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Scenic Art for the Theatre, 2nd Edition

by Susan Crabtree, Peter Beudert

December 2004

Intermediate to advanced

464 pages

22h 12m

English

Focal Press

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Training to be a Scenic Artist What a Scenic Artist Should Know That Special Something that Makes You a Scenic Artist Formal Training for Scenic Artists University Programs Specialized Schools or Programs Apprenticeships and On-the-Job Training Working as a Scenic Artist Labor Unions United Scenic Artists The International Alliance of Theatrical Stage Employees Employment Options Freelance Work in a Major Market Freelance Work Outside of Major Markets Working at a Staff Position at a Scenic Studio or Theatre Contracting and Self-Employment Business Skills Studio Ownership Working in the Film Industry Working in the Television Industry Freelance Work Outside of Theatre and Film Interview with Rachel Keebler, Cofounder and Head of Cobalt Studios

Collaboration Between the Scenic Artist and the Scenic Designer The Scenic Artist Working with the Scenic Designer Information from the Scenic Designer to the Scenic Artist Draftings and White Models Paint Elevations and Models Samples References and Research Preparing to Paint from the Elevation Studying and Preparing the Paint Elevations Light and the Paint Elevation Reading a Paint Elevation Talking with the Scenic Designer Interpreting The Scenic Designer’S Work Checking Elevations and Draftings with the Scenery Enlarging the Design to Full Scale Scale Technique Character Making Samples Using the Scenic Designer’s Research When Research Takes the Place of an Elevation Copying Works of Art Understanding the Limitations of a Paint Elevation Working with The Scenic Designer in the Shop and on Stage Communicating with the Scenic Designer During the Painting Process Finishing Work on Stage Planning and Doing the Touch-Up Changes in the Theatre Extraordinary Challenges for the Scenic Artist Late Design and Lack of Design Information Tinkering Replacement of a Scenic Designer Conclusion Interview with Joseph Forbes, President of Scenic Art Studios
Types of Scenic Studios The Staff in a Scenic Studio The Scenic Designer The Production Manager and the Technical Director Production Shop Heads Paint, Props, and Scenery: A Team of Three Departments The Paint Department Staff The Charge Painter or Charge Person The Lead Painter The Assistant Scenic Painter or Journey Person Shop Assistants or Industrials Apprentices or Interns Paint Department Management Planning Scenic Painting Costing Out a Design Preproduction Planning Preparing Paint and Tool Stock Materials Estimation Preparing Materials Before Painting Begins Creating the Production Book Balancing Time, Space, and Labor Project Planning for the Independent Contractor Scheduling the Order of Painting with the Technical Director Setting the Production Schedule Special Construction Requirements for the Scenic Artist Putting A Production Together: Artistic Management and Organization Conveying Stylistic Information to the Paint Crew Managing Artistic Personnel Working with Other Painters Working with Other Production Departments The Costume Shop The Properties Shop Conclusion An Interview with Jane Snow, Scenic Charge Painter At Scenic Art Studios
The Painting Space The Layout of the Scenic Studio The Scenic Painting Area Managing the Paint Space Shop Configuration and Painting Techniques The Eastern or Vertical Style The Continental Style or Painting Down How These Styles Developed Working in the Eastern Style Working in the Continental Style Lighting and Utilities in the Scenic Painting Area The Effects of Color Temperature Light Intensity Compressed Air Fans Other Work Areas in the Paint Shop The Layout and Pounce Area The Office The Break Area The Scenic Artist’s Preparation Area Paint Mixing Water and the Sink Area Paint Storage Storage of Brushes and Other Tools Storage of Flammable Products The Touch-Up Kit Safety and Health Regulations Hazard Communication Laws Respiratory Protection Protective Equipment Fall Protection Studio Building Hazards Fire Safety Emergency Exits and Escape Routes Changes in Elevation Electrical Safety Ventilation Bathroom Facilities Drinking Water Lead Paint Asbestos Garbage and Toxic Chemicals Conclusion An Interview with Nancy Orr, Charge Painter of Showman Fabricators
