An essential model-making tool

David Neat, essential model-making tools, solid metal guide blocks

I’ve always made a point of recommending these! I don’t know how I would get things done these days without solid, right-angled steel blocks .. to use as guides for construction, for gluing against or weighting down. I’ve noticed though that my enthusiasm has varied between ‘absolutely essential’ to ‘very useful’. The reason for my occasional reticence is that up to now I haven’t been able to recommend a reliable source .. but now I can! I’ve just received these .. seven in all .. which I ordered from  https://www.metalmaniauk.com/ because I’ve always wanted to use them on my courses.

In the past I had assumed that the custom cutting charge would be too high but these seven cost me all inclusive £33.10. I chose the ‘Bright Flat Mild Steel’ which has the essential square ‘sharp’ edges; and the bar type ‘1 x 3/4’ inches, which I felt was the smallest limit before the blocks lose the necessary weight; and I decided that a 15cm length would be fine for most tasks. Here is the specific link to the product

https://www.metalmaniauk.com/Steel/Bright-Flat-Bar/Bright-flat-mild-steel-bar-1-x-34.aspx

MetalMania do not have a minimum order so one could buy just one of course. This would cost £3.80 for 15cm, but postage within the UK seems to be fixed at £6.50 up to a few kilos so it would make more sense buying two or three.

A recap on why they’re so useful

I’ve written about them many times both here and in my book. The most useful application is when gluing two pieces on edge, applying glue to one and then positioning the two pieces together against the metal block so that one can be sure of getting a clean and straight edge.

David Neat, Using metal blocks to aid construction

It is especially important having this firm ‘stop’ when using superglue because it has to be right first time and .. more importantly .. it doesn’t matter if superglue squeezes out onto the metal because it won’t stick to it strongly. The piece just needs to be ‘popped’ off. You have to remember to scape the metal surface clean with a scalpel occasionally because it can build up. If you have two blocks, as below, you can construct perfect corners!

David Neat, Using metal blocks to aid construction

Blocks of any kind with enough length are also invaluable when trying to layer thin strips on top of each other i.e. for these decorative mouldings.

David Neat, Using metal blocks to aid construction

They can also be useful for holding elements in place while gluing, as below where I’ve taped a curving piece of styrene between them to hold it in that position while I brush plastic solvent into the join. The same can be done with thin superglue.

David Neat, Using metal blocks to aid construction

 

Finally, and by the way .. I feel it’s worth noting that dealing with MetalMania was a smooth experience with a couple of pleasant curiosities! In the first place their website is different from what I’m used to when trying to get hold of heavy-duty industrial materials .. bright, friendly and simple to understand. Delivery was trackable and came within 4 days using Parcel2Go .. not the usual kind of breathless courier at the door but three teenage girls! I didn’t find out why because they didn’t seem to want to be quizzed about it. On the MetalMania website they state under the heading ‘Animal Policy’ that ‘It is this companies policy NOT to supply any organisation or individual involved in animal experimentation of any kind’. Currently on the website is also a condolence message for those affected by the attacks in Spain which is accompanied by this photo. I don’t know what to make of it .. but it’s really got me thinking!

condolence message

 

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‘Contemporary Living’ at Christie’s South Kensington – Part 2

Miniature exhibits from the interactive model for 'Contemporary Living' at Christie's, made by David Neat 2017

If you want to see Part 1 of this series just scroll down to the previous entry, which will also give fuller information on the context. This was a commission from the London gallery The New Craftsmen for an ‘interactive model/installation’ exhibited at Christie’s during ‘Contemporary Living: Art, Craft and Design’ April 1-4 2017. The exhibition brought together work from Christie’s, The New Craftsmen and the South African gallery Southern Guild. All in all I had to make more than forty model versions of the exhibits complete with decorated plinths, which anyone could then move around to ‘curate’ their own exhibition within the space.

Here I am presenting a selection of my model versions accompanied by the publicity photos I was working from and a little information about each artist/designer. I have also included some notes on the materials or the techniques I’ve used to simulate the objects.

Porky Hefer

Models of Porky Hefer 'Fallen Bird's Nest' and Charles Haupt 'Num Num Branch', Southern Guild, made by David Neat

South African artist Porky Hefer’s Fallen Bird’s Nest is in reality woven ‘kooboo’ cane with a leather cushion. If I’d been able to allocate more than just a couple of days to this interesting piece I would have attempted weaving very thin, soft wire or even tried a 3D printing ‘pen’. But I had to settle for making a basic wire armature, then modelling both canework and cushion in Super Sculpey, painted with acrylics.

