DAVID NEAT

WHITE CARD MODELS:

Materials and Techniques
White card models explained

Although the film/tv production designer is free to use a wide variety of visual
means in developing and recording a set design concept, including rough or
‘sketch’ models during the early stages, the so-called ‘white card model’
produced for the final stages conforms to very specific requirements. It is
made once the design has been finalised, most often incorporating the
detailed technical drawings created for the construction of the set. It is
therefore quite literally a three-dimensional ‘blueprint’ of the intended design.

It is not a realistic, atmospheric rendition of what the set will look like, let alone
how it will appear in the film. It offers no information on colour, little on texture
and materials, but all the most essential information on space, structure,
movable elements and their practical implications. The designer may build it
earlier to test the design’s three-dimensionality (to check general proportions,
to better visualise filming possibilities etc.) but these things have usually all
been worked out by this stage and here the model is a purely communicative
device rather than a ‘testing’ tool. It serves as a communication to the whole
film crew: it tells the director and the cinematographer exactly how much
space there is for whatever action is required for a scene but also gives a
summary idea of what will be seen behind it (this supports the value of
creating technical drawings/model with some graphic indication of surface
textures etc); in addition it tells cinematographer, camera, sound and lighting
crew how much space there will be for equipment and whether any obstacles
such as pillars, steps or levels need to be planned for; it gives an overview for
the technical crew responsible for building and furnishing a set (or modifying
an existing one) of how much work is required; it furnishes the financial
administrators with the same overview to help them assess the costs.

The most common scale for the model is 1:50 (or the equivalent 1:48 if
Imperial is used). This is usually the scale in which the technical plans are
drafted, and it is generally accepted that this is neither too small to show a
significant amount of graphic detail or to appreciate proportion in relation to
the human figure. Common types of card are used, with the drawings most
often spraymounted to them. The only fundamental ‘rule’, if you like, is that
anything which has a significant physical bearing on the set space (such as a
pillar, steps, opening doors, railings) needs to be represented in 3D whereas
anything which can be ignored from the point of view of space (such as
shallow decoration or panelling, light curtains etc) can be left as drawn.
Unless the space represented is very tight or at a larger scale, one can safely
group most things up to c.6cm deep in the latter category (except when
considering the floor, see below). For example a thin modern radiator could
be just drawn whereas for the older, more bulky type the drawing needs to be
pasted, cut out and added separately using card of an appropriate thickness.
This is to ensure that there can be no misunderstandings about the exact
spatial limitations of the set, which is of vital importance considering the
amount of money in filming-time which such misunderstandings might cost.

The following individual points are also worth noting:

The base on which the model is mounted should be flat and stable i.e. secure
enough to be a good support even where there are no totally free table-tops
available. Production offices are like this, and certainly studios or locations
with sets in progress. Generally 5mm foamboard suffices and is often a better
option than choosing heavier plywood or MDF. However if the foamboard is
warped this must be corrected by firm bracing on the underside.

The ground level (at least the visible set floor) should also be represented in
white rather than bare wood if this is used. It should show very clearly what is
the set and what is not. Most often the master groundplan is used,
spraymounted to the baseboard. If this groundplan is properly done, then
(sometimes overlooked) elements such as scenery seen through windows will
be automatically accounted for in the model. For obvious reasons even
ground surface elements or level changes of 5cm will have an impact on how
the space can be used, so these need to be physically represented in the
model rather than just drawn.

Practicals (i.e. working or moving) such as doors, shutters or removable parts

need to work in the model, within reason. For example, it is easy enough to
half-way cut through card to make a working door but it would be
unreasonable to expect a working roller-blind. In cases like this the simpler
shortcut would be to make the model with the blinds open and make separate
inserts to convey the effect of them down.

Windows which are meant to be seen through (or any transparent surfaces)
need to allow just that in the model, and either need to be cut out or
additionally surfaced on the back with thin acetate to make it clear that they
are to be glazed (this for example is something both the lighting and sound
crews will need to consider).

