Sunday, August 22, 2010

Cherries Cake ala Ellie


This is another of the 'Albert Herring' cakes. As you can tell, we put together quite a spread for the picnic.  This lovely cake is the work of props apprentice, Ellie "Biceps" Bye, another talented and sweet young props artisan.  Ellie used the standard recipe of insulation foam and acrylic caulk to make the base of her cake. The cherries on top are purchased artificial cherries from our stock.
Ellie is just nuts for fake cakes!
The real charm and cleverness of this cake is in its nutty exterior. Ellie used cork crumbles to simulate copped walnuts, pressing them into the caulk before it dried. The result is a cake that is beautifully textured, and looks good enough to eat. Yum!

If you'd like to read more about Ellie, you can take a look at this article at PhillyBurbs.com

Tuesday, August 17, 2010

Sham ala Keli

This lovely ham is yet another picnic prop for 'Albert Herring.' Crafted by our resident sculptor Keli Sequoia, and painted by our talented painters, this ham is a vision in foam and flex glue.  The body of the ham is carved from bead foam, and the slices of ham are microfoam sheeting- that thin, translucent foam used for packaging.  I believe the bone is made of bamboo. Keli did something very clever here, which was to reinforce the edges of the ham slices with wire, allowing the slices to gracefully drape from the ham. The slices of ham were attached to the body with green glue, and the ham was coated with flex glue (I believe) before being painted. The final touch is the real cloves, which you can see Keli placing in the photos. Well done, Keli, another beautiful prop from a talented lady!


Sunday, August 8, 2010

Herring-Do Part 3- Sugared Pansy Cake Ala Oona

Lovely Oona and her lovely cake. The photos don't do either of them justice.

This is a fine example of pastry fakery from a lovely young woman who claims to be a costumer/couturier but is just aching to let her inner propster out.  Oona Tibbetts created this lovely bundt while overhiring in our shop this summer.  I hope you'll all forgive me, my sub-par camera has led to some sub-par photos of this lovely cake. I assure you, the 'real' thing is far more scrumptious looking than these pics give it credit.  If any of you many wealthy readers want to see better photos, please send a Canon Rebel EOS to Anna Warren, C/O Milwaukee Repertory Theater, and I'll do what I can.  Now, back to Oona's cakery.

Here is the research image that Oona was given:
She decided to make a few adjustments based on size and the flowers we had available in our stock.  The cake that Oona made is taller and has a smaller diameter than the source photo, and she used violets instead of pansies. You see, my friends, adaptability! Oona started by carving the cake form from bead foam. After patterning the cake, she set the bandsaw table at a 10 degree angle, and cut the cake with a lovely bevel.  From there, she used an Olfa knife to carve away the scalloped pattern around the edge of the cake, and sanded the top to a graceful curve.


Once the shaping was done, a coat of Jaxsan (the magic prop goo) was applied to seal the foam and provide a paintable surface.  One of our talented props painters (Ilana Kirschbaum, I believe) painted the cake. Once dry, Oona glittered up a few silk violets (mmm sugared flowers) and applied them to the top of the bundt. Et, Voila!  Another darling addition to the Albert Herring picnic table.

Friday, August 6, 2010

Herring-Do Part 2, Strawberry Cream Cake ala JT


Some of you may remember my first guest contributor, JT Ringer, from his earlier post Canapes ala JT. Well, he is back on the Fake-n-Bake blog with his towering strawberry cream cake! Yet another picnic delicacy for 'Albert Herring', this cake is a delight for the eyes.

JT based his cake on this research photo:
We decided against the grapefruit.

Each layer of the cake is carved from bead foam, which lends itself well to the spongy nature of the angel food cake. After a coating of Jaxsan, the layers were painted by the talented Ilana Kirschbaum to give them that golden brown, fresh-from-the-oven look.

JT assembling the cake layers.  Notice his use of splash proof goggles, nitrile gloves, and a respirator. You can't tell from the photo, but he's working outside to spare his co-workers the fumes. How considerate!
The cream in this cake is made with Great Stuff expanding foam.  The foam is adhesive, so it holds the layers together, and holds the (purchased) fake strawberries to the top without additional glue. It is lightweight and durable as well, and is very useful in the making of food props.  The thing to remember, though, is that Great Stuff expands as it cures, so it's important to plan ahead.  Notice how the prop cake is slightly more towering than the research photo? Yup, expanding foam. Luckily, this precarious tower of angel food cake is the perfect opera prop- scrumptious looking, and ever so slightly larger than life.

