What materials are used?
What are the pros and cons of each one?
Why would you choose one over the other?
Things to consider
Cost. Time Effectiveness. Shaped or Cut appropriately. How easy they can be joined or bonded. Can they be painted? Is it durable if model box is meant to last
Mountboard
Mount board is strong and easily cut in addition to also being fairly cheap and is useful for the main construction. The model maker would consider using it for walls, rostra, treads and furniture. It can be cut with a basic utility knife and thicknesses up to 6 mm are fairly easy to work with. The downside to mountboard is that some paints may cause the board to warp and it is not good for detailed or intricate work as it will start coming apart. It can be stuck with PVA glue.
Foamed PVC
Foamed PVC is a lightweight plastic most commonly used in architecture. It is sometimes used by designers for exhibitions. Its strength and rigidity mean that it is great for intricate and detailed work. Additionally, it is also easy to cut and any rough edges can be sanded down. As it is a plastic, it is naturally resistant to warping, the downside to this is that it also resists paint unless a primer is added beforehand. Foamed PVC is also much more expensive than mountboard.
KAPA Line Foamboard
KAPA Line Foam board is a brand of foam-board that can be peeled to reveal a foam core, which can then be carved, cut and imprinted on. This makes it well suited to acting as walls and padding, It can be up to 10 mm thick.
The negative side to KAPA Line Foamboard is that it is very costly.
Foamboard
Foamboard consists of rigid polystyrene core with a sheet of tough paper on either side. It is mostly used for the theatre box or larger structures. Though cheaper than KAPA line, aerosol paints and solvent based adhesives will cause the inner polystyrene core to disintegrate.
Styrofoam - Extruded Polystyrene
Another form of styrene that is much more dense than the regular polystyrene used in packaging. It is lightweight, comes in multiple variants and is especially good for modelling rocks and other landscaping features.
The problem with Styrofoam is that only water based adhesives and paints should be used, as solvents like acetone will attack the foam and once again cause it to dissolve. It is most easily cut and shaped using either a very sharp knife or a hot wire.
Stencil Paper
At £2.50 - £4.50, Stencil paper is expensive but is perfect for intricate work. A coating of linseed oil means that water isn't absorbed, which means that it has an increased working life. It also means that stencil paper is more able to resist warping. In modelling stencil paper is used for slightly raised surfaces that are too thin for mountboard, like window panes, boards and archways. Its strength means that it works well for curved work.
Ticket Card
On the other hand, ticket card is much weaker and more susceptible to warping but is far cheaper (2p a sheet!) and can still be used for many of the same purposes. It is especially good for raised surfaces like skirting and certain kinds of paving
Speciality Papers
Speciality papers are papers with designs or textures pre loaded on them. They can provide the basis for flooring and heavily textured walls. The modeler would use them when they want to a quick way to accurately depict real life textures. They come in a variety of different sizes and thicknesses for a range of different functions. Corrugated paper can also be sourced to represent roofing or corrugated iron. One thing to look out for is the scale as many speciality papers come in a 1:24 scale instead of 1:25.
Tissue Paper
Tissue paper is used mainly used for replicating fabrics and clothes that can then be used as part of the set or for any model people. If PVA glue is added to the tissue paper then it can also be used to cover metal framework and create texture and added thickness
Acetate Sheeting
Acetate is a clear material that is perfect for windows and car windscreens. If there is a projection within the show, acetate can also be printed on to depict this. In addition to this, acetate can be painted or sprayed to give it a variety of textures, like stained or frosted, depending on where the play is set and what is required.
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Balsa Wood
Balsa wood is soft, easy to cut and can be glued easily. It's softness means that it can be carved easily and a good amount of detail can be included, while its texture means that a living component can be added to the model. Modelers often use it to create rustic furniture, gates, planks and fences, and to represent woodwork. The sticks of balsa wood are ideal for creating fly bars.
Its light weight and strength means that it is commonly used for flying models. The downside to using balsa wood is that it is very expensive and mistakes are not easily undone.
Lolly Sticks, Kebab Skewers and Cocktail Sticks
These are heap alternatives to using balsa wood. Stuck and glued easily together. The downside being that they tend to be quite flimsy and don't have the same texture that balsa wood have. The modeler is also limited with the shapes and sizes of the materials. They would be most useful during the sketch model where the designer is able to explore ideas without having to worry so much about how it looks.
