Sunday, July 14, 2013

Becoming Mr. Hardcastle

Mr. Hardcastle

I've taken a hiatus from blogging for the last three or four months, not because I had nothing to say but because I had no time to say it.  I have been working sixty plus hours a week for the better part of three months.  In that time I've spent precious little time on the computer.  Work, eat, rehearse, sleep.  That's about it.

So here's how all that came about.

I was assigned several months ago to design the costumes for "She Stoops to Conquer".  As I read the play, I found I really liked the character of Mr. Hardcastle.  I drew him first and felt that the whole costume design hinged around that design.

The design team, which consisted of Hyrum Conrad the director, Richard Clifford the set and lighting designer, Antonia Clifford the sound designer and me as costume designer, met several months ago and discussed where we needed the show to go in each of our respective areas.  Because of a line Mr. Hardcastle spoke in act I, ("It was but yesterday he fastened me wig to the back of me chair, and when I went to make a bow, I pop't me bald head in Mrs. Frizzle's face!") I told Hyrum that I wanted whoever was to play Hardcastle to shave his head into male pattern baldness, and to either be portly already or to wear a fatsuit.  We also decided the part should be cast age appropriately.

We bandied a few  names around and didn't agree on anyone, and left it at that.  About a half an hour later, Hyrum came to my office and asked me if I would like to play the part of Hardcastle.  I immediately said, "Yes!"  Then I asked, "Does this mean I have to shave my head?"  He nodded.

Prior to him asking me, I had not even considered myself as a candidate.  I am really glad he asked me to do that part.  I literally did not have a single bad day of rehearsal throughout this process.  I never once asked myself, "Why did I ever agree to this?"  Every day was a joy for me.  I worked with some very talented actors and had a good stage management and tech crew.  I always enjoy working with Hyrum.

He works in an unorthodox fashion called "Mosaic Acting" which allows for much deeper character study and development I think, and it makes the actors take more responsibility for the final product.  It really becomes a partnership, and great discoveries are made.  There is much more freedom to explore a character in this way of working.  Instead of a director telling you what to think or where to move, you learn your character inside and out and move appropriately.  If I am ever fortunate enough to be cast in another play where we perform in this way, I'll blog about it in greater detail.

One of the sweetest things about this part is that I discovered quite by accident about a month ago that my Dad had played the part of Mr. Hardcastle in 1966 at the Playmill Theatre.  It was sweet and it also put a lot of pressure on me.

Hardcastle may be the largest part I've ever played, and it is among the most fun parts I've ever played.  Not only did I have to shave my head and wear a fatsuit, I also had to learn a dialect.  I've only used a dialect on stage once before, and that was in "The Robber Bridegroom."  That dialect was a made-up one though.  This one was taught and coached.  We used a West Midlands dialect for the country folk in the play, and early on my accent moved between country English to Scottish to Russian with a little pirate mixed in here and there.  Slowly, I worked through and became reasonably consistent in my dialect I am told.  That may have been the most difficult part of the whole process.

I decided that since I had to shave the top of my head for the play, I would shave the rest of my head after we closed so my hair would grow in uniformly.  That, and I wanted to see the scar on the back of my head from when a wall fell on me in Buffalo, New York back in 1991.

But enough talk, here are the pictures.

Trimming the mustache

Lathering up


Clean lipped.  My students were all scandalized when I showed up without a mustache because it is 
apparently how they identify me.  I was pretty amazed that they commented more on the mustache
 than when I shaved my head partway.

Before the indignity


Tabula rasa

The tools

Applying the base

The corrective part applied

Linework applied

Wrinkles, highlight and shadows

Sealing with powder


The fatsuit.  First of all, I had heavy tights.  The camouflage booty shorts were there
 with snaps applied to hold the fatsuit in place.  The fatsuit was built on a cotton T-shirt
covered with poly-fill quilt batting and covered with nylon tricot to control it. 
Essentially, I'm wearing a quilt.

The knickers were made of heavy upholstery fabric
and the shirt was made of heavy bridal satin.

The vest was added next and it was made of heavy drapery fabric.

Then the coat out of the same upholstery fabric as the knickers. 
To suggest that this costume was hot would be a gross understatement.