If slender structures just as stair banisters or metal railings (although spatially

flat) are left as blocked-in drawings they can create a false impression of
space. These are far better represented as cut-outs where possible. An
effective and often easier alternative however is to draw these structures with
permanent ink on acetate sheet.

There should be no short-cuts taken when representing steps, even long,

regular flights of them (i.e. by representing them as a flat card incline). But
sandwiching foamboard and card to form the correct ‘risers’ (meaning the
height of a step) and then simply layering these will make construction much
easier.

Scales and sizes

One common confusion that arises when thinking or talking about models is
between ‘scale’ and ‘size’. For example, a 1:50 scale model will be ‘smaller’
both in scale and physical size than the same structure modelled at 1:25 scale
but the 1:50 version might sometimes be referred to as a ‘larger’ model
because it enables a ‘larger’ area to be modelled. To avoid the confusion one
should make it a habit of referring to ‘smaller’ or ‘larger’ only in terms of scale,
i.e. a ‘larger’ model is one that is made to a larger scale even if it ends up a
physically smaller portion of the whole. This may be difficult at times, but only
because it is contrary to the way the numbers appear to be going.

Before starting a 1:50 white card model (or any scaled model) it is always
better to re-acquaint oneself properly with the scale first unless one uses it all
the time. One should, for example, look at how small a figure is (average male
1.75m high), how high a door might be (average 2m high), but just as
importantly how thick a piece of card is needed to represent 5 or 10cm
reasonably accurately.

Materials and Techniques

Foamboard

White foamboard is the most commonly used material for these models, apart
from the thinner mountboard. It is light and very easy to cut and glue, though
qualities and properties differ according to brand and price. Its main
advantage is in combining ease of use with robustness (i.e. it maintains its
straightness while still being soft) but its thickness can also be a bonus when
defining proper walls (e.g. 5mm at 1:50 scale represents 25cm). It is
manufactured in 3, 5 and 10mm thicknesses, though often only the 5mm is
stocked. Cheaper foamboards are filled with a relatively coarse-celled
polystyrene which doesn’t stand up to solvent glues or spray-paints, whereas
the foam interior in more expensive brands may be denser, giving a cleaner,
more solid cut edge. This will usually accept even PVA wood glue quite well
for bonding. This is certainly true of the superior polyurethane foam in Kapa-
line foamboard which will accept even solvent glues such as UHU and spray-
paints.

Cutting
When cutting through card with a knife a slightly angled edge is inevitable
however upright one tries to keep the blade. Since foamboard is thicker this
will be more pronounced. This may not always be visible or matter, but more
right-angled edges are needed when gluing two pieces to make a corner. One
possible way of solving this is by cutting just half way through on one side,
taking the line carefully round (i.e. with a try square) and continuing from the
other side. If the foam edge is uneven this can be gently sanded using a
sanding block. Extra care needs to be taken while cutting foamboard not to
press down too firmly while steadying the sheet as finger-dents are very easy
to get.

Joining
Strong PVA glue (always better to use the wood glue type rather than the
economy-style ‘school’ glue) will bond foam-to-card but not instantly, so joints
often have to be temporarily taped together with masking tape while setting.
One should allow at least 10 minutes for this. Using a solvent glue such as
UHU may be quicker but it dissolves the foam in the standard brands so clean
or effective gluing is not always guaranteed.

Bending
Whether curved walls need to be made in either foamboard or mountboard
the method is similar. The material needs to be cut half-way through in
repeated parallel lines (as little as 2mm apart for a tight curve), making it more
flexible. But the grooves only work on the outside of the curve, so for example
an ‘s’ curved wall has to be grooved in alternate positions on both sides for it
to bend properly. The walls can be surfaced with paper to hide the grooves.
Otherwise, if the superior Kapa-line foamboard is used, the paper layer can
be peeled off (either from one or both sides) making it much more bendable
without having to score the surface. Perhaps an even easier alternative for
achieving curving walls is to use a dense foam sheet such as Plastazote (see
below).

