Thirdly, the color of the prop was way too light. Additionally, the backside of it wasn’t painted at all! The naked resin revealed itself which was simply unacceptable for me.

Here are a few pictures:

No doubt about it, I had to do some face-lifting work there.

My first step was to sand down the old paint completely and to remove the circuit graphic. I removed the paint residue from the “ground” of the circuit depression using an appropriate attachment for my dremel. This technique however didn’t work with the four upper small slots.

Next up was the backside. Since there was the raw resin visible – being everything but flat and even, I decided to strengthen it with styrene.

Some putty and sanding work helped here to make it look much better. There were however still imperfections left to eliminate.

After I had repaired all of the blemishes with spot putty, I could then primer and paint the piece. Since the original color – Plasti-kote 7173 – was never available in Germany and the original composition has been changed even in the US, I used a custom mixed equivalent that is indistinguishable from the original color.

Now I had to attend to the four small vents on the top of the prop. They had to be painted black again. Not an easy task to cover all of the insides with paint without messing up the front…

After I had cut the new circuit graphic, adjusted it to fit inside the depression and glued it in, I was satisfied with the result:

Looking back to the beginning I think that reworking this prop was worth the effort. The color is now accurate and the surface looks a lot cleaner and smoother. Only one question remains: How can I activate the darn thing…?

In the episode “Future’s End“, the Doc was able to get a piece of 29th century technology – the mobile emitter -, which enabled him to do a big step in his development: He now was able to not only exist in sickbay or the holodeck but any other room without holo projectors and to move freely on the ship, go on away missions, etc. In essence, he gained the same freedom any other (human) crew member took for granted.

Here are some reference pictures from various episodes:

Here are the pictures of my replica:

The exposed circuits can be modified using micro tools, …

… which can have different effects on the Doctor’s projected appearance.

Size comparison with a Standard Starfleet Comm Badge.

I got the circuit board graphic from a fellow prop builder, …

… who printed it on aluminium vinyl and then laminated it. Great work!

The inside of the four slots are hand painted.

The graphics were cut precisely to fit in where they should.

Not only humans however use this kind of technology (see Voyager PADD), also several alien races like the Cardassians have realized the comfort of easy to use mobile information management. What I have here, is such a cardassian PADD, which was used primarily in “Deep Space Nine”. I was fortunate enough to add this piece to my collection by winning an eBay auction.

By the way: Although this PADD was designed to be a cardassian device, it was later repainted and also used as a Federation PADD!

First up, here’s a close-up shot from TNG for reference:

And here’s my replica:

• The buttons are decorated with gold and silver foil.

There are many details on this piece like ribbed parts…

… and stickers on the backside.

This replica looks rather rough…

… just like most of the original props as well.

This PADD is ergonomically designed and comfortable to hold.

Matt’s PADD kits contain three black acrylic plates which have been precision cut with a laser using the accurate shapes traced from an original prop. The thickness of the plates is also correct (3 mm).

Along with these plates I got a set of graphics for the display and the control buttons. I also got another display graphic so I could choose my favorite one. Furthermore, there’s a sticker of brushed aluminum vinyl included for the big button in the right control window. Looks sweet!

Here are all of the kit pieces at a glance:

There is a protective paper backing on the acrylic plates. This is a necessary part of the laser cutting process.

This paper has to be removed first, but only on the “inner” sides of the front and back plate:

These are the two plates without the paper. Note that the right (front) plate is lying on the table reversed showing it’s “inner” side.

Next these plates are carefully glued together so that they are perfectly aligned to each other and the edges are flush. This is just a temporary fixation and will be unfixed later. So I didn’t use a non-removable glue, but double sided adhesive tape instead.

I left the paper attached to the front and back side to protect them during the next step.

The corners and edges of the PADD need to be rounded. Since acrylic is a pretty hard material, you won’t have much success using sandpaper. For this you need either a dremel with an appropriate attachment, a router or a big file. I decided to use the latter to keep a higher degree of manual control.