Brushes The Anatomy of a Brush Brush Handles The Ferrule Paintbrush Bristles Brush Construction Procuring Brushes Maintenance of Brushes Repairing Brushes Types of Brushes The Names of Paintbrushes Common Brushes Lay-in Brushes, Dutch, and Priming Brushes Scenic Brushes Oval-Ferrule Brushes Round-Ferrule Brushes or Ring Liners Stippling Brushes Lettering Brushes Other Specialized Brushes Other Useful Brushes Where to Buy Brushes Brooms, Extensions, Rollers, and Other Painting Accessories Brooms Extensions Edgers Rollers Other Tools and Accessories for The Scenic Artist Stencils and Stamps Paint Stamps Texture Tools Sponges Rags Floggers Feathers Offbeat Tools Sprayers Garden and Pump Sprayers Aerosol Sprayers Pneumatic Sprayers High-Volume, Low-Pressure Sprayers Airbrushes Pressure Pot Sprayers Airless Sprayers Pattern Pistols and Hopper Guns Conclusion An Interview with Mary Heilman, Scenic Artist and Teacher
Color Physics and Theory The Color Wheel and Color Model The Terminology of Color Terms that Define Color Interaction The Practice of Color Mixing The Scenic Art Palette The Elements of Paint Pigment The Vehicle The Binder Types of Scenic Paint Dry Pigment Binders for Dry Pigments and Powdered Paints Modern Scenic Paint Paint Systems and Palettes Water-Based Scenic Paint Casein Paint Latex Paint Acrylic Paint Vinyl Paint Polymers Paint Compatibility Sources for Modern Scenic Paints Black and White Paint Colorants and Universal Tinting Colors Dyes Aniline Dyes Hazards of Aniline Dye Working with Aniline Dyes Thickeners for Dyes Other Paints, Finishes, and Binders Water-Based Finishes Acrylic Latex Polyvinyl Acrylic Urethane Epoxy Solvent-Based Finishes Varnish Shellac Oils Lacquers Epoxy Solvent-Based Paints Alkyds Urethanes Lacquers Shellac Stains Solvent-Based Penetration Stains Oil-Based Stains Water-Based Stains Conclusion An Interview with Douglas Lebrecht, Head of The Scenic Department of The Metropolitan Opera House, New York City
Working with Soft Goods Soft Goods Construction Standard Backdrop and Portal Construction Muslin Making a Drop Seamless Drops Scrim Construction Floorcloth Construction Working with Cut Drops and Netting Using Netting to Reinforce a Cut Drop Netting a Drop The Role of Flame Retardants with Soft Goods Flame Retardants Pretreated Flame-Retardant Fabrics Stretching and Priming Soft Goods Mounting Soft Goods for Sizing and Priming Working on a Deck Working on a Paint Frame Sizing and Priming Soft Goods Floating Soft Goods on a Deck Sizes and Primers Applying Size or Primer Problem Solving Sizing Translucent Drops Priming Scrims Priming Groundcloths Preparing China Silk Monk’s Cloth Preparing Hard Scenery Working with Flattage Preparing Hard-Covered Flats Preparing Soft-Covered Flats Dutchmen Preparing Floor Coverings Priming Wood Preparing and Priming other Scenic Materials Preparing Noncellulosic Materials Plaster Priming and Sealing Metals Preparing Plastics and Foam Plastics Fabric Skins, Sculpture Coatings, and Other Preparations Smooth Sculpture Coatings Foam-Coating Materials Roof Patching Two-Part Resins The Tools and Materials of Texturing Texture Tools Texture Mediums Line Thickener Drywall Treatments Polymer Glues and Theatrical Coatings Contact Cement Rubber Latex Tile Adhesive Texturing Additives Clay Sand Perlite Vermiculite Cocoa Mulch Paper and Fabric Textures Cellulose Fabric Binders Texture Stencils Conclusion Interview with Kat Sharp, Professional Scenic Artist
The Tools of Cartooning Measuring Tools Scale Rule Tape Measures Rulers and Square Drawing Tools for Cartooning Vine Charcoal Chalk Charcoal Holders Floggers and Air Nozzles Ink Markers Dye Graphite Fixative Mechanical Drawing Tools Snap Lines Lining Sticks and Straight Edges Splines Compasses String Trammel Points and Bar Compasses Triangles and Templates Transferring A Cartoon or Repeating Pattern Using a Pounce The Transfer Screen Templates, Stencils, and Stamps Preparing Scenery for Cartooning Preparing the Design Information Paint Elevations The Scenic Model Preparing Hard Scenery for Cartooning Preparing Soft Goods for Cartooning Two Methods for Finding a Perpendicular Line Measuring the Drop Drawing the Cartoon Architectural Layout Using a Grid for Cartooning Perspective Atmospheric Perspective Linear Perspective The Principles of Linear Perspective The Method of Perspective Perspective for the Stage The Raked Stage and Traditional Wing and Drop Perspective Methods of Doing Linear Perspective in the Shop Perspective Problem Solving Using Projectors for Cartooning Using Geometry for Cartooning Constructing a Perpendicular Line Drawing Accurate Architectural Shapes Signs and Lettering Tools of Sign Painting Layout Tools Sign Painting Brushes Basic Fonts of Lettering Gothic Fonts Roman Fonts Script Rules and Techniques of Signage Layout General Layout Spacing Margins Layout on Transparent Surfaces Conclusion An Interview with Howard Jones, Resident Scenic Artist at the North Carolina School of the Arts