Add to that a "great flaxen wig"

And there is Mr. Hardcastle
Prior to being in this part, I weighed 195 pounds.  I weighed myself on closing night and weighed in at 177.4 pounds.  I'm certain a hefty portion of that weight came from wearing the sauna in the 90 degree heat in Rexburg, Idaho in the middle of July.  I am not complaining, however.  This was the most fun I've had on stage in many years.  I would gladly do it again.

Closing night:

After the show on closing night, several of the company members said they would like to take a shot with the clippers on my head.  I let them.  I was going to get most of the hair off with the clippers and then shave the rest.  One of the students asked to do that part as well, so I allowed it.  Kind of fun really.  Sadly, the battery on the camera died in process, so the photo essay will have to be incomplete.

Last chance to back out

Committed now


Everyone that wanted one, got a shot at me

That's one way to take your frustrations out against the teacher...

Last shot, almost done

Picture we took today at Big Springs with my chrome dome.
Believe it or not, being totally bald doesn't bother me near as much as just the top of the head being shaved.  I do believe it bothers my wife, the hot chick so I'll let it grow back in.  I felt I needed to shave it all the way so my hair could all grow in at the same rate and so I wouldn't have a two layer haircut for a couple of months.  I suggested that I should keep the head shaved but grow the mustache back, but she wasn't having any of that.

Hopefully this is a good post for returning to blogging!

Saturday, May 4, 2013


Twiggy Plate.  Also called "Pebble Leaf" and "Tree of Life"

About six months ago I found this piece of glass at a thrift store.  It didn't look like any pattern that I was familiar with, but the color was unmistakable.  Definitely depression era glass.  I bought it for $1.50.

I brought it home and put it under my blacklight to see if it was the correct age,  and it was.  I did a brief internet search to see if I could identify it, but couldn't find any images of it.  I put it on the shelf and forgot about it for awhile.  Yesterday, I was looking on that shelf for something else and saw the plate and decided to try to identify it again.  This time I was successful.

I did a Google image search for something like "green depression glass leaf plate" or something like that and found an image of the plate I was looking for.  I followed the link and discovered this plate was manufactured sometime between 1929 and 1936 by the Indiana Glass Company.  It was originally manufactured in pink and green.

I haven't found any sources on how many different kinds of pieces were pressed.  I know that the plate I have and an open handle relish tray were pressed during the Great Depression.  I've seen images from the later pressings of punchbowls, cake plates, tumblers, goblets etc... in clear glass.

It is always fun to find something unique at a thrift store or a garage sale, pawn shop.  Because of the uneven edge, I mistook some of that for a few chips.  I looked at it much closer yesterday and could only find a couple of very tiny chips.  I paid $1.50 for it and with the tiny chips I don't think it's worth top dollar, but I'd place it's value between $5.00 and $10.00.  Depending on the rarity of the piece, though it might be worth more.  (As if I'd ever sell it).  I believe it is fairly rare because it was a difficult pattern to track down.  When I did find it, I had to piece the information together from several sites, and even then I don't believe I have a complete picture of this pattern. 

I found very few vintage pieces for sale anywhere online.  A few pieces of the green on Ebay, but no pink.  There were a few pieces on esty, but once again, mostly the newer pressings.

The pattern was re-issued in clear and other colors in the 1980's.  Those pieces are a lot easier to find.

Twiggy, under UV light

Tuesday, April 23, 2013

Rose Cameo--Tumbler

Rose Cameo Tumbler

I have a friend that I see at the thrift store from time to time.  She's an older lady that knows we collect depression glass.  I told her that Chimene's grandmother worked in one of the glass making plants during the Great Depression.  We think it was the Fostoria Glass Company.

One day, while I was thrifting, my friend said, "I have something for your wife".  She came back into the store with a Rose Cameo tumbler.  She didn't want anything for it.  She said it made her happy to give something to someone who would appreciate it.  Very generous indeed.

I did a little research on the Rose Cameo pattern and found that it was made by the Belmont Tumbler Company, but was actually thought to have been manufactured by the Hazel Atlas Glass Company.  The pattern was made in only seven pieces and for only one year and only in green.  This is a very exclusive piece indeed.

I got my information on this piece from  Because this was a gift, I will not be assessing it's value.  It would seem wrong to me to do that. 

The cool thing about green depression glass is that it was made with Uranium and it glows under UV light.  I don't have the best photo setup, but I was able to capture this piece in it's glowing state.