This is a rather tricky process. The curvature should be clearly visible, but it shouldn’t be too round. It wasn’t easy to remove an equal amount of material all around and on each side to make it look symmetrical.

The file work is of course only a means to add the bevel to the plates. You won’t be able to get the surface smooth that way. To achieve that, I used sandpaper going from lower to higher grit numbers. This works best using wet sandpaper under running water!

During sanding I then disassembled the two plates to also sand the “inner” edges slightly – not to round them, but to remove flashes left over from the laser cutting process.

Finally, I also removed the paper backing to check the curvature of the two plates and used sandpaper to do corrections.

Here’s the result of my work with file and sandpaper:

Next up is priming the PADD.

Since the plates are later glued together, the areas where the glue will be applied need to be masked. This is done because glue attaches itself more easily to “naked” acrylic than to primer or paint. This way you won’t have to use sandpaper later to rough up the surface.

To prime the pieces, I placed them on paper without suspending them in any way! This way I didn’t have to worry about overspray getting on the other side of the plates and making them look ugly. I didn’t prime the edges in this step because they could get stuck to the paper.

When the primer was dry, I turned the plates over and then did suspend them on small blocks of wood. I primered the pieces again and also applied some to the edges. Because the plates are suspended, they can’t get stuck to the paper and I don’t have to worry about overspray because most parts of the inner side will not be visible.

I repeated this step with my Plasti-kote 7173 equivalent spray paint,  suspending the pieces when doing the outsides and laying them flat when doing the inner sides.

Next up are the graphics. They have to be cut precisely to fit inside the windows of the front plate. This requires some patience.

Also the brushed aluminum vinyl sticker has to be applied to the gray area on the bigger control graphics using a pair of tweezers. The sticker has the exact same size as the rectangle and is not removable, so I had to be very precise!

Once the paint has dried, …

… I removed the tape from the inner side of the plates.

Now all the parts have to be assembled. I used 5-minute epoxy glue to join the acrylic plates together permanently. Be careful with this stuff and always wear gloves to avoid glueing your fingers together!

First, I removed the paper from the middle plate. No additional work is necessary on this one. Then, I glued it onto the back plate like so:

I had to be careful to align the smaller plate correctly (the shape is not symmetrical) and to place is exactly in the middle of the back plate. I used the working time of the 5-minute epoxy glue to correct any errors.

Next up is the front plate which is glued onto the middle plate. Again, careful aligning of the edges is in order.

The last step is to apply the graphics. They are self-adhesive so you merely have to peel them off and place them where they belong:

That’s it, the PADD is finished!

Bottom line: A very inexpensive prop that is quickly and easily built and looks just plain cool lying on a desk!

What you see here is a PADD from “Star Trek: Voyager”. To be precise, it’s the smaller one of the two common types from the show – the one that was carried around in nearly every episode. There were times when Janeways desk was completely covered with these.

While this is a relative simple and cheap prop to make and – like most of the other props – was cast from resin during production of “Voyager”, the kit of my replica was not made from resin but from laser cut acrylic plates which however have the exact dimensions of the original PADDs.

This kit was manufactured by Matt Munson and was beautifully done in terms of research work and precise production. He even did the thickness of the acrylic sheets exactly right! The self-adhesive graphics were also done by him, including a “button” cut from brushed aluminum vinyl. Thanks a lot, Matt!

Let’s get to the pictures. But first, here are two screenshots from “Voyager” episodes showing a “real” PADD:

And this is my replica:

The standard color for modern Starfleet equipment: Plasti-kote 7173.

The metallic paint creates a nice and shiny surface.

“Here is the report you requested.”

Looks good next to my isolinear chips.

Since PADDs are often used in Star Trek shows and are obviously simple to build, I’ve tried to construct appropriate replicas lots of times before. However, I wasn’t really successful in that until now that I know more of materials and procedures.