Putting a Production Together: The Painting Starting the Painting The Prime Coat Planning the Painting Process Details and Hard Scenery Soft Goods Base Painting Techniques Brushed Base Coat Techniques Base Painting Large Areas without Leaving a Grain Creating a Grain Pattern in the Base Coat Cutting a Hard Line in a Base Coat Base Coating with a Sprayer Texture Base Painting Techniques Wet Blending Scumbling Base Coat Painting with a Roller Texturing with a Roller Overpainting Techniques Washes and Glazes Combing (Dry Brushing) The Tools and Paint for Combing Combing Techniques Strié Dry Brushing Graining Graining Techniques and Tools Wood Marble Lining Lining Brushes Sponging Sponge Technique Rag Rolling Flogging and Schlepitchka Tools and Paint of Schlepitchka and Flogging Spattering Spattering Technique and Tools Blocking Stippling Garden Sprayers Garden Spraying Techniques and Tools Pneumatic Sprayers Pneumatic Spraying Techniques and Tools Paint Stamps Stamp Registration Stencils and Templates What Tools to Use with Stencils Stencil Registration Templates and Spray Masking Spray Masking Using Particulates Spraying Patterns and Masking with Fabric Trompe L’oeil Painting Technique The Theory of Practice of Trompe l’Oeil Color Theory of Trompe l’Oeil Shade Lowlight Highlights Cut Lines Cast Shadow Reflective or Bounce Light Application Techniques Finishing and Toning
The Layering Process: Glazes And Resists Glazes with Pigment or Dye and Finish Mediums Finishes Resists Creating Faux Finishes Wood Wood Graining Marble Metal Gilding Bronzing Powders Graphite Imitating Commercial Decorative Materials Linoleum Flooring Plastic Laminates and Ceramic Tile Painting on Miscellaneous Materials Substitute Glass and Plexiglas Using Caulk on Plexiglas for Texture Metal Foam Rubber Carpeting Upholstery Dried Plants Aging Techniques and Mediums Paint Peeling and Cracked Paint Sodium Silicate Glue Base Boarding Wood Wood Pickling Wood and Metal Patinas Oxidizing Patina Mediums Rust Distressing Fabrics Dirt and Soot Asphaltum Wallpaper Conventional Wallpaper Raised Pattern Paper Laminate Papers
Greece: 500 to 250 b.c. The Greek Theatre Building Greek Stage Decoration Rome: 250 b.c. to 550 a.d. The Roman Theatre and the Scaenae Frons Roman Stage Decoration The Middle Ages: 550 to 1400 a.d. The Remnants of Classical Traditions Liturgical Drama Mystery Plays, Cycles, and Pageants Tournaments and Processionals An Interview with Michael Hagen, MH Hagen Studio
The 15th and 16th Centuries: the Renaissance Italy The Classical Revival and the Rediscovery of Perspective Early Renaissance Perspective Scenery Sebastiano Serlio and the First Book on Scenic Design The Introduction of the Proscenium Frame and Moving Scenery France England English Medieval Theatre Tradition Conclusion The 17th and 18th Centuries: The Baroque Italian Baroque Stage Decoration The Use of Perspective in Stage Scenery Italian Stage Decorators The Bibiena Family The Role of the Scenic Artist and Scenic Painting Tradition in the Italian Baroque The Scenic Artist in the Baroque France Patronage of the Monarchy Italian Stage Decorators in France Jean Berain I and Jean Berain II Jean-Nicholas Servandoni England Inigo Jones The English Restoration The English Painting Tradition Italian Influence in England Emergence of English Style: Philip de Loutherbourg
The 19th Century Technical Innovations of the 19th Century Lighting and Painting Techniques Panoramas and Dioramas Phantasmagoria and Optical Illusion Scenic Studios and Working Conditions in the 19th Century England in the 19th Century The English Romantic Painting Style The Victorian Style: Romantic Realism and Spectacle English Scenic Artists and Theatres Scenic Studios in 19th Century England France in the 19th Century French Stage Decorators French Scene Shops Charles Cicéri Charles Cambon and the Mid-19th Century Auguste Rubé and Phillipe Chaperon The Scenic Arts in the United States The Beginning Years The Freelance American Scenic Artist of the 19th Century Scenic Artists at Work for Actor-Managers The Diorama in America Fraternal Organizations The American Scenic Studio Scenic Studios in New York City Scenic Studios Outside New York City Armbruster Scenic Studios The Unionization of Scenic Artists American Scenic Style The 20th Century Technology and Scenic Art Paint and Painting Tools Stage Lighting Xerography and Digital Imaging The 20th Century Scenic Artist Scenic Studios The Scenic Designer New Forms of Stage Scenery Scenic Artists and Scenic Designers in America The Impact of the Film Industry The Current Scene Conclusion

