Zen and the Art of Prop Making

Fibreglass moulds can be a one piece mould or, if the object has a complicated shape, made in two or more separate pieces bolted together to make the final mould. This makes removal of casts from the fibreglass moulds possible. There have been many unhappy souls who have made a cast in fibreglass moulds only to find they cannot remove them. There is no flexibility in fibreglass moulds so things will get permanently stuck if there are any undercuts. Main points of fibreglass moulds The aim is to make the surface of fibreglass moulds as smooth as possible. If the surface quality of the mould is like a mirror then the cast object will be the same. The extra care taken in making the mould will reap rewards when casting later. Mould release agents or wax should always be applied to moulds before laying fibreglass matting. The following steps are a general guide to making multi-section fibreglass moulds. Step 1 You must carefully plan where you want fibreglass moulds to split. In

The first step in making a giant egg is to make a giant egg! From this a mould can be made from which to cast as many eggs are required. Depending on the size of the egg you want to make will dictate how you go about making the egg form. Since the egg we needed to make was about 60cm tall it was decided to carve it from a block of polystyrene. Since the egg shape is symmetrical it is best to turn it on a lathe. The polystyrene has to have plywood boards glued to both ends so a lathe faceplate and tailstock centre can be attached so it can be turned on the lathe. The corners of the block are then cut off at 45 degrees to make turning a bit easier on the polystyrene. If this is not done it is likely large chunks will break off when the lathe chisel is applied to the turning block. It is very, very messy turning polystyrene on a lathe so ensure the work area is covered with something to collect the shavings and clean up regularly as you work. This will minimise the polystyren

Deciding between quality or economic manufacture of products present a challenge to companies wanting to develop new markets. With money tight customers have to consider the pros and cons of quality or economic products. They are more likely to accept cheaper, lower quality products (or even dispense with them altogether) rather than spend a bit more on a quality product. A financially conservative approach may appear an appropriate path in the short term however the mid to long term consequences of economically driven decisions should be carefully assessed. A well made, quality product that is pleasing to the eye carries those qualities with it through time. Poor quality products may do their job initially but actually get worse over time. Any initial savings are quickly dissipated. Good quality or economic choices There are times when a product is used only once so its manufacture can be more cosmetic. Products of this nature are easy to provide as they can be quickly made w

Live performances nowadays depend on high-tech equipment and go for the *WOW* factor of huge LCD screens and light shows. It's understandable, given the size of the crowds being entertained, but in this age of technology how many of us watch the video screens instead of the live performance? Indirectly we have become totally dependent on the technology available to us today and the power it requires to function. A refreshing change was a concert last year in Melbourne celebrating "Earth Hour". The power for the concert was generated the week prior to the event by 16 cyclists pedaling 12 hours a day to charge up batteries. It highlighted how dependent we have become on power to keep our technology (and entertainment) working. The growth of technology What did people do ten, fifty or one hundred years ago at similar events? The 1925 Exposition of Decorative Arts in Paris was an extraordinary event from what I've seen from photos and commentary of the time. Elec

Prop making can be extremely satisfying creative work. Being able to create something like a medieval silver chalice on the smell of an oily rag from found materials is a skill honed from many years of tinkering. It requires a broad appreciation of the characteristics of materials and also an element of lateral thinking that enables you to see the possibilities of using something from diverse areas to create what you are looking for. Generally theatre companies, both professional and amateur, don't have a lot of money to spend on props. I personally think it is more a money saving business decision. This approach results is cheap looking props which can make a production look like a school play. That being said if a show is only going to have one or two performances it is silly to spend a lot of money on props. I remember a director telling me once that in many of his productions you could see half his loungeroom on stage! Getting things for free is a valuable prop buyer's