Lesson 2 - Model Making Materials - 20/10/16

Study Task 1 

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. 

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

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.

Lesson 1 - Introduction to scale and model making - 07/10/16

- 'Trifles'

Study Task  - Who uses model boxes?

Almost everyone as model boxes are a communication tool that allows information about the set to be spread quickly and efficiently through the different disciplines. The more detail a model box, the more exact

Directors
Directors will look at model boxes to see what kind of space they're working with. Accuracy and scale are particularly useful as it shows them if there are any limitations or problems they need to work around. If it is a touring piece, they may look at the different components of the set and how they'll need to be transported. Initial sketch boxes will also give them a chance to collaborate with the design team in order to create a final piece that is in line with their vision.

Production Manager
The production manager looks at model boxes to asses the production and looks at any health and safety related issues, e.g are actors working at height? Are there trap doors? Are there any heavy or sharp set pieces?
In addition to this, production managers may be able to look at how much the set will cost. Are they acting within budget?

Stage Managers

Stage managers would look at model boxes to get an idea of spacing and the rough size of the set. This allows them to mark out rehearsal rooms, plan entrances and exits. Additionally, if it is a touring show, it allows them to plan for transport and storage. Also allows them to see what the show actually is and so allows them to plan ahead, for example they will be able to plan for any projections. They may also look at how many things need to be switched around and what changes scene to scene. There is one sequence in the Woman in Black where a child's bedroom needs to be destroyed in secret while action takes place elsewhere. The SM has a three minute interval to pull the fly down, climb onto stage and wreck the room. In this instance the model box could be used to plan routes and timing.

Lighting Designers
Lighting designers can use model boxes use model boxes in a similar way to directors, using them to test out different lighting designs and locate any problem areas that may need additional lighting. They can look at what lighting fixtures are already included within the set and what the potential is for adding more. They may look at what the colours of the set are so they don't use colours on the other side of the colour wheel, for example, using red light on a blue set would make all the blue come out black. Additionally, they would also look at where the play takes place as they would light a kitchen and a forest very differently. If the set is open or has windows they may need to consider lighting the set in accordance with what the time is within the set.
In the 'Woman in Black' example below, the set has a wire mesh that splits the stage in two. In this instance, the lighting designer would need to take care with lighting so to not reveal up stage.

Scenic Artists
Scenic Artists would use model boxes to see the different textures, patterns, colours and techniques that need to be applied to the life size set. It is their job to transfer what they see on the model box to the set itself. For example, in the Woman in Black model box, the design uses a wire mesh painted to look like stormy skies. The scenic artist is able to use this as a reference point and know exactly what is wanted. It will give them a chance to plan out how they are going to go about painting the set.

Designers
Model boxes allow designers to plan out and experiment with themes and locations. They are able to make sure the set fits in with the director's artistic vision and the overall atmosphere of the play. From the initial sketch model to the final version, model boxes allow designers to explore different ideas and show what it is they are actually going to do. The different stages of model boxes mean that the designer is able to work with the disciplines from the very beginning in order to create a final piece in which all the different dramatic elements work together, Certain productions are very specific with what is required. For these plays the designer may want to use model boxes to see how the requirements can be realistically.

Scenic Construction
Model boxes show exactly what is wanted and is a tool that allows those in scenic construction to make more detailed plans. It gives them a better ideas of materials they need, how much they need to build (height and width), what they need to build; doors, tables. It also gives them an idea of what techniques they'll need to use like welding, carpentry. They will also be able to see if any part of the set or any work they do needs to be hidden. The more accurate the scale and measurements of the model box, the more information the set constructor is able to gain.

Actors
Model boxes are the first time the cast will see the space they'll be using. They'll be able to look at the style of the play and alter the way they perform their characters to fit it. It may also help to reassure them that the designer knows what it is they're doing.

Although hard to make out, this picture depicts the Harry Potter: The Cursed Child model box. In this model box the set designer has included wall lanterns (pictured below) and ceiling hangings. This instantly sets out the basic lighting and allows the lighting designer to plan additional lighting around this.


Need more visuals. 

In the title example of 'Trifles,' the designer wanted to create a realistic and dark depiction of a kitchen area. The director would be


http://www.bbc.co.uk/education/guides/z39x34j/revision/2
https://www.behance.net/gallery/15217479/Model-box
https://www.pottermore.com/news/cursed-child-set-design-christine-jones-interview
Model Making: Materials and Methods - book
The Woman in Black image was my own picture.

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Introduction to model making - Lesson notes

Tools Used

Scalpel
Cutting mat
Foam board
Wood glue?
Metal ruler
Scale ruler

"Scale is the ratio between the size of something and the representation of it."

1:50 is the scale most commonly used by architects because of the grand scale of the buildings they work with. A smaller scale would mean that the model boxes would be huge themselves.
1:25 is the scale most used by scenographers because it is small enough to not be cumbersome while still big enough to show detail.

In this lesson we created flats, rostrums, treads and a ramp to scale. On the whole I think I did well at this task as all of my measurements were to the exact specifications of the design plan. However, some of my edges came away a little rough or a little off either because I (regrettably) used the wrong side of the scalpel or I moved too quickly and did not stay in line with the metal ruler. However, as I grew more confident and had practice, I began to improve and my work became more exact. If I were to repeat the exercise I would move more slowly when cutting the shapes out.

Overall, I really enjoyed the lesson and thought it was a great introduction to making model boxes, I just need to learn to take my time when working. In addition, when looking back over my model boxes I noticed that not all pieces went perfectly together, with one gap over over a millimeter and one piece on my treads being a little lose. Once again I think this was due to cutting out too quickly.