeship of sorts in coopering, deconstructing Scottish whisky barrels and recreating a fake barrel mid construction which allowed the opera singers to simulate the construction of the barrel during the performance of Arne’s The Cooper. Sound complicated? It is! See Pat’s Blog for a full run down.

Any finally, to round up this academic years activity, our annual first year Puppet Project!

Our first years have just presented their end of year project. The theme for this years project was the Grim tale of Hansel & Gretel set in an urban landscape, conceived as: HSNL + GRTL

The project kicked off with a crash course in puppetry with puppetry guru Steve Tiplady who gave a half day crash course in making and operating puppets.

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The first years then spent a week creating their puppets and taking crash courses in lighting and video editing from our lighting and video lecturers, then it was into the studio, out on location and finally many hours in the editing suite to create their fantastic version of the folk story, great work guys.

That’s it from us until September so enjoy your summer and we’ll see you on the other side.

I’ll leave you with the video of the first years puppet project HSNL + GRTL, enjoy!

 

 

 

 

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Three departments, two shows, so many photos…

Firstly, I can’t quite believe it’s nearly the end of week 3 already! Secondly, I can’t believe I haven’t posted anything about what we’ve been up to here in design realisation this term yet! I can honestly tell it’s been non-stop here in the workshop at the Guildhall School; three lots of Associated Studies (where 1st year students in other TTA streams try their hands at design realisation), one production in the Milton Court Studio and one giant opera set ready to head into the Milton Court Theatre next week…

I might as well tell you in pictures, that way you don’t have to read my rambling explanations of what we’ve been doing, and I don’t have to try to remember it all!

A snippet of what props have been working on:

And meanwhile in construction:

And in scenic art:

Phew! I told you we’d been busy! Next week is fit-up for the opera double bill in the Milton Court Theatre.  The scenic art team have been texturing and painting the floor over there too so I will be sure get some photos of that and the fit-up in progress which is always one of my favourite things to blog about.  Also stay tuned for more goings on in the prop department…

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Three weeks in and it’s all go…

It’s the end of week 3 of the Autumn term now and anyone would think we’d been back for months; the design realisation workshops are buzzing with people and machinery and props and scenery are being churned out a fast pace ready for this term’s productions.

This term is very special because the first two shows that open are presented in our brand new Milton Court Theatre and Studio in our wonderful new building which had its official gala opening on the 26th of September.

Check out the specs of our new spaces here: http://www.gsmd.ac.uk/about_the_school/milton_court/performance_venues/

We’ve been working on the set for the production of Three Sisters, which will be presented in out Milton Court Theatre, for well over a year now so it is so good to finally see the set in all its glory, along with the painted backdrop and floor cloth, together in the theatre (pictures of the finished set on their way next week!.

http://www.gsmd.ac.uk/about_the_school/home/view_all_events/event_single_view/?tx_julleevents_pi1%5BshowUid%5D=3428

Scenic Carpentry lecturer Edd has been working hard on some finishing touches to the set over the last few weeks; including working on the bi-fold doors making two trap doors that fit into the modular floor of the Milton Court stage…

As well as the Three Sisters, there’s The Seagull which will be presented in the Milton Court Studio; a wonderfully versatile space that beautifully contrasts the traditional feel of the Milton Court Theatre.

http://www.gsmd.ac.uk/about_the_school/home/view_all_events/event_single_view/?tx_julleevents_pi1%5BshowUid%5D=3422

The scenic art team have been painting and glazing the floor of the studio as well as a platform that the production management team have made.  Here are some of the girls after another late paintcall, don’t worry, we left a path to leave the space without walking glaze through the new building!

The Seagull glazing in the new MC Studio

The props team have also been doing a lot of work for The Seagull.  Third year Tara is co-ordinating the props team for the first 6 weeks of term and along with second year Kim, is making two seagulls for the show.  Sophie is currently working on a series of masks for the production; here you can see how they’re getting on.

 

Of course the props team have more to do than just one show.  They are also working on props for the Three Sisters too.  Second year students James and Amy are making a lawn roller and a clock that breaks during the show.

