My barriers and final outcome...

My barriers!

The processes I chose to construct my final prop didn’t come without they’re barriers. In fact so much so that I do not think it will be complete by hand in. My issues included:

1. Complications with processes

Plaster is a little awkward once it begins to solidify it becomes a lot less easy to manipulate. I found myself struggling to keep my rotating device moving and keep a precise and equal plaster form. I feel I  made the mistake in sometimes mixing too much plaster with water… this made the consistency lumpy, quick to harden and quite bubbly- which ended up being my downfall in the process. Once hardened my forms had cracks, holes and lumps and I spent a lot of time making them “vacuum form worthy”, sanding and filling with polyfiller.

2. Lack of knowledge on more complex tools

I feel, had I known how to use the Lathe this process would have been a lot more controllable, quicker and easier to manipulate and correct if an issue arose.

3. Indecision

It took me some time to decide what I actually wanted to make and how I was to make it. I was torn between three different possibilities and how I’d go about making them, whether it’d be aging and transforming an already existing project or making something from scratch using what I’d learnt the last few weeks.

4. Time management

I feel my time management could have been better. I should have presumed something might happen to complicate the construction of my prop just in case it did. Time restrictions on the workshop also meant i couldn't correct an error later in the day and i needed to leave more time for things to cure and dry.

My final prop...

...will be a chamber candle stick holder, based on a 1900s white enamel example I found on the net... http://museumvictoria.com.au/collections/items/256091/candlestick-holder-enamel-floral-pattern-circa-1900. This site seems to be a legitimate Australian website specialising in antique, cultural collections. I have found a few other examples of enamel candle holders but their time origins are a little ambigious. What I have noticed with enamel objects (which i personally find very aesthetically pleasing) is that most tend to have a "lip" of metal on the rim, curled under and coloured a dark shade of blue or black. Here are some examples...

Candlestick Holder - Enamel, Floral Pattern, circa 1900

Antique German Enamel Candle stick holder

Antique French enamel candle stick holder

Examples of other enamel objects from the same time period…

To produce my chamber candle stick holder I decided to make it from the beginning. My task was to create a lightweight prop, which hypothetically speaking would cost less to produce then buy an original, once made I could reproduce the same design. I also have to give the illusion that it is enamel and old/used.

A vacuum form came to mind first and stuck. Complications with the vacuum form are that my design would have "undercuts" preventing me from separating the original mold from the plastic, so three different molds to make up the final form would be necessary: the base, the neck and the handle. The process I have chosen to use is the same as the one we used in our first practical seminar on making WW1 helmets. I need to:

1) Design my candlestick's shape and size. Make a cross section and then half it. 

2) Construct a rotating device that cuts a symmetrical shape into plaster that is solidifying. 

3) Once formed and primed the plaster forms go into the vacuum former and then I have 2 parts of my candle holder, the base and neck.

4) The handle would be made of heated and bent thermoplastic. 

5) I can paint a design or the rims of my pieces on the matt side of the plastic to create the desired affect.

* Using a workshop machine called a Lathe (a wood turning tool) would have been beneficial in creating the candlestick holder shape rather than plaster. It would have been quicker than the plaster process but unfortunately I am not fully trained on this machine and this tool demands more skill and experience!

A Very Long Engagement and My Boy Jack

A very long engagement, 2004 directed by Jean-Pierre Jeunet follows the woes of a young french woman searching for her fiance lost in battle in the trenches of world war one. As we go deeper into the story she unravels the truths and secrets behind her fiance's disappearance, determined he is still alive and not dead. The film is in colour with I'd say a saturated and yellow glow. I can only presume this use of contrast and yellow saturation was used to enhance the very natural and neutral colours of the surrounding set, environment and costume relevant to the time. I found this film very sweet being a story primarily about the love and determination of a physically (but not mentally) fragile woman and felt it highlighted the mental and physical struggle soldiers had to endure and the lengths they would go to just to leave the depressing condition that was the world war one trenches.

My Boy Jack, 2007, directed by Brian Kirk follows the short life of Jack Kipling, Son of Author Rudyard Kipling as he attempts and eventually succeeds in leaving his home and joining the army, becoming a world war one Lieutenant. Complications about his eyesight are his initial obstacles and a reluctant mother and sister. He sadly dies in battle and the central focus becomes the grieving family back in England. There are some good comparison shots of dark, rainy days in Belgium and bright, sunny days in the English country side. My boy Jack is shot in crisp colour reflecting a lot of detail in I’d say a hinted tone of blue. This could reflect the cold conditions of the war and the death which the film highlights.

Visually both films are rich in reference to 1914-1918 interiors and fashion in Europe. A very long engagement's set decorator was Veronique Melery and Nicki McCallum was art director for My Boy Jack. Both seem to have contributed artistically to other “period dramas” that refer to historical fact.

Bringing home the bread and cheese...

