One type of Ribbon Flowers made for A Midsummer Night's Dream fairy umbrellas.
A second type of ribbon flowers for umbrellas
A close up of the second typeof flowers.
These are the flowers in action, put together by another artisan.
A Branch and the plans for the branch for A Midsummer Night's Dream. The rosettes are made out of different types of trim.
A first iteration of a dog on wheels for The Moon in Midsummer. These were later changed and re-structured by a fellow artisan after the acting company decided they liked this concept.
The little dots seen on the walls are the rosettes of trim made by all of the prop artisans as well as volunteers from The Guild (the USF volunteer organization).
The Moon frame and base were made by the scene shop. The sticks and lights and seat were added by the prop shop. I put the front bottom facing on the moon, as well as, added some of the sticks to the moon. This was a joint effort with the work of 5 different artisans, several carpenters, and paints.
Angels were carved for Juliet's tomb for Romeo and Juliet (R&J). They were carved out of 2 inch insulation foam using a band saw, utility knives, rasps, and sand paper. They were then covered in cheese cloth with a mixture of white glue and water.
This is halfway through carving one of the angels. The face looks silly, due to only the very tip of the nose being the full 2 inches tall.
A second partial carving.
This is two of the angels covered in cheesecloth and glue/water mixture.
This is the final product used in the show. Feathers were added by someone else and paints painted them to match the tomb. This tomb was another large group effort with several artisans and painters working on it.
These are points added to the chandelier for The Play That Goes Wrong. They were traced on to sintra and cut on the band saw and the holes cut out using the scroll saw. After being cut, they were sanded and painted black, then they were attached to the metal chandelier with epoxy.
Here is a closeup of the finished product.
These are sets of clock hands for TPTGW. Traced onto sintra and cut on the band saw. The holes were cut out on a scroll saw. I cut out one pair and another artisan cut out the 2 other pairs due to time constraints and switching to doing tech.
One pair of clock hands.
This pair of handcuffs were extended.
Here they are extended.
Barometer cut out on the band saw. Foam was added to the back and around the sides. There is a 4 inch metal plate on the back that I cut on the metal chop saw, the edges grinded down, and pre-drilled on a drill press. These were installed with stove bolts. These metal plates were used on everything that falls off the wall for TPTGW.
Here is the barometer finished on the wall, a different artisan painted and finished it after it was cut. The Sword on the wall, I switched handles with another sword and guillded the sheath.
Here is the chandeliere, clock hands, barometer, and sword in use.
This is a chair that I pulled apart, added extra support to and button tufted. This was my first time button tufting. When looking at the finished products, you can see I had different success with each method. The first method, I pulled tightly and fastened with washers. The second method, I pulled the strings, wrapped them around tek screws I put on the bottom of the seat ( a recut 3/4 in pl
Something I was not anticipating for this project was the amount of math I had to do to get the buttons to line up perfectly. The buttons had to be spaced out perfectly. To figure out the spacing of the buttons, I first had to make the base into a perfect square, from there, I had to divide with the numbers of rows and columns to find the correct spacing. This picture shows some of the spacing a
This image shows the new webbing I put in, the math for the back panel, and the layers of faux leather, muslin, and batting.
Here is the bottom of the seat with the aforementioned first method. This way, I needed someone to help me, the other way was a lot more independent. With putting the buttons on, I poked a hole all the way through the foam and wood and fabric layers, then put the needle in hole first, put one end of the strings through the needle, then my button then the other end of the strings. I then pulled
After pushing the fabric "folds" into the foam cuts, I fastened the strings in one of the 2 methods mentioned, then trimmed the strings and stapled the fabric on like how you would change a tire, make a flat, or change a drum head. The star method is my best friend when in doubt.
This is the first chair before tack lines were added. She's a bit frumpy. This was the first time I ever button tufted and I learned a lot.
Here is the second chair. The tek screw method worked so much better for me! It's half tacked at this point, but generally, the chair is done at this point!
Here are the two fully finished chairs in use at Emma.
I made an ironing board cover for A Raisin in the Sun. I patterned it to fit the board. It is made out of the top fabric, muslin, and a thick batting. The fabric was surged after being cut, before being sewn together. This is at the end of the run, Thus you can see exactly where and how the actor ironed.
The cover stays on with the help of elastic in a casement. The corners of the cover are clipped, notched, and graded where needed.
Here is a photo during the production.
Here is a flower I added leaves and a stem to for The Green Show. I braided the short stem on the flower into 2 pieces of thick floral wire, finishing as a twist as I got to the 2 pieces of wire. I covered it in 2 layers of floral tape. Then I cut two leaves out of craft foam and dry brushed them with different shades of green paint. To attach them, I used a bit of hot glue and floral tape.