CELASTIC GREAVES (Shin guards)

The ability to work with "Celastic" is important to the costume props technician since many theatres and schools make most of their costume armor out of "celastic." "Celastic" is strong, hard, light, easily painted, and does not break down when an actor sweats in it. Unfortunately, it is also hazardous to work with since the chemicals typically used to mold it, Acetone and Keytone are highly toxic. This project shows the student how to incorporate safety measures into the making of a piece of armor, so that students can work with this commonly-used material without poisoning themselves. 

2003 NOTE:  I NO LONGER RECOMMEND WORKING WITH CELASTIC IN ANY CIRCUMSTANCES, SINCE NOW THERE ARE MORE THAN ENOUGH NON-TOXIC SUBSTITUTES FOR THIS PRODUCT AVAILABLE. CELASTIC IS A NIFTY MATERIAL, BUT SEEMS MORE TROUBLE THAN IT IS WORTH FOR THE DANGERS INVOLVED, THIS METHOD OF MOLDING, HOWEVER, WORKS ON MOST OF THESE SUBSTITUTE MATERIALS AS WELL.

A. With butcher paper, drape around the shin you wish to fit, marking where you want the edges. Cut out the pattern and try it on the leg again. Can you bend the leg without the bottom cutting into the ankle or the top cutting the back of the leg? Recut as needed.

B. Cut the pattern out in the "Celastic" on the plain white side. Cut 1 1/2" bias strips of the extra "Celastic" scraps.

E. Build up the shin shape with wadded foil. cover with a smooth skin of foil. Spray with "PAM". 

F. Move to a ventilated area (like a paint booth or outside, only!) Put on gloves, respirator and goggles. Practice breathing until you feel comfortable in the respirator. Pour out an inch of acetone into the pan. Dip the shin piece briefly in the acetone until it is soaked. Do not let it sit. Lay the printed side down over the leg form. Bend it around evenly. Pin if needed.

G. Allow to harden but not fully dry. Take the leg piece off the form gently. Dip bias pieces in acetone until soft, and use to bind edges of leg pieces, as shown. Put back on form to dry completely, butting the edges. 

H. If you plan to do project #14 save shin guard for that finish. Otherwise, use one of the metal finishes learned in project #1.

Here I am in 1985 making a celastic set of armor at CSU Fresno. Celastic was on it's way out by then due to the toxic nature of the chemicals used to form it, yet it had been so thoroughly in use in the 20 years previous, it was impossible to convince an older TD or designer to hire one in a costume crafts position if one had not trained to work with it. The faculty at CSU Fresno, aware of this fact, allowed me and Madeline, the other design graduate assistant, to make a set of armor not needed for a show during a slack period, so we were able to say we had experience with Celastic.

That Summer, I therefore got to be the Costume Crafts Head at the Houston Shakespeare Festival/Houston Children's Theatre Festival. This is a crown I made for Richard III, at HSF. What you see here is a 20lb stage weight balancing on the lacy gothic fleur-de-lys on the top of the crown. I did this by embedding heavy corset bones inside a sandwich of two layers of wet celastic, that fused together around the bones when it hardened. This crown was made to exactly replicate a photo the director had, as well as be able to be kicked about on stage. Incidentally, the actor found it "unflattering to the shape of his head" (as Richard III?) and so it wasn't used in the show. When students ask me how I manage to be so calm and unannoyed when a costume we worked on for days is pulled from the show for a minor reason, I tell them: "Practice."