Monday, August 2, 2010

Herring-Do Part 1- Candy Sticks

Hey all! I've just returned from my summer gig and boy do I have some sweet fake sweets for you! The next several posts will be dedicated to the talented props artisans and apprentices of the Santa Fe Opera, and their sumptuous creations for our production of 'Albert Herring.' This opera is the story of a young, innocent man who comes of age during a rum-fueled night of debauchery following the Loxford May Festival and his crowning as May King.  Naturally, the picnic table at the May Festival is an operatic smorgasbord of delightful treats, but we also find a few faux edibles in the Herring family grocer's shop.  To start us off, we have some of the candy treats from the shop, a sweet little piece of set dressing on a grand wall of propliness.  These confections are the work of John Daugherty, a young man who volunteered in our shop after his hours in the Orchestra Services Dept.

These candy sticks are simply made, but oh-so-sweet! First, John cut some 3/8" dowel (painted white) down to 6" lengths, and lightly sanded the ends. Next, he used hot glue to attach varying types of ribbon to the dowels, spiraling each ribbon around the dowel to create the swirled look of the candy.

Once the candy sticks were decorated, John wrapped each one in cellophane, twisting the ends and using a bit of Scotch Tape to secure the wrapping.  Such a simple process for such adorable treats! The candies went into jars onstage, just one more finishing touch on the lovely set.



See how proud John is of his tasty treats? Hip Hip Huzzah!

Monday, July 19, 2010

Short and Sweet- Candy Links

Hey all, I was looking online for vintage candy wrappers when I found these two websites.  I haven't given them thorough scrutiny yet,  but they both seem to be worth a peek.

http://www.candywrappermuseum.com/
This is one person's collection of candy wrappers past and present. A good resource for your propping needs.

http://mistertoast.blogspot.com/2006/06/candy-bar-wrappers.html
This is just a short, fun blog post with some sweet old candy wrappers.

Enjoy!

Wednesday, July 14, 2010

Spilled Cokes

Just a quickie this time, folks. My friend's mom is decorating the lobby of a theater where she works, and asked for a few spilled sodas.  These sodas are just Smooth Cast 325 casting plastic with a little bit of brown So-Strong pigment.  I poured them onto plastic wrap, and removed the plastic wrap once they were cured. See those flaws in the one in front? That's where there were wrinkles in the plastic wrap. Smooth out your plastic wrap!

Thursday, July 8, 2010

Safe Dial Part 2- The Casting

I cast the dial from Smooth Cast 325 using what they call a 'cold cast' technique, or what I call, schmooeying bronzing powder into the mold. This technique gives a metallic look to the resin. Here is how the process works.

Once I finished demolding, it was time to reassemble the mold.  The bumps and ridges formed by the cured rubber actually act as registration points for the mother mold. There are three important things to remember here. First, make sure the mold is seated well into the mother mold. The rubber should be solidly seated into the plasti-paste, without any wiggle.  The seam should be flush, and almost invisible, you don't want any leakage. Second, the mother mold should be clamped/taped/banded together- whatever it takes to get it secure and level. Leveling is very important for this casting, more so than usual because the back of the dial needs to sit flat on the safe, and the large surface area makes it harder to sand flat. Third, RELEASE RELEASE RELEASE. I used a liberal amount of Universal Mold Release in the mold before applying the bronzing powder. Release agent is important! Urethane resin is adhesive, and it will stick to all sorts of things- so I like to get some release agent pretty much anywhere I think I might get casting resin.

After the mold release was applied, I brushed bronzing powder into the mold. The idea here is that the resin will trap the powder in its surface and the finished casting will have a metallic look. Bronzing powder is another dangerous substance though, so before you use a soft brush to apply an even coat of powder to the inside of the mold, make sure to wear proper respiratory protection.




Once the bronzing powder was in place, it was time to pour the mold.  Following the directions, and wearing the proper protective equipment, I mixed the Smooth-Cast 325 and poured it slowly into the mold. It's always good to pour into the lowest point of the mold, and slowly allow the resin to rise. This will help prevent bubbles from forming in the casting. 



Once cured, I demolded the dial by gently removing the mother mold and peeling back the urethane rubber mold.  TA-DA!