Porky Hefer 'Fallen Bird's Nest', model by David Neat

 

Porky Hefer 'Fallen Bird's Nest', kooboo cane and leather, courtesy of Southern Guild

Above the original Fallen Bird’s Nest, kooboo cane and leather, courtesy of Southern Guild.

Charles Haupt

Charles Haupt 'Num Num tables', models by David Neat

Charles Haupt works in bronze, with his own art foundry called Bronze Age in Cape Town. His speciality is making cast bronze components which can be configured in various ways as table supports or stands. For these he takes his inspiration from the regular thorns of the native South African Num Num shrub. For me these pieces were the most challenging to represent, partly in keeping them as thin but smooth as possible and also because, in the case of the tables, the structures have to be very finely tuned to meet both the ‘floor’ and the level tabletop.

Featuring Charles Haupt 'Num Num' coffee table, courtesy Southern Guild

Luckily I could snip out the basic shapes in pre-welded wire mesh, then model a thin, smoothed layer of Milliput to achieve the distinctive appearance. This needed a lot of delicate sanding before basecoating in dark matte acrylic, then dry-brushing Treasure Gold wax-gilt finish. The thin acrylic table tops had to be secured to the supports with the merest dots of superglue.

Charles Haupt 'Num Num Branch', model by David Neat

Previously the original Num Num Coffee Table in cast bronze and glass, and below the Num Num Branch in polished bronze. Photos courtesy of Southern Guild

Charles Haupt 'Num Num Branch', polished bronze, courtesy of Southern Guild

 

Miniature exhibits from Christie's 'Contemporary Living', interactive model made by David Neat

The ensemble above features some of the smaller works presented by The New Craftsmen from Nic Webb, Edmond Byrne and Leah Jensen. In the model I represented smaller works such as these in a slightly larger scale to reinforce their presence alongside the larger pieces.

Edmond Byrne

Edmond Byrne 'Glass Bowl with kaolin patina in amber', model by David Neat

Edmond Byrne is an Irish glass-blower whose technique involves blowing into hand-made moulds. Byrne lines these moulds with various materials such as clay or fabric which impart rough, matte effects on the cooled glass surface, in contrast to the sleek and glossy interior.

The easiest way I could achieve this in the model was by doing a similar thing .. by modelling a shape then making a mould from it. I then coloured some clear, viscous epoxy resin (Poundland epoxy adhesive) with a smudge of oil paint and spread it into the mould. To enhance the dusty patina on the outside I removed the cast while still a little tacky and brushed talc into the surface.

bowl making process

Below the original Large textured glass bowl with kaolin patina in amber. Photo courtesy of The New Craftsmen.

Edmond Byrne 'Glass Bowl in amber', courtesy of The New Craftsmen

Nic Webb

Nic Webb 'Moon Jar', model by David Neat

There were two very beautiful pieces by Nic Webb .. the sycamore Moon Jar represented above and the boxwood Lost Vessel below. Webb had given the sycamore a rich, dark finish which, as it turned out, I could suggest fairly well in slow-baked Super Sculpey with a few coats of brown shoe polish. Apart from the scorched interior the boxwood Lost Vessel was much paler so I had to use paint .. and never really got it! I realise now that I might have done better if I’d used a mix of translucent, cream and light brown Sculpey without needing to paint.

Nic Webb 'Lost Vessel', model by David Neat

Below the original Lost Vessel and Moon Jar courtesy of The New Craftsmen. The colours in this quick reference photo are not accurate.

Nic Webb 'Lost Vessel' and 'Moon Jar', boxwood and sycamore, courtesy of The New Craftsmen

Stanislaw Trzebinski

Stanislaw Trzebinski 'Mesa Ya Mwamba' model by David Neat

The young South African designer Stanislaw Trzebinski takes inspiration from marine forms, especially the ‘sea changes’ effected by aquatic organisms. Apparently he envisioned his sturdy tables as if underwater .. floating and transforming. As wood he uses muninga (also known as kiaat in Afrikaans) which is warm with a distinct, lively appearance. I wanted to trial a different technique for simulating this and needed it highly polished.

I was pleased with the results obtained surfacing the plinths with patterned acetate so I tried the same with the table surfaces .. finding a suitable image; adjusting the scale and printing on inkjet compatible film, which was then spraymounted onto the Pvc table top, ink-side down (once it had dried on the film, which can take a while!).

Stanislaw Trzebinski 'Mesa Ya Mwamba' model by David Neat, detail showing surface

One of the virtues of this method is that the pattern feels ‘within’ the surface (rather than sitting on top, like paint). Inkjet ink is transparent, so layers can be superimposed for richer, darker effects. Lastly, the top surface of the acetate is a perfect ‘mirror’ gloss, if this is the aim, but it can also be subdued as I’ve done here by rubbing with scouring sponge or superfine sanding pad (available from specialist decorator’s shops such as Leyland). When cladding a surface in this way it’s always better to cut the image slightly larger; spraymount onto the image; press and rub onto the host surface; turn over, and trim the edges with a fine scalpel. I’ve used 3M Display Mount for a strong bond.

