Illustrated Theatre Production Guide, 2nd Edition

Working with Foam 385

Cut out pieces for the top and bottom of the base.

Rip enough of the 2″ × 2″ stock to fit around the

perimeter of the hollow structure. Cut the 2″ × 2″ strips

to length, and glue all of the parts together. Set this

section aside to dry.

It is easiest to work on carving and finishing these

two subassemblies while they are apart, and then to join

them before the cheesecloth is put on. Use the Surform

to even any parts that are sticking out, and round over

all the corners. Most builders agree that the more you

round over, the older and more weathered the finished

product will appear. You may wish to add a few cracks

and some lettering. Use a Sharpie to mark the lettering

and a pointy X-Acto knife to cut them out. Normally, a

large-handled utility knife is better for any type of

cutting, but in this instance, a long and thin blade is

the best. Cut straight in around the outside edges and

rake out the center like a chiseled mortise. Smooth all

surfaces with a piece of 80-grit sandpaper.

The final step before painting is to cover with

cheesecloth. This project is a bit more challenging to

cover than the stonework was. It is best to cut the cloth

into 12″ or 18″ squares of single thickness before begin-

ning, because large sections are too hard to control.

Bunch up the cloth where it must fit down into crevices

like the letter carving. If the cheesecloth does not go

down into the cracks properly, your hard work creating

texture will tend to disappear.

POWER CARVING METHODS

A very quick, but messy way to carve any kind of poly-

styrene foam is to use a drill and a wire wheel. Some

wire wheels are intended to be used to remove rust and

old paint from wrought iron railings and the like.

These wheels are perfect for carving, because they are

mounted on a shaft and can easily be inserted into

a drill.

There are two main types. One of these is 2 or 3

inches in diameter with a brush of wire around its

outside edge. The other has what looks like short lengths

of wire rope sticking straight ahead out of a central hub.

Both of these types of wire wheels are used to carve by

inserting them in a variable-speed drill and simply

gouging and shredding the foam from the surface of the

386 Illustrated Theatre Production Guide 2 ed

block. This technique can be used to create a number

of really rough textures, like stucco, bark, or rock. The

hub with the wire rope sticking straight out is the easiest

to control; the other wheel is more aggressive about

removing the foam. They both spew out an unbeliev-

able amount of foam chips. Safety glasses and a respira-

tor are a must, and you can expect to be completely

covered from head to toe with small bits of foam. A

good shop vac is essential for cleanup. I have found that

any time foam is involved in a project it is best to sweep

and vacuum up the leavings right away so that they are

not tracked all over the theatre.