 
I actually made two castings of this piece so that we could cut the center piece from the outside ring, and mount them to the safe so that the interior could spin.  To store the mold, I like to keep the mold in its mother mold, in a cool, dry place.

Wednesday, June 9, 2010

Safe Dial- The Mold

So, I haven't blogged about many of my casting projects here on Fake n' Bake yet, even though apparently this is some sort of blog 'dedicated to casting and molding....blah blah blah.'  The reason is that fake food is just so much more fun. Sure, sure, casting is great, I love my job, but who doesn't love fake cocktails? Or fake TV dinners? Am I right? That said, casting and molding really are a large part of what I do, and there are some fascinating things to be done with casting and molding- so I thought I'd start to share a few fun things with you. 

This first little project is a dial for a safe.  We have a beautiful antique safe dial in stock, it just happens to be permanently attached to one of our other prop safes. So, what to do? Our carpenter, Erik (a props GENIUS) asked if I might lend a hand by taking a mold of the existing safe dial and casting a new resin dial for our new vaccuformed safe.

Materials: Visqueen, Universal Mold Release, Smooth-on Brush On 40, Smooth-on Sonite Wax, Smooth-on Plasti-paste, mixing containers and utensils


Safety Gear: Splash Goggles, Apron, Sleeves, Nitrile Gloves, Ventilation Hood, Respirator

I started by making sure that my original was clean, and by shielding the things that I did not want to cast. I placed a layer of visqueen on the safe, cutting a hole for the dial, and taping the edges of the opening down with packing tape.  Next, I applied a release agent. This is so incredibly important in casting and molding, especially when working with adhesive mold materials like urethane rubbers.  I applied two liberal coats of Universal Mold Release, making sure to cover all of the nooks and crannies of the original.



I made the mold out of two layers of Smooth-on Brush on 40.  I like the Brush-On 40 because it is brushable (who would have guessed), strong,  and just the right amount of flexible. Also, you can really glob it on to get nice thick, strong support for undercuts, and spread it thinner where you need more flexibility.  Be sure to read all of the directions carefully, and don't forget about the MSDS. Although they play it down in the literature, and although the Smooth-on guys do demos at trade shows without any Personal Protective Equipment, all two part urethanes are bad for you.  They contain sensitizers, which means that the chances of allergic reaction increase each time you are exposed to them. While you may never have a reaction, why risk it? I say, err on the side of safety. So yeah, read the MSDS, read the Technical Bulletins, and protect yourself.



Once both layers of the mold were cured (I tinted the second to ensure coverage, hence the pink), I began on the mother mold.  Before smearing on the Plasti-Paste, it was time to put on another release agent.Smooth-on Sonite Wax is a petroleum based wax that works as an excellent release between the cured Brush-On Rubber and the Plasti Paste. Because the rubber will not be fully smooth, the Plasti-Paste can register into all of those little nooks and crannies- making it difficult to de-mold.  The Sonite Wax is thick and slippery, and helps the de-mold process immensely.  I made the mother mold with Smooth-On Plasti-Paste, a thick, goopy two part plastic which hardens into a strong mother mold.  This is another Urethane, so use that safety gear! Also, the Plasti-Paste can become very sharp if it is peaky when it dries, so try to smooth it as much as possible. The mother mold is made in two parts to allow it to come off of the mold easily. I waited for the first half to cure, then applied more Sonite Wax and spread on the second half.



Once the mother mold is cured, it's time to de-mold. I removed the mother mold, and then used an X-Acto knife to carefully cut a slit in the mold....just enough to allow the head of the safe dial to slip out. Any seam in your mold is a potential flaw in your casting, so it's important to plan ahead and cut carefully.

Next, the casting.....stay tuned!

Tuesday, May 25, 2010

Canapes ala JT

Hey afauxcionados, welcome to this week's blog. This week, we have a special guest contributor. My friend JT is a propster in Texas, and has some lovely canapes to share with us. I'll just let JT take it from here:

For a recent production of 'Much Ado About Nothing', the director requested a tray of simple canapes. I decided to go with a cheese spread on bread garnished with vegetables. Some were fake and some were consumed.

For the project you will need:
- Bread (I bought Pepperidge Farms pre-sliced stuff)
- Cheese spread
- Matte Acrylic spray
- White Acrylic caulk
- Tint (yellow ochre for this particular cheese)
- Oregano



I wanted to seal the bread that was not going to be eaten, so I let it dry out over night then sprayed it with four coats, or so, of matte acrylic spray. As a warning, the bread did shrink and warp a little when it dried so it’s probably not a good idea for close distances.

