fiber glass

metrials

1. anding sealer
2. wax{parting agent ) - funture polisg (redtint)
3. soft cloth
4. pva releas agent
5. moled releas (airsole)

prepering mold

• aply 2 coats of sanding sealer
• apply wax with brush to the entire cast
• wait 30-1h to dry
• buff up with soft cloth
• pint thin layer of PVA releas agent over wax do not duch till try asnd taxy
• pray lightly with reles agent

mask

metirals

1. gel coate (thick pics up details)
2. lay up rein (thin)
3. pigment (polycolour past)
4. metal pigment (iron-ironsatyon rust, alminen -putter , brass -brassy)
5. fiberglass matting(provieds strength
6. fiberglas tissue (gon for small details

• mix 1%hardner too gel coat add pigment
• applty smooth layer to mask area only going up right to nthe edge
• waith 30 till dry then layer up resine asoon as posabel
• apply a layer of netting folsa are extabel
• rip up smaller pices of netting and apply to the mask revust each pice when the white fibers start to desolve thius will help the layers mesh
• dashs can be cut in to the mattinbg to give acsabilty to corners
• applky at least 2 layers
• trim away excess fiberglass when layers are rubbery
• 
  

photo...

the realy way in which hes see nartralism also a intresting photogh is that it is stealing time copying sime thing that exst and capturing it for ever ans this is what vermir hjas done with his work we all can now see a slice of time in which he lived and which hass bean and past

also which is intresting in the erly days of photogy

it was uesed as a foma of sciens of a way of identlyfing and recording the huamn race and our soriding

senic arts 2

obsvation drawing 1

vegetables

from the star of the book the girl with the pear earring there is a sean where vegetable

vermeer was a naturalist painter he used a keen sense of slight and contact of other object crate a a elution of reality

so being able to crate a detailed realistic observation of a n object is important for this project

part of naturalism is showing the relation ship of one objet to the relationship of another so in my next lesson i feel i must draw a sean raver than just a individual object

seminarar notes resine

. reson to ues resin

is uesed to reconstrca along lasting durabel prop which is ideal for props which are handeled alot

makeing the mold

licquied rubber/silicon

firslty make a box

mdfsealed in varnish, polsine bored

minmu walls of box 5mm - 10mm

dowls are ueeded to center the object and later provied a pooring hole

glues:

super glue

zip kicker

adisive:

solvents

drawing....

senic arts

scenic art work shop 25

wood grain

preparing the bored

using white emulsion and a roller cover the bored in a even layer when dry sand with sand paper then apply a second base cote and repeat

the using a light base cote of oak apply using a small roller sand then add a layer of glassing which is half water solution

the base cote should be the lights tone that appears in the natural wood

mark out the pattern in which you what the individual pice of wood to appear then use masking tape to give straight lines and the effect of panels

mix different tones of wood colors with the glaze to form a smoother solution using a selection of different wood rollers and combs experiment with the different effect , such as wobbling the comb, scaring sections of the pattern and adding imperfection's

this is some of my finished experiment i fond the thickness of the paint and how long i let it dry made a grate difference to the level of detail and texture i feel i struggled with mixing believable wood colors as after this exercise i looked at other woods

workshop to documenting woods

painted wood ,cracked paint, raised paint on grins which light reflects, dirt court in the cracks where pieces of wood connect

sanded coved wood you can see the bend in the grin this image was taking indoor in a shaded area in the wood we see hints of green which gets darker towards the center of the grain the center of the not appears to be more brown

stool take in direct light under florescent lighting and ambient from window hear we can see wobbly age edges of the wood dirt trapped in the blistered grain which may have expand duet to water blistering

i also refereed to

Andy Wilson, making stage props a practical guide. page:160-164

susan Cabtree and peter beudert, Scenic art for the theater second addition pages 342

1. i feel i need to do more research in to different wood how they look and what there qualities and use are for as i feel this would be essential when working on historical and realistic pros and flats etc
2. investigate more technical effects
3. think about what my work will be used for so how durable it need to be
4. fined more wood samples to photograph

makeing fome props

below are images documenting my work with Styrofoam

i was very shocked at the speed of the work and how straight forward the process of recreating object can be an I'm looking forward to experimenting more complicated subjects

first i marked out the base shape and profile in black marker pen in a Styrofoam block which was already cut to size

I then used the band-saw to cut along the marks on the polystyrene

i fount it quite trick to hold the block in one pice while cutting out the second section

next using a filled too i shape the surface and then refined the shape with sand paper

to seal the polystyrene and provide a smooth surface to paint upon i used a technique now as skimming , applying muslin to the surface with a layer of diluted pva glue this will stop the Styrofoam from being cored by plastic based paint,give a smooth surface , golds the pro together and give it more strength and can also be used to ad more texture

I'm not too shore what sort of matrial 125-141 of making stage props a practical guide and i noticed that slightly different tools where used to shape the polystyrene tho i think this may be because this chapter is for expanded polystyrene and i may have bean working with a slightly different material maybe styrofoam

painting