Guildhall: Prop casting

To create the axe head for the top of the log a fast cast resin was used in a silicone mould that Alex has previously made. Using a two part resin of polyol and isocyanate, the ratio used was 1:1. After measuring out and combining the two parts, this was then poured into the mould, allowing it around 15-20 minutes to go off.
Left: The resin type used, (for my own future reference)
Right: A silicone mould with resin inside, waiting for it to go off. A previously made hammer head is on the table next to it.

Multiple hammer heads had to be made as air bubbles kept forming, and those wouldn't have been a good enough quality for this commission. Therefore casts were made until one went off without forming any air bubbles.

Before and After: Axe Head

Demonstrative images showing the before and after effects of buffing the axe head with wire wool and bronze powder.

Sculpting and Texturing

Before texturing, we assembled the main body of the set build; the archway. This was to make sure it fitted together so far, so any changes to the shape could be sculpted from the foam before the texture was applied over it. The texture dries very hard, so making changes prior to its application was ideal. The advantage of having a texture that dries very hard is that its also fairly impenetrable, and seeing as this piece will be in public use, having that coat protecting the soft polystyrene is really useful. At this point I had also assisted in the sculpting of the polystyrene, so it was beginning to resemble a rocky surface.

Once happy with the construction of the archway, it was taken apart into three separate sections again in order to be textured. As the Styroputz is quite a heavy texture, both when it's wet and dry, it's easier to apply when the polystyrene pieces are flat, else it begin to fall off. This is both inefficient and a waste of materials so deconstructing the archway was the most logical solution. 

Stone Samples

Before texturing and painting the polystyrene, I carried out some test samples in order to practise the scenic art before applying it to the final thing.

For this 'Flints scenic mud' was used to colour, and Styroputz was used as texture.

The styroputz is a premixed texture that can be applied straight to the polystyrene and left to dry. Once dried, it leaves a thick, course, sandy texture. It was impossible to apply with a brush as it kept rolling up and falling straight off the surface so ,with gloves on, it was applied by hand.

Final Design choice

Uploaded to the Facebook group by Tara Dunne on the 25th February 2016.

Having revised that it was not a historically accurate Victorian school house that the students wanted but instead simply something instantly recognisable as a school environment, the design team pitched the above mood board.
This design meant a much simpler ask for us as builders and sourcers, as all furniture/ windows/ wall texturing could be painted straight onto a dark grey background. Even though it meant we were limited to a black and white colour scheme, the mood could be changed instantly with use of coloured lighting.
As a whole, this design meant a lot less construction, therefore more of a budget to spend on other aspects, as well as presenting a far quicker method of creating the set which was vital in such a fast paced project.

Guildhall: Beginning making

After measuring out the polystyrene blocks we'd be using for the main body of the rock pieces, preparation for construction could begin. This included drilling into the polystyrene to begin creating the supports, (left) and using expanding foam to stick two pieces together. This would later on get used for the 'roof' section of the structure, (below).

Stage weights were used to weigh down the piece being stuck down with expanding foam, as as the foam expands, it would begin moving and pushing the top piece off if not adequately weighted. This was left over night to go off.

Initial Design Sketches: 'Teach Em' a Lesson' set

These are the initial sketches drawn by the TV Production students and given to us to look through during the first meeting. They where uploaded to the Facebook group we shared by Wesley, one of the TV student project leaders,  on the 25th of February.

They show a general idea and aesthetic of what they wanted the classroom environment to resemble, and already began to present a small list of props and furniture that would either need to be sourced or built. The term 'Victorian school house' was mentioned, but with further conversation, it was realised that it was just a typical school environment that they wanted; something that would be recognisable as a school with one look from the audience. This was a detail we took away for potential redesigns in mind.

Options of painting the windows and furniture onto the flats or to build these pieces where also discussed, as well as the brick work and wallpaper.

Stage specific photos: Bridewell Theatre

Photos taken specifically with audience views in mind.
Top image in from back row seating.
Above image is taken within actors space looking into the small undercut at the back. Photos not great quality due to taking them on my phone!

Bridewell Theatre location photos.

I put together a small mood board of the photos I took at the Bridewell theatre, showing the performance space from all angles as well as taking photos from certain tricky audience sight lines, e.g. the balcony is not visible from the back row seats. Details like this must be taken into account when designing for theatre, as not all the audience will be able to see the same view depending on seating.
These images also show the kind of aesthetic that the building already has in terms of architectural design and colour scheme. These potential details could also be used to the designers advantage when considering the visual narrative of the play, e.g. The stage had a lot of depth to it, which may be used to create physical or emotional distance with the audience within the narrative.

The details of the theatre space included a trap door, a long but narrow stage, little use of wings, Victorian styled architecture from where the space used to be a Victorian swimming pool.

Building Photos

Particularly picturesque buildings on the way to the 'Reefer Madness' project briefing, at the Bridewell Theatre, 26th February 2016.

Maidstone Studios Briefing

The day following the specialist pathway deadline brought us the first briefing at the TV studios in Maidstone. Having the opportunity to see the space we will potentially be working in gave an insight to the size and structure of the set that the students running the project had in mind.

After touring the building and rooms we would be working in, we also discussed the project brief. The proposed idea from the TV Production students was to create a half hour long program aimed at children called 'Teach Em' A Lesson'; A Victorian classroom set where two group of actual school children will participate in a series of challenges and quizzes, with strong themes of educational history.

