Posts Tagged With: Scenic Art

The Tale of Januarie…In February

Work is well under way for the set of Tale of January. The workshop has been taken over by the makings of a tree, Our scenic artists have been busy painting the leaf cloth and props have a selection of interesting pieces being made.

In the props department, Oscar has made an array of interesting props over the start of the term. He began with the two medieval carts which will be used as market stalls laden with produce.

Oscar has also had some opportunities to brush up on his poly-carving skills.

The produce which would cover the cart has been created using a variety of methods. The fish were cast in 2 hollow halves in latex which were then fixed together. This gave them a pliable and moveable form. The pears have been cast in plastic from a plaster mould using the vacuum former.

Paintshop is busy with a few large scale items for this production. One of the jobs has been to create the stonework effect on the castle wall flat. This was created by painting the cut flats with a red-brown base, masked off when dry and rolled over with a cream and lighter brown mix to give texture and depth to the effect.

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castle

Our scenic artists have also successfully tackled the task of painting the leaf cloth. This will be flown in front of the tree. It should create an amazing effect. Can’t wait to see it up.

painting-leaves

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In construction, Lana and Constance have been working on creating the branches of the tree. A steel frame was made and welded together onto which the airex was cut and fixed using T-nails.

A thousand Lana-deer antlers were gathered and attached to the main branches using two part epoxy to create the smaller branches of the tree.

No Lana-deer were harmed in the making of this tree!

Fortunately, we have a brand spanking new CNC router with which our branches were cut out of airex material.

The tree has been textured with artex and then painted to complete the bark effect. This was done by applying a creamy orange base to the tree and then once dry, adding two paint washes to the top. One for the main bark colour and the second for the shadowing. The effect is amazing!

tree-in-workshop

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Our first years laying the floor! Yes, fit up is well under way and the ply flooring has been laid. This will be painted by scenic art to resemble the brown colour of the model. The edges will be sprayed with black paint which will then be faded into the brown to create a soft gradient.

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There are a few pieces in progress around the workshops so I may have some more pics to add and update you on, but for now, due to everyone’s hard work and late nights, it is all looking great!

In addition to our show work, Sam Palmer (3rd year TT student) has been busy in our workshop creating his graduation project. His objective was to create an immersive environment depicting the Sword in the Stone. Sam spent a few weeks making prototypes and working out the best methods to use to create the shape and texture he was looking for. He used chicken wire fixed to a wooden frame to create the shape of the rock. This was then covered with a plaster scrim before being textured and painted. It was a pleasure to have Sam working with us and he did a great job c his final creating his final piece. Personally, I enjoyed the atmosphere he had managed to create. The music and the water running out of the rock elevated the whole thing to another level. Very well done!

Sam used a small pump to push the water out of the top of the rock he then created a moat around the outside of the rock to guide the water back down to the pump.

It was a pleasure to have Sam working with us and he did a great job creating his final piece. Personally, I enjoyed the atmosphere he had managed to create. The music and the water running out of the rock elevated the whole thing to another level. Very well done!

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Head first into the summer opera double bill.

The workshops are in full swing and beginning to fill with the pieces of our opera double bill. Arianne and Alexandre Bis has our students working on realising the designs of Simon Corder.

Here is a snapshot of the samples produced by scenic art for the set. We have three main finishes that need to be produced for this set. We have a yellow marble finish, a painted number grid and a white-washed concrete finish. Here are the samples that were put together for Simon to look at.

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Construction have been busy building all the necessary flats to make up the walls of the set and treads for the show and with the help of our TT students, who are with us for their associated studies, we seem to be making good progress.

Construction have also had the pleasure of realising one of the more decorative features of the set. Alice, Lana and Oscar under the instruction of Andy were able to have a bit of fun in creating the Baroque style fireplace.

The main frame was made from timber which was clad with ply to give us the basic shape. The edges of the frame were decorated by laying a border of a thick plaster mix and then shaped with a purpose made jig to give the edge shape you see below.

the larger decorative mouldings were made by pouring plaster into vac formed moulds and the attaching these to the timber frame. The The mouldings were strengthened by laying hessian into the plaster.

