Tag Archives: corpse

How to make a deer butt

In a previous post, we saw a deer butt which Natalie had built several years ago make a reappearance in a current production of A Lie of the Mind. I asked her to share how she constructed it.

Drawing and deer hoof
Drawing and deer hoof

She began with research and preparation. Without that, you can easily waste your time building something which is not quite right. She found a taxidermist who agreed to let her come to his shop and show her some techniques. She was able to make a series of detailed drawings to work from; she also scored the back half of a deer hide (as well as the foot pictured above). As you can imagine, with all the deer heads you see mounted in hunting lodges and man caves, there’s bound to be some left over rear parts.

Layup of solid wood pieces
Layup of solid wood pieces

She decided to construct it out of a solid chunk of wood for strength, durability, and realistic weight. With her drawings, she cut the wood into their rough shapes before gluing them up layer by layer.

Cutting away at the wood
Cutting away at the wood

Once the form had dried together, she began rounding down all the edges to blend it into a  seamless piece. She also carved in musculature for added realism; since it would be covered with a hide, she exaggerated the lines so they would still show through the thickness of the material.

Completed wooden deer form
Completed wooden deer form

With the form completed, she tested it for strength. The legs are fairly skinny, so she added a bit of metal rods in the thinnest areas for reinforcement.

Painting the exposed parts of the deer
Painting the exposed parts of the deer

Natalie painted the hoofs and mangled parts because they would not be covered by fur. Again, the research and reference materials showed her exactly what it should look like. She had also spoke with the taxidermist about what colors would be showing on the exposed innards.

Attaching the deer hide
Attaching the deer hide

She began attaching the hide to the form using Barge. The hide came split down the bottom center so it was a flat piece. That meant it had a seam along the bottom and down each leg, which she had to treat carefully to keep it from becoming too prominent or noticeable.

Completed deer butt
Completed deer butt

With enough practice, you too can produce props as deer as this!

A body for Bacchae: Part Two

In part one of “making a body for Bacchae“, we developed a series of samples and prototypes of dead body parts out of spray foam, Foam Coat, and Dragon Skin. Since then, we’ve been able to show the pieces to the whole production team; John Conklin, the scenic designer, and JoAnne Akalaitis, the director, gave us the go-ahead to continue on with the actual body pieces.

We started with a skeleton. We were originally going to get a skeleton from a medical supply store, but I found a corpsing tutorial at “Skull and Bones.com” which shows that you can get a “4th quality” skeleton from certain companies for a lot cheaper. It may be missing some hardware and fasteners, and the overall quality will be less, but all the pieces are there, and for our purposes, it was perfect.

The full skeleton laid out on a table
The full skeleton laid out on a table

We broke the skeleton apart into several pieces. In the play, King Pentheus is killed through sparagmos, and we had to make the end result. The legs and skull were three separate pieces. We left one shoulder blade and upper arm on the torso, which left us with one complete arm, and one forearm.

The first steps in adding muscle to the bones
The first steps in adding muscle to the bones

Like the sample pieces, we built the muscle up by spraying expanding foam onto the bones, carving it into muscles, and coating everything with Rosco Foam Coat.

Continue reading A body for Bacchae: Part Two

A body for Bacchae: Part One

For the upcoming production of The Bacchae at Shakespeare in the Park, we have to make a ‘meat suit’. In the play, King Pentheus is dismembered and has pieces of his flesh torn off by the Bacchants (the party-goers). This happens off-stage, but his torn-apart body is wheeled onstage, where his mother, Agavë, attempts to reassemble him.

The director envisioned a corpse covered in meat. We in the props shop needed to find a way to mimic that look. It also needed to hold up under the weather, as the Delacorte is an outdoor theatre.

Jay Duckworth, the properties director at the Public Theatre, decided to use Dragon Skin, a silicone rubber product from Smooth-On, Inc. It comes in liquid form in two parts. You mix an equal amount of each part together, and you get a viscous liquid which can be cast or brushed on. After a little over an hour, it becomes a rubbery solid.

Getting ready to use Dragon Skin
Getting ready to use Dragon Skin

We began experimenting with casting these up into meat-shaped pieces. Dragon Skin can be colored with “Silc Pig”, a silcone pigment which comes in a number of colors. I found good results by mixing two batches up simultaneously with different levels of pigmentation. By pouring them into the mold at the same time, we could achieve random differences in color throughout the piece, which gave more realisic results.

Jay pours Dragon Skin into a mold
Jay pours Dragon Skin into a mold

Jay found good results from painting the Dragon Skin directly onto the skeleton pieces.

Painting the Dragon Skin directly onto the skull
Painting the Dragon Skin directly onto the skull

I suggested using spray-foam to build up chunks of muscle on the bones, and then painting the Dragon Skin onto that. Along with Michael Krikorian, we prototyped up a number of bones with a variety of techniques to compare them. We decided that overemphasizing the depth of the ridges and covering the foam with Rosco FoamCoat led to our favorite results.

Layering Dragon Skin on top of foam
Layering Dragon Skin on top of foam

“Silc Pig” comes in a number of different colors, so we mixed various batches of Dragon Skin to simulate fat, muscle, skin, and various other bits of chunky ooze on the bones.

There are a number of important things to keep in mind. First, silicone rubber reacts with certain chemicals, which keep it from curing. Most importantly is latex, so if you use latex gloves when working and touch the mixture, it will remain in liquid form. Use vinyl or nitrile gloves. We also found that hot glue will keep the Dragon Skin from curing. Also, use an accurate scale. The measurements need to be precise, and you cannot do it by sight alone.

Most importantly, as always, good research is the key to a realistic product. Everybody knows what muscle looks like until it comes time to actually carve it. Needless to say, doing research for this project was particularly vomit-inducting.

Now that we’ve come up with a repertoire of techniques to use, we can begin work on the actual prop. Keep watching this blog for more photographs of our progress.

The final skull prototype. All photos by Eric Hart
The final skull prototype. All photos by Eric Hart

Seattle Children’s Theatre Props Shop

The Seattle Children’s Theatre blog has a good post up about the props for A Tale of Two Cities. Edie Whitsett, the properties shop manager, describes the amount of historical research they did for the show. More interesting is how they used the research. Sometimes they went with the most historically accurate objects, but other times, they adapted it to better suit the needs of the production. Edie puts it best in the article:

You have to maintain a balance between historical accuracy, the desired visuals and the technical demands of the play.

There is also an earlier post which has great process shots as they build a fake corpse for Ophelia.

Seattle Children's Theatre builds a fake corpse for Ophelia
Seattle Children's Theatre builds a fake corpse for Ophelia