I used strong, thin glassfibre rod for the legs (because it bonds well to the Pvc top) then modelled the details in Milliput. Below is the actual table, entitled Meza ya mwamba, cast bronze and kiaat, courtesy of Southern Guild.

Stanislaw Trzebinski 'Meza ya mwamba' table, model by David Neat

David Krynauw

David Krynauw 'Jeppestown Waiting Bench', model by David Neat

The Johannesburg designer David Krynauw chose panga panga wood (related to wenge) for this version of his Jeppestown Waiting Bench. In it he’s paid homage to the traditional riempie furniture method (using worked leather thonging for seats or backs).

I cut the basic framework out of 2mm Palight, then there was a deal of edge smoothing. Of course I had to take a shortcut with the criss-cross thonging (which in reality is surprisingly thin), substituting pieces of plastic embroidery mesh. Below is the real Jeppestown Waiting Bench, panga panga and leather, courtesy of Southern Guild.

David Krynauw 'Jeppestown Waiting Bench', Southern Guild

Meyer von Wielligh

Meyer von Weilligh 'Leaf Sideboard', model by David Neat

‘Meyer von Wielligh’ is the duo Norman Meyer and Abrie von Wielligh. They have created a number of versions of their Leaf Sideboard .. this one using ash wood and steel, the leaf patterns inspired by leaves scattered on the floor of Knysna Forest, in the Garden Route area of South Africa.

For me, once again Palight foamed Pvc came to the rescue, because it can be easily embossed .. sparing me the chore of inlaying real wood veneer which wouldn’t have done the job at that scale anyway.

Meyer von Weilligh 'Leaf Sideboard' detail, model by David Neat

Below is the photo reference for Leaf Sideboard, solid ash and steel, courtesy of Southern Guild.

Meyer von Wielligh 'Leaf Sideboard, ash wood and steel, courtesy of Southern Guild

William Waterhouse and Louisa Loakes

William Waterhouse/Louisa Loakes 'Cherry Day bed', model by David Neat

For their Cherry Day bed collaboration William Waterhouse made the structure and textile designer Louisa Loakes hand-printed the mattress and head-roll. They both work in London, William specialising in furniture and installation pieces often employing movement and mechanisation. I found it easiest and ‘neatest’ to model mattress and roll in Sculpey, then paint with acrylics. The written dimensions suffered in transit, so my version ended up a little short!

William Waterhouse & Louisa Loakes 'Cherry Day bed', cherry wood and steel, hand-printed fabric. Courtesy of The New Craftsmen

One of William’s kinetic installation pieces was included in the exhibition; the Beaufort (Air Powered Machine) .. a mesmerising chandelier-like structure fed from an unseen air pump. Since I couldn’t hang anything in the model, mine had to rest as if ‘off duty’ on a plinth.

William Waterhouse 'Beaufort (Air Powered Machine)', model by David Neat

Photos of the original Cherry Day bed, cherry wood and steel with hand-printed textiles and Beaufort (Air Powered Machine) in brass and air, courtesy of The New Craftsmen.

William Waterhouse 'Beaufort (Air Powered Machine)', brass and pumped air, courtesy of The New Craftsmen

Heino Schmitt

Heino Schmitt 'Be Seated', model by David Neat

Heino Schmitt’s bench which he entitled Be Seated utilizes an unusually large piece of olive wood which he found on a river bed. Some of the original nature of the wood has been retained at the edges but combined with decidedly man-made elements in brass and steel. Once again I grained and painted Palight for the seat. Photo below courtesy of Southern Guild.

Heino Schmitt 'Be Seated', olive wood, brass and steel. Courtesy of Southern Guild

Trevor Potter

Trevor Potter 'Weaver Nest Lamp', model by David Neat

Trevor Potter’s Weaver Nest Lamp represents a fascination with a weaver bird colony near to his home. Like a number of the other South African designers he favours bronze, because of the freedom it gives to model in an amenable material such as wax before making inflexible in metal. A quote from him about the work is worth giving in full:

‘Nest-building exemplifies a drive to create and it is in this instinct, shared by all life, that consciousness shows its face and expression can be noticed’

My simple expression of it just involved Pvc, wire and Sculpey. Below is the original, bronze and glass, courtesy of Southern Guild.