Andy also sculpted some extensions with clay to finish off sections of pattern too fit and align with the size and shape of the piece. A mould was made of these clay sculpts which was them cast to create a finished plaster section.

The pieces were then screwed onto the main frame using the supports that had been set into them.

The joins were then filled and moulded by hand to give the impression it was one fluid piece.

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The piece was then ready for a paint job. Our second year student Lana and I finished the piece by applying a marble paint effect.

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Our scenic art students began their process by texturing the flats. This was done by covering them with a thin layer of idenden which gave the surface a rough concrete texture. They were then painted white and a raw umber wash applied to the bottom sections.

 

In props our students have been busy constructing miniature models of  the Arc de Triomphe, Eiffel Tower, Notre Dame, and Sacre Coeur which will sit on plinths around the walls of the set.They have been using mainly styrofoam to construct the models and some of the final details will be drawn in CAD and 3D printed.

Emily did a great job at gilding the large picture frame to give a degraded finish. This prop piece will sit above the fireplace.

 

Props have also had the opportunity to work on some polycarving. In front of the fireplace is to be placed a decorative peacock fire gate. Sneha with the help of Anna carved the peacock from blocks of polystyrene. This was then covered with layers of foamcoat to help smooth the surface before being painted in metallics.

 

Alongside preparing the opera set, we have had students from other areas of technical theatre creating work for either a personal project or getting stuck in with assisting on the construction of the Alexandre Bis set.

Here are some example of the work going on amongst our associated studies students.

Fit Up….

 

Fit up for the opera went relatively smoothly. It began by constructing the steel deck truck onto which the set was attached. The walls and treads went in first, followed by the windows and balcony.

 

Once the set was attached to the truck we had to attach some breaks to it. However…we didn’t have any rubber fixed to the breaks we had… so we improvised…

…Worked a treat!

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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.

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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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More than an ‘hour’ late, but better than never…

I know I know…the curtain came down on our last show of the spring term a week ago and I still haven’t posted any photos of the technical rehearsal as promised! Fear not, I will make up for my tardiness by sharing with you not only some interesting photos of the set and props on stage, but also of the boat being finished and a time lapse video of one of the paintcalls…it’ll be worth the wait!

Here are some photos that Jasmine took for me during one of the technical rehearsals.  You can see some of the props that have been made over the last few weeks including the crib, the stained glass window and an amazing tree stump hat (that is also a stool) made by one of our freelance prop makers Dave.  I think you’ll agree that the props looks fantastic on stage and especially under the stage lighting, designed by our third year Theatre Technology student Max Narula!

The set also looks fantastic.  Designed by Agnes Treplin and beautifully realised by the scenic construction and scenic art department. The grey textured paint effect with a concrete feel to it covers the vast amount of flattage around the space and of course the floor and the huge sloping platform that stretches into the space.  The sharp lines of this platform and the disappearing edge look brilliant under lighting as does the permanent trap built into the floor with stairs leading down.

Our new sound lecturer Andy Taylor created a time lapse of the Silk Street Theatre over the entire production period and has created this video of the first paintcall on stage.  You can see us applying a base coat of grey paint, waiting for it to dry (don’t worry it’s sped up!) before applying different shades of grey using bobby rollers to create the concrete effect.  A second layer of spray and spatter was added during another paintcall but here’s the first video to get you started…

As you can see it was a brilliant show and looked amazing, it was so nice to see out Silk Street Theatre used in such an interesting way and the selection of props that were made for the show were incredible.  Next term we have some more interesting shows and some lovely sets to work on so come back after the easter break to see more of what we get up to in Design Realisation!