So, here’s a presentation of my personal PADD history:

Left: TNG PADD made from thick cardboard and with coloured pencil graphics.

Unfortunately, I cannot tell exactly when I did these variants anymore, but as you can see when you look at the colored pencil graphics (first try on the left), I was still a kid!

The size is one thing I always got quite right…

Center: Corrugated board strengthened with putty, printed graphics and tin foil.

The Type I personal phaser was used in TNG whenever a seemingly peaceful situation didn’t require larger weapons or when a potentially dangerous away mission needed discrete protection, for example diplomatic negotiations. During undercover operations such a small weapon can be useful as well.

Gene Roddenberry, the “inventor” of Star Trek, always considered the “cricket” phaser as a symbol of superior 24th century technology. It illustrated for him that great energy and with it great power doesn’t have to be contained in a large and terrifying housing. Roddenberry also gave this phaser the nickname “cricket”.

There are two variants of this prop: During the first season of TNG, the phaser was painted completely silver, had dark particle vents and a dark blue thumb pad. From the second season on, the case was designed more colorful and interesting. This variant is what can be seen here.

Unfortunately, the use of the Type I phaser was ceased soon because of technical difficulties. Since this is such a small weapon, it was nearly not visible on low-res TV screens when fired. Because of this, the phaser beams sometimes seemed to come out of the actors hands, which – in the opinion of the studio executives – would confuse the viewer. Therefore it was suggested to use Type II phasers only from this time on.

A silver trigger, golden buttons and bronze details.

The power meter has 8 settings.

I implemented the vents of the prefire chamber with red vinyl tape.

A detail shot of the controls.

I didn’t just paint the muzzle red but actually inserted a dedicated muzzle piece.

The last time this type of phaser was used was in the fourth episode of Voyager’s fifth season: “In the Flesh“.

As a special feature, this kit allowed you to take a look inside the phaser. To implement this into the finished replica, the builder is supposed to cut a piece of styrene to fit as a thumbpad which then could be slid out to reveal the “circuits”.

Note the two struts at the rear end of the body. They are caused by the resin being poured into the mold and also getting into the air vents that probably had been created to allow the air to escape as the resin was poured. They of course need to be sanded off.

Another thing you can see in this picture very well is that the sides of the casting were pretty raw. This was probably caused by the seam line running here, which is inevitable with all two part silicone molds.

This is after the first filling work was done. I filled the defects on the sides using polyester putty and sanded it down. Also the first splash-coat is already applied here. It revealed where I had to do more repair work.

As you can see, the muzzle of the phaser was originally solid and supposed to be implemented using paint only. However, I had other plans for it. More on that later though…

I then filled small holes and imperfections using spot putty. Don’t apply too much of it unless you want to make the sanding process any more difficult than it has to be.

The phaser during priming. Several thin coats are in order to prevent paint running down the body.

Here you can see the controls. They are nothing more than styrene cut and sanded to shape to fit into the respective recesses on the body.

Fits like a glove!

Next up was the cover for the “inner workings” of the phaser. After I had cut a piece of styrene to fit the designated area, I realized that it didn’t fill all the gaps present. Also, there was no way to make it fit in perfectly and keep the functionality of sliding it out.

Because of this, and because there was never seen a open “cricket” phaser in TNG or elsewhere, I decided to seal the thumb pad using putty and to make a solid prop out of it:

Sanding all of these edges and corners smooth was a challenge, especially because the corners were supposed to keep their curvatures.

Here’s the result of several puttying and sanding passes. The remodeling of this area was extremely elaborate and required a lot of patience.

After I had applied a coat of primer here , I realized that the area of the thumb pad was too small and also that the recess of the cover was too deep. So, I repeated the last step and cut another piece of styrene to fit. Then I once again had to use putty to seal all the gaps.