Content preview from Scenic Art for the Theatre, 2nd Edition

Chapter 4 The Scenic Artist’s Working Space

A scenic artist’s workplace should be set up to allow for efficient painting and safe working conditions. The actual painting tools scenic artists need are frequently their own property and are not supplied by the work site. However, there are some physical characteristics of a workplace, like the floor itself, that are critical to the suitability of a workplace for a scenic artist. Adequate space is one of the most critical elements required for a scenic artist because of the scale of stage scenery. In addition, proper lighting and adequate power service, ample running water and drainage, good ventilation, and approved safety equipment are necessary.

Scene studios are potentially hazardous environments ...

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Publisher Resources

ISBN: 9780240804620

Scenic Art for the Theatre, 2nd Edition

by Susan Crabtree, Peter Beudert

Chapter 4

The Scenic Artist’s Working Space

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.

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Scenic Art for the Theatre, 3rd Edition

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Developing and Maintaining a Design-Tech Portfolio: A Guide for Theatre, Film & TV

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Publisher Resources

Chapter 4

The Scenic Artist’s Working Space

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,and much more.

You might also like

Scenic Art for the Theatre, 3rd Edition

Scene Painting Projects for Theatre

Developing and Maintaining a Design-Tech Portfolio: A Guide for Theatre, Film & TV

Special Makeup Effects for Stage and Screen, 2nd Edition

Publisher Resources

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.