Glowing in UV light

Better picture of the pattern in UV light

Sunday, April 21, 2013

Skeleton Hands Tutorial

I am copying a post from one of my other blogs to this blog because it's related not only to my occupation but also my hobby.

Skeleton Hand

Skeleton Hand Tutorial

I had an idea about a year ago to make a fully articulated, poseable skeleton hand.  I thought about it, did a prototype of a bone, thought about it a bit more, saved some parts and thought about it a bit more.  I finally created a prototype last week and felt gratified that it worked out well so I made it's brother last night.  This time I captured the whole process in photos.  Here is the odyssey.

One of the first steps in any project is the research.  I wished to have my hands be as accurate as possible, or at least as credible as possible.  I started with which is a haunt site with some really cool bone proportion calculators.  I also researched hand proportions and found the following, from  I added a few of my own lines and numbers.

Hand proportions diagram

The Skeleton of the Skeleton
I have crafted with clothes hangers for many years.  They are predictable.  I know what they can do and what they cannot do.  I chose clothes hangers to be the superstructure for the skeleton hands.  The toughest part about the superstructure was to design the wire placement to accommodate the carpals, the meta-carpals and phalanges. 

I printed several hands from the Zombietronix page and developed a wire map for the skeleton hand. 

Wire #1 diagram

Wire #2 diagram

Wire #3 diagram

Wire #4 diagram

Mini-wires diagram

The superstructure is made from 3 heavy guage wire coat hangers with the top cut off and straightened.  The next time I make these I will use non-coated coat hangers.  The rubberized coating got in the way sometimes and I had to strip it in places to get the bones to fit.

Cutting off the tops

No top


The next step is to bend the wires and begin attaching them to one another.  This is done entirely by bending.  No external fastener or adhesive is used in this process.  The parts are bent according to the drawings.  These can be made as large or as small as you wish, within reason.  I made my hands about the size of an NBA player.  They're scarier that way. 

The wires that make up the thumb and the middle digit extend to become the radius and ulna bones.  Don't cut them to length until you know how much of the arm you need for your project.  Cut them to length at the end of the project.

To attach the wires to each other, bend small circles with long nose pliers about the diameter of the wire where the wires would intersect on the drawing.  It's important to note that each circle twist takes about 3/4 of an inch of wire, so you must add that much length times how many twists you need for each wire.  That distance stays constant no matter if you are making small hands or large ones.

The thumb bend

Bending the loop

The loop

The middle digit wire inserted in the loop

The second loop around the first loop

The forefinger and the pinky finger wire

The loops.  Next time I'll make these loops going opposite directions, one vertical the other horizontal

More of the forefinger and pinky finger wire with loops

The next time I make this project I will make one of the loop bends on wire #3 vertical instead of both of them being horizontal.  I believe it will make a more stable platform.  As it was, when the final project was done, it was plenty stable.  It would just make it more stable in process.

Before you assemble any more of the armature, you need to create and install some of the carpal bones.  This part of the process is part superstructure and part finish work. 

The carpal bones are made from different size wooden beads with the handles of milk jugs melted onto them with a heat gun.  Make sure you get beads with big enough holes to string on wire coat hangers.

This project takes a lot of milk jugs.  You will need to save them up for awhile until you have enough.  Better yet, have all your sympathetic neighbors and relatives save them for you.  When I get a milk jug, I rinse it and immediately cut off the handle and recycle the rest.  No sense having a ton of milk jugs hanging around.  I store the handles in a box or bucket and build them up until I have enough.  Pretty painless actually.

The humble milk jug

Cutting the handle off

Melting part of the handle to a wooden bead with a heat gun

The gnarly carpal

The first carpal installed

More carpals.  Note the wire from the ring finger wraps around the wire for the middle finger

I'm not as concerned with the carpals being exactly anatomically accurate.  I just need some mass down there that looks kind of legitimate.  The meta-carpals and phalanges are what are going to give this project it's credibility.

When I put this together, I realized I had missed a bead, and so rather than taking it apart and putting it all together again, I added the naked bead on the lower wire as seen above and cut a section of milk jug out, then cut up the inner seam.  Then I wrapped it around not only the bead but also the upper wire.  When the milk jug gets to temp, it becomes transparent and sticky.  I like to have something to poke at it with to move it around when it is in that state.  In this case I used a modified seafood fork.  You can also scab sections of milk jug in areas and heat gun them in place.