Next, I spread some cheese on two pieces of bread and enjoyed a snack while analyzing the cheese for color and texture.

I put some caulk in an appropriate mixing container and added just a little bit of the yellow ochre tint. I guess it was my lucky day because I was able to match the color without adding too much tint.

To simulate the herbs in the cheese spread I liberally added some dried oregano to the gourmet caulk mix. The oregano helped with texture, but was not visible as herbs in the cheese. So, after spreading some caulk mixture onto the bread I sprinkled more oregano on top and mixed it just enough to lightly coat the oregano in caulk but so the green color still showed. After the caulk cured I sprayed a little bit of satin acrylic spray over it to give it a little gloss.



 The (almost) end result was:


Left to right, the first 2 pieces of bread are real cheese and the third is caulk. For the show all of the canapes were dressed with shreds of real carrots or cucumbers, which were (obviously) replaced each night on the fake canapes.

Anna again-
So, propsters, do you have a lovely food project that you would like featured on the blog? Send it on over to propsanna@gmail.com along with photos and an explanation of your process. If I like what you sent, I'll put it on the blog. Happy propping!

Friday, May 14, 2010

Thai Take Out


 
This project was for our production of “Happy Now” last season. The couple is unpacking their take out Thai food while they have a fight, and the noodles end up spilling all over- with an instant clean up, of course.

These noodles are the ones that stayed safely in their containers, and they are a very simple recipe. The noodles are made of thin slices of translucent visqueen. I added some tofu chunks (upholstery foam), some cilantro (plastic herbs), and some fake peapods, and then tossed it all in the sauce. The sauce is flex glue, with a little bit of raw sienna acrylic paint mixed in. The flex glue works well, because not only does it give the look of sauce, it also helps to hold everything together.

The spillable noodles were made from hot pour vinyl, also cut into thin strips, and tossed in baby powder to keep them separated. They were also garnished with fake cilantro and peapods. To keep the lid ready to fall off, I filled the lip of the lid with hot glue, which made it sit on top of the container without latching. The noodles spilled convincingly, but also were easily swept back into the container for clean up. Once the containers were preset in the take out bag, the couple was all ready for their fight.

Thursday, May 6, 2010

Getting Settled

I have arrived safely for my summer opera gig. My internet access is very limited right now, but I'm trying to remedy that. It is my hope to be posting again soon- I have a safe dial casting project, a nativity casting, some thai food, and other treats coming up, so check in soon.

Happy Propping,
Anna

Thursday, April 29, 2010

Hitting the Road

Hey all, I'm hitting the road for my summer gig. Please forgive a bit of downtime, I'll try to get my internet up and going ASAP, and bedazzle you lovely people with new posts just as soon as I can.

Happy Propping
-Anna

Friday, April 23, 2010

Fauxsciutto Part 1

 The real deal. Check out that awesome stache!

 So, sometimes I like to take a break from my job of making fake food to spend a little bit of down time making fake food. I also like to tout new, exciting things that are happening in my neighborhood- especially new foody propsy things!  A few weeks ago, some good friends, my husband, and I toured a new meat curing facility in our neighborhood. Bolzano Artisan Meats is the first dry curing facility in Wisconsin, and is owned by a charming couple who are clearly passionate about their product and their process. After touring their facility, and sampling several of their delicious products, we got to talking. While we enjoyed our lesson on the history and process of meat curing, we wanted more, we wanted visual aids! So, we mentioned this to the Bolzano Meatsters, and they mentioned to us how they'd been dreaming of a display prosciutto, and we mentioned to them that Jen and I made fake stuff for a living, and somehow an idea was born. We decided to create a fake prociutto, modeled off of Bolzano's speck prosciutto.  I would do the sculpting, and Jen would do the painting, as Jen is a far better painter than I. So, step one is completed, I have carved the prosciutto, and I am handing it off to Jen today. Here is the process thusfar:


Materials: Insulation Foam, Green Glue, Dowel, Jaxsan, Cheesecloth


Step 1) Research Photos
I was lucky enough to get some in person research for this one. Scott (see above photo) was kind enough to allow me to come in and photograph one of his prosciutto from every angle. I also took measurements on the prosciutto, noting them on a quick sketch in my notebook.  (Note the gloves, beard net, hat, and white jacket. These guys are serious about sanitation.)
Like so.
And so.