The details that were of importance to us as the design and making team were aesthetics of set, an idea of dimensions and any props and costume required. With the budget of £600, some adjustments and compromises had to be made, but by the end of the meeting there was a good general idea of what was needed and the next steps to be taken: Initial designs, assigning roles and beginning making and sourcing. As this is the quickest hand in date to come around, the making and planning had to happen right off the bat.

24th February 2016

Final Submission Space

Final submission desk space/ set up for specialist pathway project. Included quilting samples, all sketchbooks and folders, final costume on a mannequin, final photos, storyboard and toiles. 

Final Costume Photo

My favourite photo from any of the photo shoots! Love the lighting that the studio manager helped me set up and the effect it has on the atmosphere. A lot colder, moodier, definitely the deep space vibe I was looking for. 

Photoshoot 2: Final Specialist Pathway Photos

Two images from the second photo shoot. A darker setting was used instead of the plain white backdrop last time, as I wanted to create a 'spacey' and more serious vibe. The first shoot, in using the white backdrop allowed for detailed shots of the costume and to experiment with character personality with the model too. However, the darker background gave a moodier feel and also created a bigger illusion of space in the studio.
At this point every aspect of the costume was completed, so shots from behind were achievable, as well as use of the helmet and shoulder piece.

Photoshoot 1

Four final images, taken myself in the first of two photo shoots. At this point, the chest plate had no back piece so only photos from the front were available when it was being worn. The helmet was already sourced and painted, but the colour was a little too light, and the shoulder plate had yet to be finished or attached to the chest piece. This photo shoot was organised to ensure I had professional photos for portfolio, but was carried out while I was still applying finishing touches to the costume! So overall I made time for two separate shoots, one that now shows progression and one with the final completed outfit.

EVA Armor Progress

Not particularly great quality photos, but here stands the chest piece as it was in a state of being shaped and painted! As my first piece of EVA armor and first time working with these materials,   I'm definitely happy with the current outcome. Photos of final painted piece will soon follow.

Miranda and Prospero Final Designs.

Costume Details:

Miranda has a blue painted on Earth symbol on her shoulder plate, that she painted on there when bored one day. Shows she’s creatively minded, curious of her home planet, proud of heritage.

Miranda has a better suit than Prospero, as he gives her the better things, and repairs his own with patches. 

The waist armor Prospero has is assembled from broke ship parts. 

Miranda always carries a medical kit, as her dad demand she be ready at all times in case she gets hurt. Shows protective tendencies from father. 

They have similar chest pieces but Prospero’s contains his badges from career. 

Circular patches on knees are elbows designed to cushion, protect and lengthen life of fabric in these wear and tear areas. 

Miranda’s suit is green to show her trainee status. Prospero’s is navy to show higher ranking. 

Suit and Ship Concept Art

This design concentrated on expressing personality through formation of posing the character, as well as developing aspects of costume, e.g. the suit, breathing system and helmet. At this point in the project I reaffirmed with myself that making each of these costume aspects in the designated time period was slightly unrealistic, and setting goals of priority was necessary. These ordered as: 1) Designing, sewing and completed the jumpsuit. 2) Sourcing, designing and restyling a helmet. 3) Potential armor pieces, or sections of costume that weren't to be crafted from fabric through sewing. 

Another potential space craft design, inspired by the bio-luminescent mushrooms being researched as part of the eco-system for the environment of the planet. 

Temper05 Spacecraft Design

Original design for scouting spacecraft used in my transposal of 'The Tempest.' Supposedly a small scouting vehicle, built for two people with a small amount of emergency supplies. Incapable of space travel, designed to roam and explore planet surfaces.

Specialist Pathway: Environment concept art.

Two pieces of concept art done in order to explore the environment of the planet I was creating as a set for my interpretation of 'The Tempest.' Looking at both the planet as a whole and the climate on land itself.
The image on top was drawn with reference to other artists work through research of planet surfaces.

Specialist Pathway: Costume Bible Sheet/ Orthographic Full Outfit

Final outfit with accessories over the top of the jumpsuit. New features include helmet, chest piece, shoulder pad, gloves and boots.

Guildhall Reference Photos

Above are images from the leaflet that Andy gave us during the guildhall briefing. It was explained what it is we'll be constructing and the process of making we'll be following. The inspirational contextual images were of Kits Coty (pictured below), which provided us with references of rock shapes, colour palette and a source for scenic painting.

Character Concept Art; The Tempest.

Ariel concept art for interpretation of 'The Tempest' from the project I've just completes at university. 

Thought it a good time to begin getting into regular blog updates again, as blogging will be a part of the module next term, there's no time like the present to attempt turning it into a regular habit! 

My idea for Ariel was that instead of being a fantasy based ethereal spirit or fairy, instead they're a piece of non-physical software or interface, that can be seen to the audience and characters as a hologram. 

Caliban concept art.
After being referred too as 'moon-calf' from one of the other characters, I decided to incorporate bovine features into my interpretation of the monster Caliban. 
The symbols seen are representative of the planets Earth and Saturn, which are the planets I drew inspiration from during the design period of this project. Having tattoos or brand marks also show ownership to Prospero, who calls to him as his slave. The scythe is used to both defend from unknown monsters on the planet, and harvest food for the humans Caliban serves. No breathing apparatus is needed for this character as he is native to the planet. 

Specialist Pathway: Costume Bible Sheet and Orthographic.

Front, side, back and side arm view of costume concept for current university project: Transposing Shakespeare's 'The Tempest' into my chosen theme of 50's retro futurism.

Learning Agreement.