Trevor Potter 'Weaver Nest Lamp', bronze and glass, courtesy of Southern Guild

‘Contemporary Living’ at Christie’s South Kensington – Part 1

 

Miniature exhibits and 'push tools' from the interactive model 'The Patron's House' exhibited at Christie's during 'First Open' April 2017

I have just finished work on a particularly interesting, rewarding .. and of course demanding! .. piece commissioned by the London gallery The New Craftsmen for a showing of their artists’ work in conjunction with pieces from the Johannesburg based Southern Guild and items from Christie’s contemporary collection. The ‘exhibition’ .. along with my miniature, interactive version of it .. will be briefly open to the public at Christie’s South Kensington under the title ‘Contemporary Living’  from April 1-4 before the auction process starts. So yes, it opened already yesterday .. but it’s public tomorrow from 9.00 – 17.00 and on Tuesday 9.00 – 17.00, continuing 18.00 – 20.30 .. admission free!

The idea was to include a playful, dollshouse-related, interactive model within a showing of applied craftsmanship and artist/designer furniture .. so that visitors can actually rearrange the exhibits according to their own preferences. ‘The Patron’s House’, as it’s titled in the show, is really a more simplified, ‘toyed with’ version of the exhibition space, but opened out to allow more access.

'The Patron's House' Contemporary Living at Christies, April 2017

'The Patron's House' David Neat, Contemporary Living at Christie's, April 2017

The work had to be done relatively quickly .. there were more than forty individual objects and, within the realm of the model, each piece had to have its own plinth. This was mainly for practical reasons, so that the pieces can be moved around without harming the delicate models. From the beginning we felt that the plinths should be somehow decorated .. stark white plinths may often be the safest option in real-space, but the model needed something more playful. In the end I opted for a mixture of patterned, plain white and veneer-clad plinths. Another thing that was clear to us from the beginning was that there needed to be some juggling with the scale of the objects themselves .. so that the smaller objects could retain enough presence in competition with the larger. This is a feature of traditional dollshouses .. whether intentional or not. I chanced upon the idea of making ‘positional rakes’ similar to those used by a croupier, because participants needed to be given more ‘reach’ .. we couldn’t do away with the three main walls because the ‘paintings’ would need them, so the model could only be comfortably accessed from one end.

'The Patron's House' David Neat, Contemporary Living at Christie's, April 2017

'The Patron's House' David Neat, Contemporary Living at Christie's, April 2017

I had the chance to take photos of the individual model pieces while they were still in my studio, so I’m presenting them here followed by the photos of the real-life pieces I’d been using as reference. I often only had one publicity photo to work from plus outline dimensions, though The New Craftsmen provided a thorough series including details and good ‘white balance’, which helped a lot when trying to assess true colours or identifying materials. Nevertheless with many of the objects I had to settle for a reasonable ‘overall suggestion’ or sometimes even a ‘playful variation’ on the essential look. This was just as well because it was perhaps inevitable that the galleries had to make some mid-term changes to the exhibits, meaning that what arrived was a different version of what I’d been working on. For each object I’ve also included some notes on the materials and the processes I used, some of which I developed specially for this work.

Conrad Hicks

Conrad Hicks 'Implement Table' and 'Copper Chaise', Southern Guild, models by David Neat

Conrad Hicks 'Implement Table', Southern Guild, model by David Neat

South African Conrad Hicks works principally with forged metals, in these cases copper and iron. I had to use real copper sheet to achieve the look but the verdigris is just an acrylic paint job. After experimenting with a few different scaled thicknesses of copper before it would behave, I finally spraymounted two of the thinnest together to combine the right strength with easy bending. I didn’t have to beat it! .. the texture was easily done with an embossing tool. Deciding what to use for the iron frameworks was difficult at first, but in the end cutting out shapes in 3mm black Palight ( foamed Pvc ) proved the best solution. Below are the photos I was referencing for Conrad Hicks Copper Chaise and Implement Table, both forged copper and iron, courtesy of Southern Guild.

Conrad Hicks 'Copper Chaise', Southern Guild

Conrad Hicks 'Implement Table', Southern Guild

I wanted the plinth decoration throughout the range of objects to be as noticeable but also as subtle as possible .. and I wanted it to last, and not get dirty from handling. I wanted colour and pattern to ’emerge’ from the surface .. so neither direct painting nor pasting paper prints would do! I also wanted the pattern to fade out smoothly at the top, otherwise it would clash too much with the objects. In the end I found that inkjet printing 100micron clear transparency film with found pattern images and gluing inked side down to the plinth Pvc with strong spraymount ( Photomount or Craftmount ) did a perfect job! To be safe I let the printed sheets dry for a day before using (the ink takes much longer to dry on acetate). I also needed to prepare special strip portions of the pattern images first, using the Graduated Filter in Paint Shop Pro to fade each strip at the top. Once applied and trimmed, I ‘silked’ the surface of the film to take away the gloss with fine abrasive cloth.