White mountboard

There is no advantage in using the white side of coloured mountboard for

these models (even the white/black variety) because the colours can be a
distraction. In any case white mountboard tends to be cheaper. As with
foamboard there are many similar brands of card with a standard mountboard
thickness (c. 1.4mm, or 1400microns as it’s sometimes written) and these will
vary greatly in hardness and quality. Most of these are fine for walls or simple
cut-outs but unsuitable for more delicate structures such as railings for
example, because they are too thick in scale and will break apart if cut too
thin.

Cutting
As a general rule when cutting anything by hand with a knife, it is always
better to take things carefully and slowly. There is no advantage in being able
to cut right through in one go. A straighter, more right-angled and cleaner cut
is almost always achieved by starting carefully with a very light guiding cut
and following through a few times.

Gluing
Strong PVA (a.k.a wood glue, such as Evo-stik Wood) invariably gives
stronger and cleaner joins. When gluing edges the PVA must be used
sparingly (and excess wiped off) for the quickest results on card. Especially if
two larger pieces are being laminated (i.e. glued surface-to-surface) only
spots of glue are needed to hold them firmly in place otherwise the water-
based glue will cause warping.

Thinner white card

It is essential to have recourse to something thinner than mountboard but still

strong enough to stand up on its own if need be. It also helps if this card
doesn’t fragment so easily when finely cut. Usually the thin white card sold in
art shops is not labelled by thickness (e.g. 1mm, 0.5mm) but according to its
weight per square metre. College shops tend to stock thin white card from the
art supply firm Seawhite in 200, 300 or 600gsm weights. The 300gsm is
roughly 0.5mm thick and the 600gsm 1mm thick. These are quite strong but
also suitable for delicate cutting.

Stencil card

This type of card is meant for very fine cutting, having been impregnated with
linseed oil which prevents it from fraying or breaking. This treatment also
gives it a slightly waxy composition, making it easier to cut. Although it is by
far the best for intricate work, it is not ideal for strictly ‘white card’ models
because of its ochre colour. If used it should really be covered, sprayed or
painted. Although it contains oil it can be painted with water-based paints or
glued using PVA quite easily. It will not warp as much as other types of card
when painted.

Acetate

Thin acetate sheet is the most available clear plastic to use to represent
window glass. At 1:50-1:20 scale this doesn’t need to be very thick and
usually the slightly stiffer version of two commonly sold in graphics or copy
shops (in A4 sheets for making overhead projections) will remain flat enough.

Cutting
Acetate cuts easily with a scalpel but if need be thicker sheets can be scored
and snapped cleanly. If scored lightly then bent on the score line it will stay
together as a corner, which is useful if trying to represent a glass construction
without the messiness of having to glue edges. One can’t mark on acetate
with a normal pencil so either the shape to be cut needs to be drawn on paper
and used as a template underneath or the surface covered with masking tape
and lines marked out on that.

Gluing
If gluing becomes necessary i.e. for attaching to the backs of window frames,
small strips of double-sided tape are much cleaner than glue. Superglue for
example will ‘fog’ acetate around the area glued while both the ‘cement’
intended for plastics and UHU tend to be difficult to control. A third alternative
is the thin plastic solvent available for melt-gluing a range of plastics (e.g.
‘Plastic Weld’ or ‘Extrufix’) which has to be brushed onto a joint from outside.
This is generally much cleaner because any excess solvent will evaporate

Plastazote

This is a flexible sheet foam (halfway between hard foam and ‘cushion’ foam)
which is available in many thicknesses, densities and colours. Most people
will be familiar with the brightly coloured ‘hobbyfoam’ sheets for children which
usually range between 1-3mm thickness. Although very soft it can be cut quite
cleanly with a scalpel though it can’t be sanded. At an appropriate thickness it
can be ideal for curving walls for example, or even for building up a run of
curving steps.

