- Scenic Artist
- Charge man
- -Seeing the whole
- -Screwing up something big
Plan of Attack:
- -Everything is multiple step
- -Plan steps in relation to drying time
Hard to see whole
Easy to reach
Long handle brushes needed
Marking long lines is easy
Wet wash techniques possible
Easily avoid drips, spatters
Must protect underside
Best for spattering
Requires dedicated floor space
Sawdust and trash problems
Easy to see whole
Need ladders, etc. for reach
Regular handle brushes
Long line marking is difficult
Wet washes are impossible
Drip and spatter problems
Paint-thru is no problem
Poor for spattering
Requires least space
Little problem with trash
- -Incandescent, not fluorescent
- -White, full intensity, no color
- -Color test with a hair dryer on small material
- Kraft paper, Bogus paper
- 2" masking tape
- Chalk line
- Fans & tents
A. Surface Preparation
Special processes for:
- Size: Shrinks fabric
- Glue size for opaque painting. Usually 30% vinyl glue.
- Starch size for dye painting. Usually Argo cooked laundry starch.
- Prime: Fills fabric
- Glue size and whiting or pigment.
- Usually done in one step with sizing for opaque painting.
- For some purposes, some old paints can be used to size/prime.
- Base: Underpainting
- Basic colors for the painting to be applied.
- Usually a middle tone of the paint design.
- Direct drawing
- Grid transfer
Tools and supplies:
- -Charcoal: vine (stick) & powdered
- -Chalk: powdered for pounce bags, sticks
- -Marking stick (bamboo)
- -Lining stick (bevelled straightedge)
- -Felt tip markers (water base)
- -Snap line (chalk line)
- -Pounce equipment:
- Kraft paper
- Pounce wheel
- Pounce bag
- -Paint mixer ("Jiffy" mixer)
- -Paint sample dryer (hair dryer)
-Rollers, covers and handles
- Priming (6"-8" wide)
- Lay-in (4"-6" wide)
- Decorating (1-1/2"-3")
- Lining (1/4"-1")
- Demands attention to apparent light sources
- Minimum of 3 tones
- [Base – previously applied]
- Wet-blend or scumble
Brush Do’s and Don’ts
- -Don’t mix water and oil-base brushes
- -Clean All brushes before paint dries in them
-When working with several brushes and colors simultaneously, keep a bucket of water for temporary rinsing and storage of brushes. This does not clean them!
- Use dishwashing detergent to clean and soften the bristles
- Work the cleaning up into the dense bristles by the ferrule
- Rinse until clear water comes out
- Shake out all water
- Shape the bristles before hanging
- Hang brushes to dry in air
A. The designer gives you the job of painting a pictorial drop for a production. The job will be all yours and you have adequate time to complete it properly. What do you do?
- Obtain a painters’ elevation – What is it?
- Prepare the drop. – What do you use and how do you do it?
- Size the drop. – With what, how?
- Lay out the design. – With what, how?
- Lay in the base.
- Lay in the large detail and texturing. Work background to foreground.
- Line in shade tones.
- Line in shadow tones.
- Line in highlights.
- Fine detail and overall treatment.
B. The designer gives you the job of painting the walls of the interior set of an old Victorian mansion. The design calls for distressed wallpaper and woodgrain. You have adequate time for proper execution.
- Study woodgrain and old wallpaper for colors and treatment.
- Practice achieving the effects on small unused flats.
- Lay in the background for the wallpaper (after surface preparation)
- Stencil the design (how, with what?)
- Apply distressing (how, with what?)
- Lay in base tone for wood.
- Apply dominant shades.
- Apply dominant grain.
- Apply fine grain
- Apply lines of boards
- Apply aging technique
- Glaze wood area if desired.
Paint Technique Project
- Locate an acceptable flat in the scene dock. It should be at least 3' x 6' in size. If muslin covering is available, please use it. Repair as necessary.
- Base coat in a light color.
- Create the following effects. Each person in the pair should do some of each technique.
All original content protected by copyright © Arthur L. Dirks, Taunton, MA., 2005.