Today in our practical lecture we looked into creating light weight and robust props out of polystyrene and polyurethane. This process is messy and our task was to make Belgian bread and cheese based on factual reference. My bread was based on Belgian Abbey bread and my cheese was based on a cheese made by Chimay- a Belgian company specialising in beer and cheeses:

 http://www.chimay.com/en/en.html?IDC=27 The cheese is called The Poteaupre: the cream of the Trappist cheeses.

Step by step:

For bread…

1)      Mark your desired shape with a pen or pencil onto your block of polystyrene and with a retractable knife cut the larger unwanted pieces away.

2)      A. Use a surform to cut/sand away and smooth down the areas of the polystyrene that you want rounded and shaped. Remember the bread loaf is an organic form so there is room for error/random strokes and dents, BUT no straight/square surfaces.

3)      Prop filed down and sanded polystyrene form  on a small bowl and newspaper (away from wood base surfaces as the PVA will stick).

4)      Mix 10% water with PVA glue (for easier consistency) and cover form in muslin (process quite like paper mache) muslin reinforces prop and gives an equal surface.

For cheese…

1)      Mark your desired shape with a pen or pencil onto your block of polyurethane and with a retractable knife cut the larger unwanted pieces away.

2)      For polyurethane only cutting and possible sanding is necessary. You can cut the larger areas with a ban saw, as it doesn’t melt. Smaller details can be made with a craft knife.

3)      For a smooth or even lumpy texture you can coat your polyurethane form in idendon, which is reinforcement and makes your prop fire resistant. You can also cover in PVA mixture and muslin.

* For a lumpy texture I mixed idendon with bits of tissue and covered my cheese form.

My narrative...

Inspired partially from the Christmas truce in 1914 between the British and German soldiers, I recently decided what my narrative was to be... Two injured soldiers (one English, one German) form an unlikely friendship when they both seek refuge in a Belgian cottage on the outskirts of Ypres in a village called Boezinge. The cottage belongs to a widower of a Belgian soldier killed in battle. Being a kind and forgiving woman she takes both soldiers into her cottage to nurse back to health. My setting is a basket-like sofa next to a fireplace. The props I am considering to make are: an early 20th century wash bowl and jug- she would have used this to clean the soldiers wounds and for washing them; a wine or whiskey bottle to represent possible bonding between the young widower and the two soldiers; and/or a candle holder used constantly when any of my potential characters have wondered or pondered in the dark of night!

Alfred Bastien, 1915, Belgium soldiers share their food with an
 old lady who refused to leave her home

Christmas truce, 1914

Researching Possible/Probable props...

Researching Possible/Probable props themed from 1910-1918 Belgium ain't easy! There are many routes I could go down to find a good reference to a probable and interesting prop to make that relates to our subject matter: World War One meets Belgian society. The problem is, as I've mentioned before it seems production of pretty much everything ceased, slowed down or was limited and instead military artillery was made! What I've decided to do is research French/ Belgian antiques from 1900-1910 and if i can find it interiors and exteriors for good reference and inspiration! Antique sites are good and even eBay for photos of dealers antiques. I've found a french antique book that I will look into. I've also come across a film called A very long engagement (which i mentioned in my first post) I've found clips and screen shots of the characters in the cottage in the french countryside, I think these could give me some insight, inspiration and maybe reference into life in Europe during WW1!.


I made some Fimo models during the summer aswell themed to WW1/ 1914-1918... Assuming food was rationed and limited and most would have been non-commercialized I stuck to eggs bread and milk! Oh and a clock!

Molding and casting the walnut...

Molding the Walnut...

For our 3^rd practical lecture we looked into making silicon molds and resin casts. This process can be cheap and costly and can produce hollow, flat or completely solid casts.

1)     Dowling can be drilled into the base or most practical place to allow complete coverage of the structure in silicon and to pick up as much detail. In this case it was a walnut.

2)     Stick dowling end onto your plastic base using a glue gun.

3)   With another four squares of the same plastic create a box like structure, ensuring the box is only as big as it needs to be to reduce using too much unwanted silicon cast. Plastic weld is used to fuse the sides and base together.   You can use a hot glue to reinforce any seams and fuse any potential leaking spots.

4)     Mixing the silicon is a 10:1 ratio. E.g. if you used 200g of silicon, you’ll need to mix 20g of hardener with it!

5)     Stir until equal consistency. Draw air bubbles out using a vacuum degassing machine.

6)     Pour “degassed” silicon mixture into box starting at the corners and sides to prevent/reduce new air bubbles forming.

Casting the walnut...

7)     Resin ratio is 50/50 or 1:1 to make final amount. E.g. If you wanted a final mixture of 100g you’d used 20g of part A and 50g of part B.

8)     When your silicon mold has hardened and ready you’ll need to cut through to the middle to relieve the original structure (the walnut). Make a jagged cut (rather like a jigsaw piece, so mold can always be placed together correctly). Create an air bubble for the gasses that need to escape during casting. Ready you silicon mold and pour resin into your pour hole- made with the dowling drilled into the structure at the beginning.