Sebastian Cox

Sebastian Cox 'Scorched Shake Sideboard', model by David Neat

Sebastian Cox 'Scorched Table', model by David Neat

The British furniture maker Sebastian Cox, represented by The New Craftsman, uses traditional woods .. specialising in coppiced timber and self-managed woodland .. but often subjects them to a very controlled surface scorching resulting in a deep black. For both his sideboard and large table I found again that black Palight worked best of all because I could vary the surface effects from a slight-sheen sanding for the sideboard to a deeper matte graining on the table. For the front doors of the sideboard, which in reality are composed of cleft ‘shakes’ .. a form of shingle traditional to Japan .. I had to texturise thin strips of 1mm white Palight, apply them, then paint them with matte black Humbrol enamel. I dry-brushed with a slightly lighter acrylic to further emphasize the texture. I felt that the table needed a simpler, veneered plinth .. in this case oak sealed with water-based ‘satin’ varnish. Below is the real-life Scorched Shake Sideboard, but since the table was a new work there is no proper photo as yet ( courtesy The New Craftsmen and Gareth Hacker Photography ).

Sebastian Cox 'Scorched Shake Sideboard', courtesy The New Craftsmen and Gareth Hacker Photography

Dokter and Misses

Dokter and Misses 'Kassena Isibheque', model by David Neat

Dokter and Misses are not a married couple in spite of what the name might imply, but a multi-disciplinary Johannesburg design company of more than two. One of their special ‘Editions’ .. as different from their ‘Products’ .. is their ‘Kassena’ collection, a unique looking range of robust wooden cabinets which are all hand-painted, inspired by the painted adobe structures of the Kassena people from the border region of Ghana. These cabinets contain drawers which are almost hidden apart from tell-tale hand slots .. because my time was limited I had to sacrifice this feature. For the same reason and also because of the minuteness of the scale I had to simplify the geometric patterning (which does actually represent texts in an indigenous writing system) and resort to Letraset to create an effect. Below is the original, hand-painted solid beech wood Kassena Isibheqe, courtesy of Southern Guild.

Dokter and Misses 'Kassena Isibheqe', Southern Guild

Bristol Weaving Mill

Bristol Weaving Mill, Rag Rugs ('Blue Ombre' and 'Yellow & grey'), models by David Neat

Also represented here by The New Craftsmen, BWM had two rag rugs in the show made by Juliet Bailey, one of the directors. In the model I mounted these either side of a freestanding plinthed wall piece. For the first time I felt I was using my usual recommendation to use painted sandpaper for carpets to good effect! I painted a very coarse sandpaper white first then detailed the colours in matte acrylic. Below is one of the two originals, the Yellow & grey courtesy of The New Craftsmen.

Bristol Weaving Mill, rag rug 'Yellow & grey', The New Craftsmen

Mock Mock

Mock Mock (Pieter Henning) 'Stone Tables', model by David Neat

Pieter Henning’s design label Mock Mock produces, amongst other things, simple combinations of copper and stone of which these ‘tables’ are an example. Henning comes from the Klein Karoo valley in South Africa. I didn’t stand a hope of bending and soldering flat metal strips at this scale so I cut the slender shapes from thin styrene sheet, combining with discs of thicker Pvc.

Detail of Pieter Henning's 'Stone Tables' for Mock Mock, models by David Neat

To suggest the coloured stone or marble patterns I started with a generalised base colour, then stippled spots of lighter acrylic using a piece of reticulated foam. Tissuing this before the paint was properly dry created a more natural and varied effect. The copper is simulated with Humbrol metallic enamel. Below are the items Southern Guild originally intended to send .. the ones which arrived were significantly different, not as colourful though of the same type. In a sense this didn’t matter .. it became part of the model’s separate and playful existence.

Pieter Henning 'Stone Tables' for Mock Mock, Southern Guild

Gareth Neal and Kevin Gauld

Gareth Neal & Kevin Gauld 'Brodgar Bench', model by David Neat

The ‘Brodgar Bench’ featured on the left above was designed by London-based designer Gareth Neal and made by Orkney chair maker Kevin Gauld. The model needed to be mainly wood, nothing else would have been right .. in the end I used a combination of obeche, limewood and bamboo for strength. For the woven straw back I resisted trying any woven fabric, fearing a fibrous mess .. so ended up engraving the weave pattern in 1mm Palight (to the right is a day-bed from Louisa Loakes & William Waterhouse which will feature separately in Part 2). Below, the original Brodgar Bench, oak with woven straw back. Courtesy of The New Craftsmen