It’s not just the productions in Milton Court that are keeping us busy, work is well under the way for this term’s opera which is a Debussy/Donizetti double bill:

http://www.gsmd.ac.uk/about_the_school/home/view_all_events/event_single_view/?tx_julleevents_pi1%5BshowUid%5D=3459

The design for the double bill is a wonderfully creative interpretation of a clay tennis court designed by Yannis Thavoris.  The scenic construction and scenic art teams have been working hard getting the set built and painted over the last few weeks.  Let by third year Katie, the construction team have been laying the floor for the opera on our Silk Street stage and have been building and cladding the flattage ready to be painted.  There’s still a lot to do but it’s been non-stop for the construction team and they’ve certainly been powering through…

The scenic art team have also been working hard on the opera set, building up layers and layers of paint to achieve the clay tennis court finish.  The process is a long one that includes texturing the floor with idenen, then rollering different orange shades onto a peach background.  Next, the floor is layered up more and more colours by hand sponging them onto the rollered base, overlapping and blending the colours.  Then several sprayed layers are added, these provide depth and add to the chalky, clay-like feel of the floor.  It’s not just the main floor that has this finish, huge flats that will make up the main platform of the set have the same effect.  The process is a particularly long one but I think you’ll agree it looks very effective.

Another piece of scenic art work for the opera double bill is a wonderful large portrait that third year Jennie, the scenic art co-ordinator is working on..

As well as all of the production work taking place in the design realisation workshops, we have also welcomed our new first year students into the department too.  This week was the first time the first years were working in the workshops, taking part in their introduction lessons.  It was great to see our new students getting stuck into the practical work that will form so much of their time at the Guildhall School over the next couple of years.  They certainly seem to have been enjoying themselves and it was brilliant to have some extra help during some of the paint calls too!  Here they are during their first year lessons…

Well of course there is still so much work to do.  The workshops will be full of interesting set pieces and props being made for our upcoming productions and I will try to keep on top of taking photos and documenting the process…keep visiting and seeing what we are up to!

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Another busy week for the Design Realisation team…

The design realisation workshops have been very busy this last week as all of the staff and students have been focusing all of their energy on building and painting the scenery and props for this year’s musical Rags which will open in our Silk Street Theatre in a couple of weeks.  There has been so much going on that it’s been hard to keep up but hopefully I have managed to take enough photos to show you just a bit of what has been going on over the past few days… The scenic construction department have been very busy, so busy in fact I had hardly have any photos of what’s been going on- every time I turn around something new is happening!  The team have been cracking out scenery left right and center this week, making all of the brick flats and welding some interesting steel frames that are going to have a nice rust finish on them. Here’s a couple of shots to get you going, I will make sure I get some amazing photos next week of the fit-up which is always a fascinating process…

The props team have also been busy this week making flags, banners and carts for Rags…among other things!  I’ve managed to get another photo of our new Design Realisation Assistant Grace making a banner and putting her prop making experience to good use this week and of course third year Meg and second year Katie have been working full on as well continuing on the range of props required for this year’s musical.  Here are a few photos of some of the props taking shape, can’t wait to see them finished they look great!

It’s hard to miss what has been going on in the paintshop this week; every inch of the space is taken up with different scenic element being painted or textured ready for fit-up next week. One of the biggest tasks this week has been texturing all of the brick walls for the musical.  The realistic brick effect is made up from quite a few layers.  First the flats are primed with a mixture of glue, sawdust and water which acts as a gritty base to hold the texture in place.  Next an artex and sawdust mix is applied with the use of a template (lovingly made by the construction team!) which is left to dry overnight.  Then the painting process begins; the base of grout grey is applied followed by the two brick colours.  Then a dry bush technique is used to add more depth to the bricks by applying contrasting brick colours.  Dirty washes are then added to the flat finally followed by a dark speckle spray…phew! I think you’ll agree that’s a long process, but hopefully you think it’s worth it, I think they look brilliant!

As well as all of the bricks, the scenic art team have been busy working on the two cloths for Rags.  Second year design realisation student Hannah has been putting her scenic art skills to the test this week taking the lead on painting the ‘harlequin’ cloth for the musical.  The cloth is mainly black with a lovely checkerboard effect that disappears off into the horizon so they have been drawn up and masked off in perspective.  The white squares are painted to look like marble with grey sponged into them and then marble like veins added.  It looks brilliant already and will look fabulous next to the pink and gold Yiddish proscenium that was built and painted last week.  I will be sure to get a photo of these items together during fit-up…

The final (and biggest) scenic element that the paintshop team have been working on this week is the colossal backcloth for the musical.  The cloth, which measures about 10 meters by 6 has a wonderful image of the New York skyline painted onto it, framed by a series of oversized bricks.  The cloth is a filled cloth which has been painted with layers and layers of paint on the more solid areas, such as the bricks and the buildings, and with only a thin wash of colour on the sky.  This will allow the cloth to be lit from behind during the show so that the sky will have a different appearance based on the scene on stage.  There is still some work to be done on the cloth but I couldn’t wait any longer to post it here…I think you will agree it’s well worth a look and represents the scenic art talents of our third year Design Realisation students Nancy and Daisy very well! What do you think?

