Sculpting Foam Balusters

I built a hot wire cutter to sculpt some balusters out of EPS foam.

Here's a video to see it in action. The sound is muffled since we're wearing respirators.

And here they are in use for Much Ado About Nothing

Thanks to Jacobs Online for helping me figure out what transformer to use.

Color and Paint

Here are some slides on color mixing and paint tools we use in theatre.

Clipboard Project

Step 1: Rip Wood

Step 2: Glue and Clamp

Step 3: Plane

Step 4: Trim Ends

Step 5: Round Corners

Step 6: Sand Faces

Step 7: Sand Edges

Step 8: Drill Holes

Step 9: Apply Finish

Step 10: Attach Clip

Design Statements

A design statement should be no more than one page and should cover the following topics:

1. The root action, themes, and ideas of the script.
2. The conceptual approach to the production and the director's vision statements.
3. How your design element fulfills that production concept and supports the script. Present your design goals as well as the specific design choices you have made in order to fulfill those goals. Review the "functions of design" for your discipline and address those as needed.

Here is an example statement for a scenic design of Henry V.

Scenic Sculpture Process Photos

Step 1. Enlarge your image so that it is roughly 24x36 inches. (You will probably need to print on several pieces of paper. If so, apply tape the entire length of the seams on both the front and the back of the papers. You will later be cutting this image into multiple pieces, and you'll want these original seams to be solid.) Transfer the outline of the entire image with a sharpie on foam.

Step 2. Determine what parts of the image will be furthest back (on only the bottom layer of your sculpture) and cut those areas away from your image. Leave these areas on your bottom layer and outline the rest of the image on the next layer of foam.

Step 3. Repeat the process of cutting away each layer and outlining the next.

In the end, you will have cut your image into layers, with only the most prominent features on the top layer.

Step 4. Cut each layer out with a jig saw or band saw. Glue the layers of foam together, giving yourself a "block" of reference lines from which to sculpt. Use the 3M #74 foam glue. Follow the instructions on the can - apply to both sides, let each side dry until "aggressively tacky" and then press the two sides together. Let it sit overnight.

Step 5. Use a pounce wheel to transfer the internal lines of the image, then trace over the pounce wheel with a sharpie. This essentially transfers the entire image to each layer of foam. Then dive in and start cutting. There are an infinite number of tools that cost lots of money, but I've found that a serrated kitchen knife and sand paper work the best.

Live Flame Plan

In order to be approved for using any live flame on stage (even a candle) we must write a Live Flame Plan and get it approved by the local Fire Marshall and by the GFU Director of Safety.

The plan should include every detail about the live flame including contact information; locations, dates and times of all rehearsals and performances; step-by-step descriptions of all actions that involve live flame and names of all people who are involved in those actions; and descriptions of all safety measures.

Here is a copy of our Live Flame Plan for our production of The Broken in 2012.

Please note that this is a specific arrangement we made with our Fire Marshall at this university at a specific time for a specific event. It is offered here as a help, but may not be sufficient for your situation. Get to know your local Fire Marshall. She will help you know what you need to know.

Adhesives

My wife, Kim, sent me this link to a super cool site that helps you determine the best glue or adhesive to use. Great for props or scenery or costumes or just about anything.