Gareth Neal and Kevin Gauld 'The Brodgar Bench', The New Craftsmen

Jesse Ede

Jesse Ede 'Lunar Bench', model by David Neat

Lastly for this part, another very different form of bench from the South African Jesse Ede. Most of the original was cast in recycled aluminium, making use of the rough, pitted texture .. so Humbrol ‘silver’ enamel with a little sand mixed in simulated this perfectly. The distinctive slate shard was easiest to model in polymer clay then paint using my ‘open foam print’ technique. The photo of the Lunar Bench in recycled aluminium and Malmesbury slate is courtesy of Southern Guild. The photos illustrate how one needs to be wary of foreshortening when judging photos .. my proportions are fairly accurate!

Jesse Ede 'Lunar Bench', Southern Guild

 



 

 

 

New Blades 2016

Once again 4D modelshop and the colleges taking part (see the list below) have come together with a truly excellent show of graduating work .. unique, inspiring as ever and unmissable .. if one could make that single June 9th! I could have easily spent a week of my life there and considered it both a lot of fun and a valuable education, especially if it included the chance to talk more properly to the exhibitors who are always so approachable!

This post is just a sample because I want to include much more eventually, but it will take more time to collect together the right information i.e. more images, proper titles and some background info from the makers involved. There was so much that was praiseworthy .. I felt there was even more inventiveness this year, and consequently more of the unexpected. I congratulate those who received awards on the night and accept that these were deserved .. but I have to say that these choices were much at odds with what I personally found most noteworthy or inspiring in the show!

New Blades 2016 featured 120 graduates from the Arts University Bournemouth, University of Hertfordshire, University of Bolton, City of Glasgow College, University for the Creative Arts and and Dun Laoghaire Institute of Art, Design & Technology. For the complete photo album of the 2016 show .. pretty good photos under the circumstances! .. go to:

https://www.flickr.com/photos/newblades/albums

 

Annette Larsen Skjetne

Above Annette Larsen Skjetne below Emily Bowers

Emily Bowers

 

Alex Wilson

Above Alex Wilson below Christine North

Christine North

 

Becky Marsh

Above Becky Marsh below Alex Lanfear

Alex Lanfear

 

Luke Black

Above Luke Black below Sophie Magern

Sophie Magern

 

Where to look for ready-made forms

I’ve compiled a new page List of sources for ready-made forms which I’ve put in the Materials section under ‘shaping’. If you’ve ever searched for something just the right size for puppet eyeballs, wondered whether you can get mini ‘taxidermy’ domes or whether there’s maybe a ‘magic’ way of making model bottles, you may appreciate this list and some of the tips included. I’ve copied the introduction and a short extract from the list here.

inside 4D modelshop, London

There are many instances where being able to take advantage of a pre-formed shape could not only save a lot of time but also opens up exciting possibilities .. promoting the work beyond one’s technical means. But often the thought of having to take the ‘time out’ to hunt down the right something is a dissuader, as is the notion that somehow using something ready-made is a bit of a cheat! I started this list originally to encourage myself to make more use of the ‘ready-made’ by having a quicker overview, but also because whenever I came across useful ‘things’ I never knew where to note them down for the future.

I’ve tried to divide the list into categories as far as possible, so here is the ‘Table of Contents’:

Discs especially small, in various materials; Domes flattened or semi-circular, whether thin/hollow or solid, including taller display domes; Spheres or balls whether hollow or solid; Ovals in 3D; Wheels and cogs; Teardrop shapes; Cones mainly solid; Straight dowels, rods, cylinders i.e. solid, circular in cross-section; Small rigid tube mainly plastics and metals; Larger round tubes including cardboard and plumbing supplies; Patterned rod or tubing because there are some; Curved or bendable rods, flexible tubing to include foams, Pvc and silicone, cable supplies; Rings; Trumpets, funnels etc; Eggs wooden or polystyrene; Blocks  ‘off the shelf’ and lastly Other forms for the rest.

Each section is organised by supplier and the underlined product titles are from the online catalogues so you can find them more easily in searches. The fact that this wording is sometimes specific and unpredictable is the reason why I’ve bothered to make a separate list in the first place .. after all, one could just do a Google search as/when needed .. but unless one uses many different search words some possibilities would always be missed! Prices were last updated in May 2016, all adjusted to include VAT. I haven’t just listed the cheapest, rather those suppliers who seem to offer the most useful range. If you have anything to add to the list your suggestions will be welcome!