I told you we had been busy! And it doesn’t stop there…next week it’s fit-up so the construction team are going to be very busy putting the set for Rags into our Silk Street Theatre.  The scenic art department are going to be working hard finishing the cloths and the props team are going to be getting the props ready for tech week.  All in all it is going to be a very busy week for the design realisation department, working on the last main production of this academic year, and the last show that our third year students will be working on before they leave Guildhall School and enter the industry.  It sounds like we have our work cut out for us…but as usual…we’re game!

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Viva Las Vegas!

Things are starting to take shape in the design realisation workshops as the scenic art paintshop is slowly transformed into an oasis of bright colours and even brighter lights.  Small pieces of scenery have morphed into large flats that dominate the space, piles of neatly stacked steel deck have been bolted together to form a stage and bit by bit the design realisation project is edging closer to completion ahead of the official unveiling and viewing on Monday afternoon. 

 

The last two days have been a bit busy to say the least, here’s what we’ve done…

 The Welcome to Las Vegas cloth has been injected with colours as ultraviolet paints have been sprayed onto it to create a glowing effect that under blacklights is sure to look mesmerising. 

 

The plain green flattage that make up two walls of a Las Vegas hotel room have been finished with wallpaper panels and mouldings.  All of the mouldings have been nailed in place with mitres cut on the ends that join so that when the two flats are put together they create a neat and seamless join- as you would expect in a fine Las Vegas hotel room!

 

The balcony has been assembled and fixed in place and the marble floor has been laid ready to have the rug put down next week.  The walls have been sprayed into to give them a bit more life and to make the room look more realistic and ‘lived-in’ and pictures now adorn the walls.  The next step is to start populating the rest of painshop with the hotels and the Las Vegas skyline so the finishing touches of glitter and sparkle are being added.

 

Interesting in seeing more? Fancy a trip to Las Vegas and back in your tea break on Monday? Staff and students at the Guildhall School are welcome to come down and take a look at our fabulous DRP project next Monday, the 26th from 3:30. 

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More pieces of the puzzle…

 Looking around the design realisation workshops yesterday it’s clear to see that our first years have mastered the art of multi-tasking…a skill that is needed nearly every day when working in design realisation and one which will be very useful when working in the industry! No sooner have I taken a picture of a prop or a piece of scenery being worked on, by the time I’ve posted them on here the prop has moved on about three stages in its process and a new task has been started. 

 

In the morning, Anna finished her marbled floor by adding her veins and a cream glaze whilst Giulia continued working on her artwork (you’ll see where this goes later in the week!). 

 Meanwhile in the props workshop, things are starting to take shape and get very colourful indeed.  Pieces of glitter fabric embellish what used to be dull MDF and bright colours adorn almost every surface.  Here, Kim, Jasmine and Jess are all working hard, I can’t wait to see the finished articles!

 

Back in the scenic art workshop, the girls are working on their second cloth for the DRP…there’s no keeping it a secret anymore…

 

Vanessa showed the girls how to project the Las Vegas image onto the cloth to scale it up to the right size and Giulia, Jasmine, Anna and Clare get to work drawing up the sign in chalk and begin blocking in the image in white paint.  You thought the night sky cloth was colourful? You’ve seen nothing yet…

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Another one ‘bites’ the dust…

Remember that epic cloth for the production of Three Sisters that will be opening in our new theatre at Milton court?

 Thought it was finished? Think again…

Our paint frame is massive and accommodates some colossal canvases up to 16 meters wide.  It can hold a canvas with a ‘drop’, which is the height of the cloth, of a generous 6 metres but the size of the Chekhov cloth, a massive 12 metres by 8 metres, means that the scenic art team have had to incorporate a ‘bite’ into the cloth.  A bite is when there is too much canvas to fit onto the frame so there is a section left unpainted until the entire cloth can be dropped and re-hung.  In our case, there was a 2 metre bite running along the top of the canvas that the scenic art team have been tackling this week…

 

These photos show the cloth being repositioned on the paint frame, re-stretched and primed ready to begin the entire process again.  

You can see here that third year Lai and her team used their grid system to ensure that the pattern on the bite matched perfectly with the rest of the cloth and the model…

 

 

Finally when the bite was complete, it was time to drop the entire canvas and fold it neatly, ready to go into storage for its debut in our new Milton Court theatre!

 

 

 

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