Styrene Rod, Sheet, Square and Section
Styrene is a flexible but rigid plastic that is well suited to modelling predetermined shapes and fine, delicate forms. Styrene rods are hollow and work well as pipes, guttering and girders. Using a selection of rods, sheets, squares and sections, the model maker is able to construct people, furniture and other objects. As it is PVC foamed only superglue should be used to join different components.
Thicker Sheet, Tube and Rod plastics
Thicker sheet, tube and rod plastics are largely used to create pillars and columns. They can be cut with a hacksaw quite easily and firmly joined if they are heated.
Brass or Copper Rods
Brass is an alloy of copper and zinc. It's shininess allows it to stand in for shining gold surfaces and its strength means that it is able to bear heavy loads. Brass pieces are joined together by soldering.
The modeler would use copper to create steam pipes, fuel lines and tanks.
Along with Brass, Copper is perfect for small, detailed work like fencing and fretwork. It is also ideal for metal framework furniture.
The negative side to using metals is that they can only be joined by soldering and require more specialist equipment.
Modelling Wire
Modelling wire is made of light weight aluminium and is easily shaped. It can be cut with snips or pliers and can be joined using a hot glue gun. Their biggest use lies in the making of model people, armatures and metal frames.
Florist Wire
Florist wire is much weaker than modelling wire and would only be used to create simple metal detail. It is cut using scissors and joined with a hot glue gun.
String, Thread and Fishing wire
String, thread and fishing wire are cheap and extremely maneuverable. String in particular can be very useful as it can immediately used as 1:25 scale rope. Thread is much thinner but comes in more vibrant colours and can be used to texture, as washing lines and to border. Fishing wire is very durable and tough. This makes it ideal for load bearing works.
Plastacine
Plastacine and plastiline are cheap alternatives to modelling clay that don't dry out and can be used multiple times. They're ideal for creating model props, food, textured walls/object and scale people. Once coated in PVA glue and primed painted they become quite durable and long lasting.
Model Maker's Handbook - Albert Jackson
ModelBuilding - Alexander Schilling
Neat, D. and Bärndal, A. (2008) Model-making: Materials and methods. United Kingdom: Crowood Press, Limited, The.
Class Handout
Pictures are a range of mine and ones from Google Images. Images can be changed if references are required.
Study Task 2 - Sketch, White-card and Finished Models
Sketch Models
Sketch models are initial three dimensional drawings that the designer can use to explore different concepts and generate ideas. They are very rough outlines that do not need to be particularly in scale or an accurate representation of the final model set, which gives the designer to the opportunity to play play shape, proportion and scale, and look at the relationship between three dimensional objects. They are a free way for the designer to refine ideas, explore themes and look at different variations of designs. At this early stage it is unlikely that these will be seen by anyone other than the model maker, although the director may appreciate a glimse into what the designer is planning to do and so offer guidence or advice. Due to the speed at which they can be constructed, they are a good way to experiment with different designs as the model maker is not wasting any time by creating detailed models that will be declined, as well as presenting a good way for the designer to shoot through a range of designs very quickly.
Sketch Model Me
To the right is an example of a sketch model that I made during class. It was used as an initial way of exploring the theme of 'ship wreck.' I count this model as fairly successful as it provided a way of generating simple ideas, like the ship, that I want to explore further. I also found that I didn't like the chest as much so that would probably be scrapped before I move on to white card models. Additionally, it gives the model maker a way to experiment with colour and texture. For instance, I quite liked the colour pallet and and the texture around the treads so I would keep them, whereas I didn't like the effect of the lentil seeds so I now know to scrap them.
The most significant downside of the model is my complete failure to cover everything with paint, which is most noticeable around the sails, This is not for want of trying. If I were to redo the model I would either try to paint a base and then include some of the more complicated scenography or use a form of spray paint to ensure that everything is covered. Furthermore, I would attempt to not create any dark tunnels that I have since found to be incredibly aggravating to paint. One of the instructions when creating the model was to have a slow transition from one colour to the next. This is something I could have improved on because although I did eventually get a smoother transition, much of my model is fairly haphazard, which I find to be a nice effect but are not to the guidelines given to us.