 

Trumpets, funnels, ‘bottle’ shapes and superglue dosers

Heatshrink tubing or ‘sleeving’ is made from polyolefin plastic ( i.e. polyethylene, polypropylene ) and commonly used in electronics/electrics for wire insulation or bundling. It shrinks uniformly when heated with a heat gun, usually in the ratio 2:1 meaning it becomes half as small. It comes in different diameters and the clear versions are ideal for making small-scale ‘bottles’. Finer heatshrink tubing also makes very good ‘dosers’ for superglue work, to attach around the existing nozzle if more precision is needed (Poundland includes a few already in their packs of superglue bottles). I should note though that you will need a heat gun (preferably a small one) to shrink the tube uniformly as shown below.

clear-heat-shrink

www.cablecraft.co.uk

Easi-Shrink’ Heatshrink Sleeving available in small diameters 1.2 – 6.4mm, and bigger sizes up to 100mm. 3.2mm diameter is ideal for 1:25 scale bottles (since these are commonly 8-9cm wide). Price for clear 3.2mm £0.83 per metre.

heat-shrink tubing

www.e-deala.co.uk

1ml or 3ml pipettes e.g £10.99 for 500 3ml pipettes

1ml and 3ml pipettes

I’ve included these because there are sections that can be cut to make reasonably good model bottles (from the thinner 1ml) or glasses depending on the scale you need. Bear in mind that this polyethylene plastic is never ‘glass’ clear, it has a slight frosting.

www.modelshop.co.uk

Plastic funnel set 50, 75, 100 and 120mm diameter £1.85

plastic funnel set

www.partypacks.co.uk

Plastic party glasses are a good source of shapes, but online suppliers don’t usually list measurements except capacity in ml.

Clear Brights Plastic Champagne Flutes’ 148ml (like image but clear, uncoloured) £4.14 pack of 10

plastic flutes

 

Template drawings for furniture model-making

At last I’ve had the chance to clean up and improve some of the furniture drawings I’ve always used for model-making workshops, and so I’ve gathered them together as Template drawings for furniture model-making in the Methods section. The page includes this mid-18th C ‘rococo’ armchair which has always been popular .. though a bit challenging to make at 1:25! I’ve drawn most of the plans and reproduced them at 1:10 scale for greater accuracy though some simpler ones, such as those for ‘folded’ furniture using stencil card, are 1:25 scale.

1:10 scale rococo armchair drawing

I think I’ve sorted out the problem that has been occurring of ‘thumbnail’ images not responding i.e. normally a better quality image can be opened by clicking on the images here, but I’ve only just found out that it hasn’t been happening for recent posts. So hopefully if you ‘click and save’ any of the drawings you’ll get the size they’re supposed to be. I’ve given the source resolution so that you can compare it and I’ve also listed key measurements in the text so that you can check accuracy in the printout.

Template for making 1:25 scale folded chair in stencil card

 

 

Making a panelled door in stencil card

Recently I was asked by a friend to cover for her on the ‘Foundation in Art & Design Diploma’ course at Central Saint Martins. The day was intended to deal with aspects of model-making relevant to a project the students are currently working on. Each is designing an enclosed space with particular emphasis on the doorway leading into it, so we took the opportunity to focus on doors and the different methods of simulating surfaces.There was no budget available for materials so I had to devise a short practical using whatever small leftovers I could spare. The most promising idea seemed to be working with stencil card since I had a lot of small pieces, and stencil card was available at the CSM college shop if the students wished to take it further.

making a panelled door in stencil card

So I spent a bit of time working out the easiest way to make the traditional panelled door above. I’ve already looked at layering stencil card to create the wall panelling effect below and I also discovered some time ago that stencil card could be scraped with sandpaper leaving a fairly convincing ‘woodgrain’ effect, but I hadn’t combined them much. Also, the panelling below was made by carefully marking out and cutting the layers separately, then just as carefully aligning them while gluing. This is quite demanding! .. I wanted to make it more achievable.

using stencil card for wall panelling and windows

The improved method involves four layers (but as yet only dealing with one side) and the only ‘graining’ done is on the top layer and on the bottom layer where the ‘panels’ are seen. Everything is led by the ‘second layer down’ .. the one shown first in the line-up below, on the left. This is the one which needs to be carefully measured, marked out and cut. These doors are 1:25 scale and I’ve rounded off the UK average for a traditional interior door as .. 198cm high by 76cm wide. If you want to be either very specific or if you’re working in feet and inches, it’s properly 6′ 6″ by 2′ 6″! What happens within that outline is more a matter of taste .. there are no similar ‘standards’ for the size or arrangement of the panels. I’ve cut the first piece of card according to what looks right, but also I’ve observed with 4-panel doors that the top pair are usually longer than the bottom and there’s most often a broader strip across the base of the door for strength. The long thin panel in the middle is not meant as a letter box but it could house one, and the handle or doorknob would be positioned roughly halfway up the door which makes it on average a little less than 1 metre up.