Cutting along the inner seam of the milk jug.  (The pink handled scissors belong to my wife)

Wrapping the cut jug handle around the bead and the wire

Heat gunning it to death

The scab

The Bones
Making the bones is pretty simple really.  It's nothing more than heat shrinking the polyethylene plastic from the milk jug around a couple of beads.

I made a jig out of an intact hanger where I straightened the hook part out, then made a stand with the rest of it.  You can make a jig however you wish, I had a hanger on hand, that's what I used.

This is a good time to talk about the size of beads to use in the fingers.  As I look at the joints in my own hand, I see that some of the knuckles are larger than others, some of the joints are larger than others.  This is true from end to end of individual fingers and it is true from finger to finger. 

I put together a string of beads to show the graduation pattern that worked for me.

Graduation pattern for the beads.  The meta-carpal begins on the left and the small bead at the end is the end of the phalange

To make individual bones for the meta-carpals and all but the final stage of the phalanges, take a bead and place it on the jig.  Sleeve a section of milk jug handle over the bead and then add the second bead.  Understand that the plastic will shrink when heat is applied, so cut the milk jug handle longer than it needs to be.  The length of the plastic is something that has to be figured out by trial and error, unfortunately.

When applying the heat, first crimp one end of the bead, then the other.  After that apply heat as evenly as possible along the length of the bone.  I use a seafood fork to move the bone around on the jig.  The plastic will turn transparent when it reaches temperature and will begin to sink in in the middle of the bone.  Gravity also works on the semi-molten plastic and it will begin to deform.  At this point, remove the heat and grasp the end of the bead with the long nosed pliers and hold the other end in place with the seafood fork and pull to the desired length.  When the plastic turns white again, it has become rigid and can be moved and placed.  I'm impatient, so I usually blow on the plastic to try to cool it faster.  I don't know if it actually works, but it makes me feel better so I do it.

Placing the first bead

Trimming the milk jug handle

Placing the milk jug handle

Placing the second bead

Crimping the end with the heat gun, note the seafood fork

Crimping the other end with the heat gun and the seafood fork

Heating the middle, note how it's becoming transparent

Becoming transparent and sagging



The jig is really important, by the way because you need to line up the holes in the beads in order to sleeve them onto the phalange wires.  Which is the next step, by the way.

As you sleeve your bones onto the wires, pay attention to the length of the fingers.  The middle digit is the longest etc...  I paid attention to that moreso on the first hand and less so on the second hand.  The second hand still works, but it isn't as elegant as the first.  Keep that in mind as you bead the wires.  This really is just a beading project actually.

Start with the meta-carpals, then the first two joints of the phalanges.

Meta-carpals installed

First row of phalange joints installed

Second row of phalange joints installed

The last joint is also the device where the beading is held into place.  Take a small bead, place it on the end of the wire, then cut off the excess wire with the side-cut on the pliers.  Leave enough to bend over.  This will lock the bones on the end of the wire and it also gives the foundation for the final bones of the phalanges.

Take a small section of milk jug handle and place on the bead.  Heat crimp the plastic to the bead, then move the heat to the rest of the plastic.  When it becomes transparent, begin shaping and pressing the end of the plastic around the end of the wire.  Try to force some of the plastic inside the hook on the wire before it hardens.

Small bead

Trimming the wire

Bent wire

On the jig

Jug handle on the bead


Crimped and finished

Fill in the remaining holes in the wrist, the carpals with more covered beads and a strand of floral wire.  I don't have any photos of this step, but it's quite simple really.  Just fill in the holes.

I purchased a ten ounce package of wooden beads from Wal-Mart for $4.97.  I did a rough count and determined that within forty beads or so there were about 300 pieces.  That comes out to about 1.66 cents per bead.  This project takes about forty beads so it comes out to about 67 cents of total beadage per hand. 

I purchased a package of floral wire for $1.49.  It had 20 pieces.  I used one strand per hand.  That comes to 8 cents a hand for wire.  That comes to 75 cents out of pocket per hand.  Not bad eh? 

Wal-Mart Beads for $4.97

Floral wire from a craft store for $1.49

A pair of hands

This was a fun project to create.  Know that polyethylene plastic is very difficult to paint.  It rejects almost all paint.  There is a spray paint by Krylon especially formulated for painting on plastics.  I would recommend using that.

I have about four hours total time in these two hands.  I imagine if I made more of them I could knock that back to one hour per hand.