Step 2) The Foam Blank

This project, like so many, is carved from pink insulation foam, which is available at most home improvement stores.  Pink foam, like blue foam, is easy to carve with a band saw, hand saw, utility knife, etc, and can be sanded smooth when the carving is done.  It is lightweight and durable, and is an invaluable theater material. If you've seen a play in America, there is an 84% chance that you've seen insulation foam carved into something else. (Ok, I made that statistic up.)  I decided to place a dowel through this piece as well, to give the thin part of the leg some extra stability. I layered the foam in the usual way, sticking the layers together with green glue, having first cut a v shaped trough for the dowel. Once the layers were together, I trimmed the sides on the block so that the blank was nice and square, and traced the basic shape of the prosciutto onto the faces of the blank.

Step 3) Carving the Shape
When cutting, it's important to remember this: It is always easier to remove more later than to add material back on, so err on the side of caution. Because I squared off my blank, I was able to do most of my cuts on two planes. What I mean is this, I carefully cut away the excess from the ham shape. Then, I taped the excess foam back onto the shape, as if it hadn't been cut away. I then rolled the blank over 90 degrees, and cut the profile shape of the ham. When I removed all of the excess, I had a basic shape cut into all four sides of the ham.
Ta-da!
Once I had the rough shape cut into the ham, I used the research images to lay out the details. I used my trusty Olfa knife, a hand saw, a Japanese saw, and course sandpaper to whittle down to the correct shape, before smoothing it all with some medium grit sandpaper.


Step 4) Coating and Texturing
This coating was a tough one. I was hoping to try out some casting latex, but none was available. I considered flex glue, but decided that it wouldn't give a tough enough skin. I finally went with my old stand by, Jaxsan. For the bottom of the prosciutto, or the top of the leg, whichever you prefer, I used cheesecloth covered in Jaxsan to give a striated look. I also used a bit of cheesecloth up over the hoof to give the little toes a bit more stability. Once I had the Jaxsan on, I used a spray bottle of water to wet down the Jaxsan, and smooth it out more. Then, I hung the whole thing to dry overnight.


















For the most part, the project went really well. If/when I make another, I'm interested to play around with new coatings, and also to get more detail on the hoof.  Once I have photos of the painted item, I will post them! Also, if you like the fake ham, you should definitely try out some of the lovingly crafted Bolzano products, available in Milwaukee, and at their online store.
















                                                                                                                                                                                                                              

Tuesday, April 13, 2010

Roast Beast in Gravy

Materials: Upholstery Foam, Jaxsan, Paint, Hot Pour Vinyl, Hot Pour Vinyl Pigments, Foil Tray



In this season's production of "Yankee Tavern", we come upon the remains of a funeral reception. Tables are littered with empty beers bottles, overturned cups, dirty paper plates, crumpled napkins,and a buffet table of picked over catering trays. One of the requested items was a foil tray with roast beef and gravy, pictured above. (You can see the cheese platter here.)

The roast beef and gravy was actually a fairly simple process. I cut upholstery foam into a roughly beef-like shape on the band saw, and then sliced that chunk into thin slices. I used Jaxsan (AKA the magic prop goo, one of my favorite products) to coat each of the slices, using a toothpick to trace in the major marbling texture.  Once the Jaxsan had dried on  both sides, I painted the beef.  Research images show that beef slices have a dark brown rind on the outside, pink centers, and brownish gray cooked meat in between. I used an initial spray of Dusty Rose Design Master spray paint, then washes of acrylic paint to get my color. Even though the beef is almost entirely covered with the gravy, it is still good to get the base at least close to correct.

After arranging the beef slices in the tray, the final step was to make the gravy.  The gravy is clear Hot Pour Vinyl, tinted with M-F Plastic Color. I believe I used Brown and Root Beer color, but I don't remember exactly.  Hot Pour Vinyl is liquid when heated, and a sticky, shiny gel when dried. It is used to make plastic worms for fishing.  While pouring the vinyl, I tried to make it look as if people had been serving themselves. I got as much 'gravy' as I could on the sides and corners of the tray, even dripping some over the edges.  Though it is not pictured here, I also put some of the gravy on a serving utensil, which was left in the pan.

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