Here’s the final result after the last coat of primer:

The rear end required some effort, too. I had to join the pieces of styrene with the resin body to make it look smooth and “natural”.

Now back to the muzzle: As I said, I had a special plan for that. Instead of simply painting it red, I wanted to insert a seperate piece as an emitter. I thought that would look more authentic and I also used this picture from “Star Trek: The Next Generation – Technical Manual” as a reference:

So, I took a small round file and removed some material from the front of the phaser until I thought it looked right:

Next I shaped the muzzle insert from a spare piece of resin. It nicely re-completed the forward shape of the phaser and fitted inside the opening very well. Since we’re talking about very small sizes here, the task of modeling the muzzle was not an easy one. My own fingers often were in the way holding the piece of resin.

It would have been nice to do the muzzle piece from a translucent red material, but I decided not to pursue this because the muzzle should have the same appearance as the particle vents on the pre-fire chamber. Since there was no way to do them transparent on this build, I chose to do the muzzle piece opaque as well.

Here’s the emitter being test fitted into the phaser body:

Now all of the seperate pieces were finished and I could move along to painting them!

First I painted the phaser body using the standard color for Starfleet equipment: Plasti-kote 7173. This paint is of course not available in its original form in Germany and that’s why I went to a spray paint specialist and got me the accurate color custom mixed using a color sample of the original paint.

All of the areas that are not supposed to come in contact with the paint have to be masked off before spraying. In this case I masked the recesses of the controls so that the coats of paint won’t make them smaller to make sure my buttons would still fit in there later.

Just with the primer it’s extremely important to spray several thin coats instead of one thick layer of paint. It’s alright if the primer is still visible after the first coat! With the subsequent coats the paint then becomes more and more dominant until the surface is perfectly covered. Between coats you should wait 5 to 10 minutes to let them dry.

Try this trick to avoid ugly paint blobs: Place the can into warm water for a few minutes to heaten up the paint. It then disperses a lot finer.

Here’s the result:

The second color was next: Bronze. Again, I masked all the areas except the thumb pad. To help attach the masking tape I sometimes use toothpicks in tricky situations. It’s important to stick the tape very tight onto the surface to prevent paint from getting under it which would make the paint line look messy.

Everything but the thumb pad had been masked off:

The power bar was also ready to be painted now. This piece of styrene is merely 25 millimetres long and the strips of masking tape were 1 millimetre thick. Masking this tiny thing required some patience.

If I were to do this today, I’d probably use a printed graphic instead of painting styrene…

This is the phaser after the second color had been applied and the tape had been removed:

Very nice!

These are all the finished greeblies: Muzzle emitter, power bar, control buttons and the trigger. I glued golden paper onto the styrene control buttons to make them neither too glossy nor too dull. Then I used a black marker to paint the sides. The trigger is also styrene painted silver.

Several masking and painting passes later the forward part and the muzzle of the phaser were finished. It still looked quite unfinished though.

Next the greeblies had to be attached. The emitter had to be inserted into the muzzle, the power bar and the control buttons had to be glued into the appropriate indentations and the trigger had to be attached to the thumb pad. To provide the glue with a better grip to bite on, I carefully roughened up the respective surfaces using sandpaper.

Now only one other thing was missing: The particle vents on the prefire chamber. A lot of replicas show them to be angular. However, the originals always had straight vents. To make my phaser as accurate as possible, I of course decided to make them straight as well. On the top and bottom side, there are one large and four small vents each. On each side there are three of them. Originally I wanted to put them on using red paint. It then however became clear that red vinyl tape was the better solution for this. It is less error-prone and also looked better.

And here is the finished phaser:

Although there are some things that I could have done better in this build, I’m still very satisfied with it.

The kit consists of the resin cast body and some tape which is added in the end. And that’s all there is to it, really.

Here are some detail shots of the casting:

And here is a picture of the original for comparison:

When I first tried to cast this prop up, I had a lot of trouble with air bubbles in my castings. Then I learned how to improve my technique of mixing the two resin components by adding them together and then pouring them from one cup to another several times instead of stirring them. So, very few air bubbles were left to be filled.