stages in making a panelled door in stencil card

The drawing below should print out on A4 at exactly 1:25 scale and if you’re using this design as a template only the first one needs to be traced or pasted, as I’ve said .. the others are just there to illustrate each stage of layering. It goes like this .. after the first is cut out it should be stuck down onto another scrap of stencil card leaving a small margin around it. Spraymount works well, as long as you don’t intend to treat afterwards with a spirit-based medium because this will dissolve the glue .. otherwise superglue applied with care (very thin lines or dots) works perfectly. Pva wood-glue will grip but not bond very well with the stencil card surface. Trim around the outline of the door using the top stencil layer as a guide then judging by eye cut out all the panel areas a little inside the top-piece outline all around making a little ‘step’ .. as illustrated by stages 2-3 above and below. It may take some practise to get an even strip but it’s too slight to measure/mark. I’ve used the smallest division on the 1:25 scale ruler as a visual guide.

stages of making door using stencil card

This piece is then stuck onto another piece of stencil card and the outer edge trimmed again as before .. before doing this the stencil card which comes underneath needs to be ‘grained’ first because this will show. For these examples I’ve used a small piece of 120 grit sandpaper to grain, pressing firmly down and straight along, using the edge of a metal ruler as a guide. Once all three stencil card layers are stuck together and the door outline trimmed around once more (stage 4 in the line-up above), the fourth and final layer comes on top. This one is applied differently though, in separate pieces. It has to be because the grain of each strip must follow its longest edge .. essential for a convincing look! The task becomes a bit like marquetry in wood, but much easier because the stencil card is easier to cut. I grained a much larger piece of stencil card first and cut the strips from it, and I made these a little narrower to form a final ‘step’ around the panel areas.

colouring stencil card door with ProMarkers

There’s almost no end to what one can use to stain or paint stencil card because, in spite of the linseed oil waterproofing, it will accept both water-based, oil or spirit-based media. I’ve detailed a number of these already in my post February 2015 The art of alternative staining where I’m working with wood, but all will work well on stencil card. In fact many will work better because although a fine-grained wood is often the best option for a good ‘wood’ look when it stains well, it can also be difficult to eliminate the scattering of light specks where the polish or stain has failed to penetrate. Generally stencil card accepts stain a lot better and more evenly.

For the two samples above I used Letraset ProMarkers. The alcohol ink in these covers well and dries quickly, though it stains so well that the lighter scratches tend to disappear. These are ideal if you want something subtle. The ProMarker ink itself dries matte but there is a very slight sheen from the stencil card.

staining stencil card with Marabu GlasArt

If you’d like more shine or even brighter colours another option is using Marabu Glasart glass paints above, or ‘vitrail’ as they’re often labelled. These are spirit-based and, in the case of the Marabu, can be diluted or cleaned up with white spirit. One has the choice of either a silky or a glossy finish dependent on how much is applied. Here for example I brushed the vitrail on thinly and also went over with tissue and cotton bud to remove the excess collected in the raised edges .. if I’d just left it the effect would have been more glossy. Vitrail doesn’t work well as successive coats, because like shellac a further coat just starts to dissolve the one underneath and the results could be patchy.

colouring stencil card with shoe polishes and wood-stains

As shown above, if you’re intending a worn or ‘distressed’ effect I would recommend either a liquid shoe polish (which are almost always water-based) or a water-based wood varnish. These will tend to sit more on the surface rather than staining, and with each of these samples I started to rub or gently scrape after only a few minutes, before fully dry .. achieving a properly ‘chipped’ look fairly easily. These are, from left to right, Wickes ‘Quick-dry Woodstain’ mahogany; Cherry Blossom brown shoe polish, Kiwi ‘Wax Rich’ black shoe polish. Stencil card will warp a little with water-based media but not as much as other cardboards and, once dry, it is easier to bend carefully back into shape.

Conventional wood-stains also worked well .. both spirit and water-based. The middle one has a light coat of Colron ‘Georgian Oak’ and to the right I have used a water-based ‘Dark Oak’ wood-stain from Flints in London. The spirit-based stain has remained fairly matte whereas the water-based dried to a slight sheen. Spirit-based stains will also infiltrate quickly to the other side, even when more than one layer .. worth bearing in mind if this will be seen.

colouring stencil card with shoe polishes and wood-stains

Lastly, for the pale sample to the left I tried Osmo Dekowachs ‘Transparent White’. This is a specialist wax-based paint I was using in Germany which I still have some of, though these paints are also available in the UK. Like Humbrol enamels I’ve found that these paints will fix on almost anything. The first coat of Dekowachs is always matte and one has to build up a shine with further coats.