Gluing
Plastazote cannot be glued with PVA and even UHU may not be strong
enough. A rubber contact adhesive such as ‘Evo-Stik Impact’ is needed. This
has to be lightly applied to both sides, left for a few minutes and then pressed
together. This has to be done carefully because there is no chance of
repositioning.

Styrofoam, expanded polystyrene and PU foam

For some structures it’s easier and quicker to make solid blocks rather than
having to construct boxes from a sheet material. Since white card models
don’t necessarily need to be permanent, these light, easily-worked, so-called
‘rigid’ foams may be an option. Styrofoam may be familiar as the light blue
sheets (although styrofoam comes in other colours according to different
grades or densities) sold for wall insulation and commonly used in theatre and
film workshops as a sculptural material. Expanded polystyrene is basically the
same substance but formed differently and the cells are much larger. This is
made only in white and will be most familiar as hardware packaging material
and ceiling tiles. PU foam, usually found in white or beige, is a harder
polyurethane foam. All can be found in specialised model shops (such as 4D
in London) and some large art shops (such as London Graphic Centre) but
can also (though not always) be obtained at building supply outlets such as
Travis Perkins or B&Q.

Cutting
These foams are very easy to cut with a knife (or hot wire cutter if you have it,
except PU foam) and both styrofoam and PU foam can be sanded to a
smooth, sharp finish even for very small forms. This is not the case with
polystyrene because of its much larger cell structure. These tend to break up
or can’t be sanded down below a certain size. All can be cut on a band saw,
but failing this the best way to ensure a straight cut right through is (as with
thick foamboard) to start cutting half way through on one side, take the line
round and complete from the other side. Neither a scalpel nor Stanley knife
will go very deep so often a sharp penknife, fruit knife or serrated bread knife
will serve better. The rough edge produced can easily be sanded smooth with
coarse sandpaper on a sanding block.
Gluing
Whereas PU foam is not affected by solvents and can be glued quite
effectively with UHU, contact adhesives or even superglue, styrofoam and
polystyrene require special ‘foam friendly’ glues such as ‘UHU Por’. PVA
wood glue will work with all though takes a little longer to set.

Foamed PVC and styrene

Although foamed PVC sheet is not so easily obtainable it has excellent

properties, being somewhat easier to cut than even card while remaining
much more durable and resistant to warping. The thinnest gauge (1mm) is
ideal for delicate cut-outs such as windows and railings. Sheet styrene is
available much thinner (down to 0.25mm) and is also often more suitable than
card for slender cut-outs but is denser and harder to cut than the foamed
PVC. Both will allow a certain amount of bending. They are both used
extensively in architectural model-making in place of card or wood and are
obtainable either from specialist model-making shops or suppliers of plastics
(such as Abplas in London).

Gluing
Superglue works very well on both plastics for a quick, strong bond but
working with superglue is a practised art because there is no time for
repositioning before the glue takes. An alternative when working with these
plastics (also generally a much cleaner one) is to use a plastic solvent such
as ‘Plastic Weld’. Different from the usual gluing process, the pieces to be
glued have to be set up firmly in position first and the solvent is then brushed
into the join. Only a little is needed, which is drawn into the joint by ‘capillary
action’. There it melts the plastic surfaces and effectively fuses the two pieces
of plastic together. Any excess solvent outside the joint quickly evaporates
resulting in a very clean joint.

Balsa wood

Dowels (round rods) of balsa, or any soft wood for that matter, can be useful if
columns are needed in the model and craft or hobby shops might have a
selection ranging from 3mm to 15mm diameter. If these are used they should
be covered with white paper to keep the model visually consistent. In any
case if the design features fluted columns the pattern is best drawn on paper
then applied.