To fill the bigger holes I used a two-component polyester putty which is normally used in the automotive sector. It cures very quickly (within 30 minutes) and can be sanded very easily.

Here are two of the biggest bubbles already filled:

Next is sanding. This is the most elaborate step in any prop building project. You will spend a lot of time grinding and sanding. So, sandpaper is essential here.

Remember to “go through the grits”. This means that you should start with a higher grit sandpaper to roughly shape the object and then move to lower grit numbers to make the surface smooth. Be careful not to remove too much material in the beginning, because it’s much easier to remove a little more instead of adding something.

In the next picture you can see that I used a high-grit sandpaper to process the larger air bubbles first. The hole is still visible. Also, there is still putty which doesn’t belong there.

The tip of the instrument is next: Here I also filled a smaller air bubble and sanded it smooth going from high to low grit numbers.

I decided to drill a hole into the tip, because that’s how it is on my original aluminum prop. Also, it adds a lot of authenticity.

Sandpaper is not only used to sand down any left over putty, it is also necessary to remove other flaws that resin castings might have, for example the seam line. It occurs along the body where the two mold halves meet and is inevitable. Certain professional casting techniques however can reduce the seam line to an extent where it’s almost not visible anymore.

Reality is, that you should inspect every square centimetre or even millimetre of your prop and process it with sandpaper or putty. Sometimes however, sandpaper is not the first choice, for example when it comes to fine details or structures. In this case you should have several different small files handy to handle that.

For bigger kits or larger areas you can also use power tools like a belt sander. But be careful: These tools don’t allow the same control over your work as a manual job does. Before you know it, your project could be ruined because you removed too much material or you slipped and damaged something. Also, the risk of injuring yourself is a lot higher, so take the appropriate steps to protect yourself!

Now, if you think that the prop surface is smooth and you repaired all of the defects, apply the splash-coat (a coat of primer) to reveal any previously invisible imperfections: scratches, blemishes, pinholes.

Allright, there’s still a lot to do here!

To remove such small defects, I use a spot putty. It’s not necessary to mix it from two components which makes it very easy to use right out of the tube. I chose to use a red spot putty because it’s easily visible during the application as well as during sanding. Since it will be painted over later anyway, it won’t affect the final finish.

Here you can see the areas covered with spot putty:

After I had applied spot putty to every visible scratch, pinhole etc., I then again used sandpaper to once more remove any excess putty by “going through the grits” until the beige color of the resin becomes barely visible again. However, don’t take off too much – you don’t want to change the overall shape of the prop.

This is how the result looked like:

Now, another coat of primer was in order. After it had dried, I again took a hard look at every part of the prop. Normally there are still pinholes etc. left after this “second splash-coat”.

This is repeated until the prop body is absolutely perfect. Of course, the term “perfect” depends on what the person who is building the prop is regarding acceptable. Me, I’m a perfectionist and I probably do this way too often. Remember: The final coat of paint doesn’t hide any defects, but makes them even more visible!

A very important aspect here is patience. It can be quite unnerving to apply another coat of primer only to discover that there are still scratches or pinholes left. However, once they are all repaired, you can tap yourself on the shoulder knowing that you did everything possible to make the prop perfect.

Now that the surface was completely flawless, I could apply the final coat of primer. One last checking look: Is there still a… No, thank god it’s just a shadow!

After the primer had completely dried, I moved on to the paint. I used a chrome paint containing real aluminum particles to create a highly realistic approximation. Silver spray paint is also suitable for this. A little trick helps to prevent ugly paint blobs: Place the can in warm water for ten minutes. The heated paint will then be dispersed a lot finer.