Overall, I would say that I am pleased with the model because I believe that it is exactly what a sketch model should be; a simple exploration tool to look at different techniques, colours and ideas.
Sketch Model Me
To the right is an example of a sketch model that I made during class. It was used as an initial way of exploring the theme of 'ship wreck.' I count this model as fairly successful as it provided a way of generating simple ideas, like the ship, that I want to explore further. I also found that I didn't like the chest as much so that would probably be scrapped before I move on to white card models. Additionally, it gives the model maker a way to experiment with colour and texture. For instance, I quite liked the colour pallet and and the texture around the treads so I would keep them, whereas I didn't like the effect of the lentil seeds so I now know to scrap them.The most significant downside of the model is my complete failure to cover everything with paint, which is most noticeable around the sails, This is not for want of trying. If I were to redo the model I would either try to paint a base and then include some of the more complicated scenography or use a form of spray paint to ensure that everything is covered. Furthermore, I would attempt to not create any dark tunnels that I have since found to be incredibly aggravating to paint. One of the instructions when creating the model was to have a slow transition from one colour to the next. This is something I could have improved on because although I did eventually get a smoother transition, much of my model is fairly haphazard, which I find to be a nice effect but are not to the guidelines given to us.
Overall, I would say that I am pleased with the model because I believe that it is exactly what a sketch model should be; a simple exploration tool to look at different techniques, colours and ideas.
White Card Models
The white card model is the second kind of model box that the designer will create and is much more exact than the basic sketch model. The designer will often only move on to this stage when the designs have been settled on and there is no longer much need to experiment. It is still much rougher than finish scenograpgic models so that any changes can be implemented quickly and efficiently. It is a three dimensional blue print of the final set. It is all of the most essential information, namely space, structure and any movable elements. White-card models are used by technical crews to see how much space they have for equipment, and by scenic constructors to see what it is they are actually making and the dimensions they are making it to.To the right is the sketch model for Dumbledore's office in the Harry Potter franchise. From this model the scene builders are able to take measurements and look at scale, shapes and composition. There is limited colour because it would be too time consuming to paint it all and then potentially change if it was not to the director's liking. This particular set does not contain any movavle elements so the set builders know not to worry. They would potentially look at the curved levels on the ground, the basin and the curves on the wall. They are also able to look at the stairs in the other building as well as the windows.
https://www.youtube.com/watch?v=yz0NvsIKPYE
Finished Scenographic Models
Finished scenographic models are the final version of what the set will look like. It is to scale and has been painted with the textures and colours that will be applied to the final set. They contain any set dressing the scene may contain. The components that the individual disciplines has already been discussed in the first post.
To the right is the set model for the third year production of 'They Shoot Horses, Don't They?' This production made use of a simple stage with two lines of lights leading from it. The only qualm I have with this set model is the fact that is it not immediately clear where the audience are seated. However as it is a touring piece this may have been intentional. From looking at this set model, colours and materials are immediately hinted at in addition to what lighting is already included. Set builders are quickly able to see that a fixed stage and a simple square frame needs to be created. A potential downside is that almost no set dressing is included so not much information can be obtained by the stage management team.
References
Finished scenographic models are the final version of what the set will look like. It is to scale and has been painted with the textures and colours that will be applied to the final set. They contain any set dressing the scene may contain. The components that the individual disciplines has already been discussed in the first post.To the right is the set model for the third year production of 'They Shoot Horses, Don't They?' This production made use of a simple stage with two lines of lights leading from it. The only qualm I have with this set model is the fact that is it not immediately clear where the audience are seated. However as it is a touring piece this may have been intentional. From looking at this set model, colours and materials are immediately hinted at in addition to what lighting is already included. Set builders are quickly able to see that a fixed stage and a simple square frame needs to be created. A potential downside is that almost no set dressing is included so not much information can be obtained by the stage management team.
References
Neat, D. and Bärndal, A. (2008) Model-making: Materials and methods. United Kingdom: Crowood Press, Limited, The.
‘White card models’ for film/tv work (2012) Available at: https://davidneat.wordpress.com/methods/white-card-models-for-filmtv-work/ (Accessed: 30 November 2016).
Mills, C.B. (2000) Designing with models: A studio guide to making and using architectural design models. New York: John Wiley & Sons.
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