Theatre Design & Technology - Oct 1969 - 28

In the book under review, the author has
set as his goal the first function mentioned
above. However, since he is writing mainly
for a youthful audience, the value of the
book is extremely limited for the mature
practitioner. The methodology of theatre
model construction is well handled, amply illustrated, and is adaptable to the construction of an accurate scale model for display

purposes. It is of little value for the person
aiming to construct a working teaching
model. The problem is not one of dimensions or materials, but rather of philosophy.
Having built a large scale theatre model for
use in lighting design instruction, including
the model lighting instruments, I can see
little value in attempting to adapt the methods of the author to the very different re-

RECENT DEVELOPMENTS

quirements of a teaching model. If, on the
other hand, the potential builder of an historical scale model has no previous experience at model building, then possibly he
might find some use in consulting this
book.
Charles E. Williams
University of Calgary

_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ GARY W. GAISER

(The following brief article has been prepared by R.K. White at Indiana
University, a graduate student working with Professor Gaiser. Editor)

FIBERGLAS FOR THE THEATRE, by R.K. White, Indiana University.
Fiberglas can be one of the most versatile and useful materials in scene and property construction. The source of
much of the information provided below is based on the experience and practice of theatre technicians working in the
professional theatres and motion picture industry in Vancouver, British Columbia. Obviously similar experiment at many
other places has yielded a similar body of information.
DEFINITION: Fiberglas is a combination of various forms of
spun glass, liquid glass resin and a chemical activator. The
finished product can be of various thicknesses: cl ear, semiopaque, or dyed, and of great strength. Used in reasonable
amounts, fiberglass is not expensive, is easy to use, and not
particularly dangerous. One of its many virtues is that it
dries very quickly, depending on the complexity of the job,
it can be finished in 15 minutes to one hour.
PURPOSE: Since the uses of fiberglas are limited only by
the imagination, the purpose of this brief study will only be
to list the available materials and costs in the Midwest,
some possible uses and the basic methods of handl ing.
AVAILABLE MATERIALS: Cloth: fine strands of spun glass
woven into a clothl ike texture. Three standard grades-fine
(Almost silk-like), medium, and heavy (like burlap). Widths
from 36" to 72". Used for covering things, large flat
areas, etc.
Chopped strand: The same as spun glass fiber, but not
woven-used in almost all moulding. It comes in many
strand lengths from v." to 6" and is sold by the pound.
1" strand, the most common length, is the easiest to
handl e: longer is awkward and shorter lacks strength.
Matt: Chopped strand pressed into a felt-like material-very
heavy and rough.
Powder: For certain moulding jobs or applying ornamental
detail, the glass powder can be mixed with the resin to
form a putty.
Fiberglass putty: Extremely useful-roughly the same as the
above, but ready-made----just add the activator. Hardening
time is several minutes. Can be slathered on the inside of
any mould-finished product is very strong.
THE RESIN: Two main types: (1) Common: least expensive,
everything
except clear, glass-like things.
used
for
(2) Moulding Resin: Hardens absolutely translucent-takes
colour well.
THE ACTIVATOR: A chemical catalyst, added in very small
amounts to the resin so that the fiberglas will harden.

THE DYE OR COLOURING: Proper fiberglas' dye is the only
really good way to colour fiberglas. It is added directly into
the resin very simply. Aniline dye may be used, but tends
to fade after a month or so-it will not dissolve in the resin
until the activator has been added.
SOME GENERAL USES: The resin (plus activator) makes a
very good glue without the fiber. It can also be used as a
substitute for solder as it will stick practically anything to
anything else. Since it is a non-conductor, it can be used as
a painted-on insulator. Used as a paint, it can be used to
cover real or imitation food or anything else not requi ring
great strength. It can also be used for moulded masks, armour, break-away glass, dishes, etc. It can also be combined
with practically any kind of filler in place of the fiber, such
as sand, sawdust, or any kind of cloth (a large "sail" for a
stage boat was once made by dipping unbleached muslin in
a bucket of resin and hanging it up to dry in a desired
shape by the four corners-a solid, wind-filled sail in 30
minutes). Note: Hallcraft Plastics of Vancouver, B.C. has invented an aerosol container combining resin and activatorused to spray delicate objects to preserve and protect them,
such as real flowers. It is the only known supplier at $2.50
per can.
With the fiber added in either strand form or cloth, fiber
glass has hundreds of uses, from wall panels to glass slippers. Some further suggested uses: masks, shields and
swords, greaves, boats, translucent panels, stage "rocks",
cave-like interior for stage, moulded scene-pieces.
METHODS OF USE: For maximum strength fiberglas takes
two hours or more to harden, but is dry and usable in minutes-since, for stage uses, great strength is not usually required and time is often very scarce, the instructions on the
tin can be ignored in this regard. The manufacturer may call
for 1 to 2 oz. of activator per gallon of resin-this should
be doubled in all cases except with clear moulding resin.
The work area should be fairly warm (68-72 degrees) since
the resin will not set in cool, damp surroundings. If it is
not possible to work in a warm place, more drying time
should be allowed or more activator used, or both. Fiberglas
can be used on foam plastics if care is taken to use very
little activator (otherwise the plastic or styrofoam will melt.)
MOULDS: These may be made of almost anything, from real
life objects to plaster. A male mould (i.e. the fiberglas is
applied to the outside surface) results in a smooth inner
surface-the opposite from a female mould.
Iconcluded on page 31 )

@NLl THEATER DESIGN AND TECHNOLOGY

OCTOBER. 1969

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