One precept of painting is to apply several thin coats and let them dry before applying the next instead of spraying one thick coat. It’s alright if the primer is still visible after the first coat! Be patient, even if you want to finish the prop soon. You don’t want to ruin it during the last step by causing “paint noses” occurring due to too much paint, do you?

Once the painting process was finished and the paint was dry (again, you should rather wait a little long than ruining the prop), I could add the greeblies which was the last step in this buildup.

In this case, the greeblies are nothing more than differently colored grip tape cut to shape and attached at the correct areas (see illustration).

The last step is to paint the tip golden. Of course, I had to mask off the rest of the prop to protect it. I used crepe tape for this because it can be removed easily. Anyway, to avoid any risk of damaging the base paint, I only masked a small area at the tip and wrapped a paper napkin around the rest of the prop.

The prop is finally finished! Here’s how the result looks like:

Here are some comparison shots I did with the original aluminum version which served as a master model here:

There’s almost no difference visible on the pictures. The chrome paint is not quite as shiny as the real aluminum, but that was to be expected. Unfortunately it also tends to get even duller when handled.

Anyway, I think the result is very good and satisfying.

Because of this, “Star Trek: Captain’s Chair” is a true treasure chest for me as well as probably for many other prop enthusiasts. This software enables you to not only move freely on the main bridges of the Enterprises 1701, 1701-D, 1701-E, the Defiant and Voyager, but also to look at all of the control panels, use them (!) and have a look at several props that are lying around. There are 360° panorama views of above mentioned rooms and all of the props so that you can look at them from all angles.

In this manner, I found the Sonic Driver lying on the rear work table on the Defiant’s bridge next to a hand phaser, a phaser rifle, several PADDs and some more tools:

I’ve always liked the look of this tool: A Simple, symmetric shape and a very high-tech appearance intensified by glossy metal.

To keep that look, I decided to do a replica of this prop entirely from metal. Aluminum was the logical choice for that since it is relatively soft and easy to work with. The first step was to have a look at the Quicktime VR file and to study the side view of this prop. Next, I translated this information into an illustration showing the outlines of the general shape with all its details. Then I added some colors to the drawing and supplemented it with “virtual greeblies”. Finally, I rendered a 3D view of the prop to evaluate its overall appearance.

When I was satisfied with the result, I took this data to a local machinist who converted the template into a real metal body and turned it from aluminium with great precision.

To finish it off, I then applied some carefully cut grip tape and some golden paint to the tip.

And this is how the end result looks like:

Being made from solid aluminium, the prop has a nice weight to it…

…and is cool to the touch…

…just as a real heavy duty tool should feel!

Note the picture subtitle in “Captain’s Chair”: “Measure tetryon particle flux fields”. I’m sure I’ll find such a field somewhere around the house…

Note: I made a silicone rubber mold from this prop to cast resin copies of the original. Here is a link to a tutorial on how to turn one of those castings into a prop.

I got this Typ II Phaser as seen in “Star Trek VIII: First Contact ” from a fellow prop collector. The weapon is painted with the authentic automotive color Plasti-kote 7173 and the grip has been rubberized. Furthermore, there is the correct blue holo-tape attached to the underside of the prefire chamber (see last picture).

Up to the point when I got this piece, I had never held a resin prop in my hands before. Needless to say that I wasn’t too much into props at that time. Anyway, since I had heard that resin is a kind of plastic, I thought that this Phaser would be rather light and toy-like in handling. The exact opposite was the case when I unpacked it. The high weight of the prop contributed to the authenticity of it and the hard surface also didn’t let me think of plastic in any way. Together with the beautiful and smooth finish, these facts both surprised and excited me – and the excitement continues to this day.

Some research resulted in the assumption that this prop replica was probably made by “Federation Surplus“.

The “FC-version” of this prop is marked by the red trigger button.

The power bar is also different from the TV-version.

The underside of the handle is rubberized for a better grip.

Off-white buttons for beam intensity and width.

Note the piece of blue holo-tape on the bottom side of the prefire chamber.