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A look through the window…

The technical rehearsals for our upcoming show ‘The Hour We Knew Nothing of Each Other’ are well under way; if you stand in the paintshop long enough you will hear a very strange collection of sound effects rattling through the dock doors…dog barks, a plane taking off…a blood curdling scream to name but a few.  In the paintshop, our second and third year scenic art team are starting work on their personal projects where they choose a painting to produce in the last couple of weeks in the department.  They’ve just finished the last piece of work for the ‘The Hour…’, a large ‘rug’ that has a road surface and tyre tracks on one side and the same concrete grey on the other.  The whole thing has to be rolled up and carried so the team have had to limit the amount of texture they use.  They have applied a mix of idenden (a texture coating that dries solid, yet flexible so it doesn’t crack) and vermiculite (an insulation material that we add to idenden and artex for a chunky texture).  The team used a stencil of tyre tracks to mark out the pattern which was then used as a guide for applying the texture.  Small shrubs of grass were applied along the centre strip and then the whole thing was painted.  Here are a couple of photos after the texture has been applied and then the finished rug:

Textured road, ready to paintThe finsihed road

Meanwhile in the props department, Jasmine has finished her stained glass window that she has been working on.  The pictures on the plastic glazing have been painstakingly drawn out and painted in and as you can see it looks beautiful.  The window is seen from both sides so a lot of work has gone into this prop and I think you’ll agree with me that the finished item looks very impressive indeed- well done Jas!

 

In the scenic construction department, the team are putting the finishing touches on the funeral barge which I will be sure to get photos of as it’s being finished and painted.  As promised I will also get some photos of the set during the tech rehearsals so stay tuned…

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Last show of the spring term…

Apologies for my lack of blogging recently but it’s been so busy here in the design realisation workshops that there’s hardly been a chance to stop and re-group! The good news is that because so much has been going on, there are loads of things to show you.

We’ve been hard at work on tour last drama of the term ‘The Hour We Knew Nothing of Each Other’ which opens soon in our Silk Street Theatre as well as Opera Scenes in our Milton Court Studio so it’s been non-stop down here.  Here’s what we’ve been up to…

The set for ‘The Hour…’, which is designed by Agnes Treplin (who also designed our production of Blood Wedding among other things!) consists of groups of flattage spread around the stage is clusters of abstract shapes and a large sloped platform that reaches onto the stage.  The whole of the theatre is transformed into acting space with seating blocks spread around the main stage area.  The paint effect, a concrete grey with a textured look is present all over; creating a vast expanse of shapes and edges that seem to make our already large theatre…even bigger.

The flats themselves are all made from timber frames with canvas stretched over them.  This fairly traditional process means that the flats are light and strong and the surface is completely smooth to paint on.  This is a good technique to use when making large flats as there are no sheet joins to contend with- a lot of opera flattage and panto flats are traditionally made this way.  The construction team had to master the art of canvassing; stretching and pulling the canvas into seemless surfaces without wrinkles or bagging.  As you can see they certainly got the hang of it and it’s a good thing too because there were a lot of them to make and only three student in the department.

The scenic art team painted nearly three paintframes worth of flattage and between the two departments a production line system was set in place; timber frames being made by one team, passed onto a team to canvass and then onto the paint frame for painting.  The concrete paint effect was created by layering up different shades of grey paint.  First the canvasses were primed with a mixture of watered down white emulsion to stretch and seal the canvass.  Then, a base colour of grey was applied followed by different shades of grey using ‘bobbly’ rollers; made in-house by picking holes out of foam rollers to create a textured finish.  The final stage in the process was a spray of grey over the entire surface which blended all of the layers together and added depth to the flats.  The same paint finish was applied to the entire acting space in the studio over two nights of paintcall sessions.  I will get some photos of the set and the painted floor in the theatre next week during the technical rehearsals but for now here are some photos of the flats being made and painted.

The props team have been equally busy with a long props list so obscure that looks like there’s been some kind of explosion in The Old Curiosity Shop!  Some of the makes include a baby’s crib that has to be worn on someone’s head, a burnt Arsenal flag, a mummy in an egyptian funeral barge, a maze, a stained glass window, a broken statue…and…so much more! Here are some photos of the props team hard at work…

One of the large prop makes, the barge and mummy, is being jointly made by the props team and the scenic construction team; props are making the mummy and construction are making the barge.  The funeral barge wheels across the stage so the boat has a three large wheels hidden underneath the large curved keel.  Here is the barge in it’s very early stages…

Come back next week for some more pictures as we finish work on ‘The Hour…’.  I’ll be sure to get some photos of the barge being built and painted, the finishing touches on the props and hopefully some shots of the finished set and painted floor in the Silk Street Theatre.

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