Mezzo-soprano Jamie Barton (standing) with soprano Kristine Opolais in Rusalka at The Metropolitan Opera.  Costume design by Mara Blumenfeld.
Mezzo-soprano Jamie Barton (standing) with soprano Kristine Opolais in Rusalka at The Metropolitan Opera. Costume design by Mara Blumenfeld.

Tips on Thermoplastics from Costume Craftsperson Elizabeth Flauto

Elizabeth Flauto

Today thermoplastics are more available than ever before and unlike in the past (think of Celastic and huge vacuform machines), these materials are non (or less) toxic. They are easily used without huge investments in equipment, space, or supplies. Here are four different thermoplastics useful in hand-sculpting, and some tricks and tips for their use. This list is far from extensive but can serve as in introduction to using thermoplastics as a sculptural medium.

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For Buglisi Dance Theatre’s Moss, Taylor wanted to create an environment that was varied and natural and had that idea of a forest. He found his hand-painted slides to be perfect solution for his design intention.
For Buglisi Dance Theatre’s Moss, Taylor wanted to create an environment that was varied and natural and had that idea of a forest. He found his hand-painted slides to be perfect solution for his design intention.

Hand-Painting Glass Gobos

Michael Eddy

Lighting Designer Clifton Taylor has been producing his own hand-painted glass gobos now for over 20 years. In fact, it was the introduction of the ETC Source Four ellipsoidal, with its dichroic glass reflector that pulls a large amount of the heat energy out the back of the unit, when he first put paintbrush to glass gobo. “It certainly wasn’t possible before Source Fours were ubiquitous,” notes the LD. Recently, Taylor created nine glass gobos to use in his backlight system for the dance piece Moss produced by Buglisi Dance Theatre. He recently walked SD through his process. 

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