book

Scenic Art for the Theatre, 3rd Edition

by Susan Crabtree, Peter Beudert

November 2012

Intermediate to advanced

414 pages

21h 45m

English

Focal Press

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The Professional Scenic ArtistThe Expectations of a Professional Scenic ArtistThe Scenic Artist’s PerceptionTraining to Be a Scenic ArtistAmerican University Training ProgramsSpecialized Schools or ProgramsApprenticeships and InternshipsWorking as a Scenic ArtistAmerican Labor Unions for Scenic ArtistsThe International Alliance of Theatrical Stage EmployeesUnited Scenic ArtistsInternational Labor UnionsEmployment Options for Scenic ArtistsWorking at a Staff Position at a Scenic Studio or TheatreFreelance Work in a Major MarketFreelance Work in the Film IndustryFreelance Work in the Television IndustryFreelance Work Outside of Major MarketsScene Painting Work Outside of Theatre and FilmContracting and Self-Employment Business SkillsEstablishing and Operating a Scenic StudioInterview With Joseph Forbes, President of Scenic Art Studios
The Scenic StudioThe Scenic Painting AreaManaging the Painting SpaceScenic Painting Techniques and Shop ConfigurationThe Eastern Style: Painting Vertically or “Up”The Continental Style: Painting Horizontally or “Down”Working in the Eastern StyleWorking in the Continental StyleLighting and Utilities in the Scenic Painting AreaThe Effects of Color TemperatureLight IntensityCompressed Air and FansOther Work Areas in the Paint ShopThe Layout and Pounce AreaThe Office and Break AreasThe Scenic Painting Preparation AreaPaint MixingWater and the Sink AreaPaint StorageStorage of Brushes and Other ToolsStorage of Flammable ProductsThe Touch-Up KitSafety and Health RegulationsHazard Communication LawsRespiratory ProtectionProtective EquipmentFall ProtectionStudio Building HazardsFire SafetyEmergency Exits and Escape RoutesChanges in ElevationElectrical SafetyVentilationBathroom FacilitiesDrinking WaterLead PaintAsbestosWaste and Toxic ChemicalsInterview with Nancy Orr, Charge Painter of Showman Fabricators
Types of Scenic StudiosThe Staff in a Scenic StudioThe Scenic DesignerThe Production Manager and the Technical DirectorProduction Shop HeadsPaint, Props, and Scenery: A Team of Three DepartmentsThe Paint Department StaffThe Charge Painter or Charge PersonThe Lead PainterThe Assistant Scenic Painter or Journey PersonShop Assistants or IndustrialsApprentices or InternsPaint Department ManagementPlanning Scenic PaintingCosting Out a DesignPreproduction PlanningPreparing Paint and Tool StockMaterials EstimationPreparing Materials Before Painting BeginsCreating the Production BookBalancing Time, Space, and LaborProject Planning for the Independent ContractorScheduling the Order of Painting with the Technical DirectorSetting the Production ScheduleSpecial Construction Requirements for the Scenic ArtistPutting a Production Together: Artistic Management and OrganizationConveying Stylistic Information to the Paint CrewManaging Artistic PersonnelWorking with Other PaintersWorking with Other Production DepartmentsThe Costume ShopThe Properties ShopInterview with Rachel Keebler, Co-Founder and Head of Cobalt Studios

Collaboration Between The Scenic Artist and The Scenic DesignerThe Scenic Artist Working with the Scenic DesignerInformation from the Scenic Designer to the Scenic ArtistPaint Elevations and Scenic ModelsScenic DraftingDigital Paint ElevationsPaint SamplesReferences and ResearchPreparing to Paint from The ElevationStudying and Preparing the Paint ElevationsLight and the Paint ElevationReading a Paint ElevationTalking with the Scenic DesignerInterpreting The Scenic Designer’s WorkCross-Referencing Elevations and Drafting with the Built SceneryEnlarging the Design to Full ScaleScaleTechniqueCharacterMaking SamplesUsing the Scenic Designer’s ResearchWhen Research Takes the Place of an ElevationCopying Works of ArtUnderstanding the Limitations of a Paint ElevationWorking with The Scenic Designer in The Shop and on StageCommunicating with the Scenic Designer During the Painting ProcessFinishing Work on StagePlanning and Doing the Touch-UpChanges in the TheatreExtraordinary Challenges for The Scenic ArtistLate Design and Lack of Design InformationTinkeringReplacement of a Scenic DesignerInterview with Scenic Designer Scott D. Pask and His StaffInterview with Scene Designer Anna Louizos and Her Staff
BrushesThe Anatomy of a BrushBrush HandlesThe FerrulePaintbrush BristlesBrush ConstructionProcuring BrushesMaintaining PaintbrushesRepairing BrushesTypes of BrushesThe Names of PaintbrushesCommon BrushesScenic Painting BrushesOval-Ferrule BrushesRound-Ferrule Brushes or Ring LinersStippling BrushesLettering BrushesOther Specialized BrushesOther Useful BrushesWhere to Buy BrushesBrooms, Extensions, Rollers, and Other Painting AccessoriesBroomsExtensionsEdgersRollersOther Tools and Accessories for The Scenic ArtistStencils and StampsPaint StampsTexture ToolsSpongesRagsFloggersFeathersOffbeat ToolsSprayersGarden and Pump SprayersAerosol SprayersPneumatic SprayersHigh-Volume, Low-Pressure SprayersAirbrushesPressure Pot SprayersAirless SprayersPattern Pistols and Hopper GunsRobert O. Moody is Interviewed by Susan Crabtree
Color Physics and TheoryThe Color Wheel and Color ModelThe Terminology of ColorTerms that Define Color InteractionThe Practice of Color MixingThe Scenic Art PaletteThe Elements of PaintPigmentThe VehicleThe BinderThe Types of Scenic PaintsDry PigmentBinders for Dry Pigments and Powdered PaintsModern Scenic PaintPaint Systems and PalettesWater-Based Scenic PaintCasein PaintLatex PaintAcrylic PaintVinyl PaintPolymersPaint CompatibilityManufacturers of Modern Scenic PaintsBlack and White PaintColorants and Universal Tinting ColorsDyesAniline DyesHazards of Aniline DyeWorking with Aniline DyesThickeners for DyesOther Paints, Finishes, and BindersWater-Based FinishesAcrylicLatexPolyvinyl AcrylicUrethaneEpoxySolvent-Based FinishesVarnishShellacOilsLacquersEpoxySolvent-Based PaintsAlkydsUrethanesLacquersShellacStainsSolvent-Based Penetration StainsOil-Based StainsWater-Based StainsInterview with Howard Jones, Resident Scenic Artist at The North Carolina School of The Arts
Working with Soft GoodsSoft Goods ConstructionStandard Backdrop and Portal ConstructionMuslinMaking a DropSeamless DropsScrim ConstructionFloorcloth ConstructionWorking with Cut Drops and NettingUsing Netting to Reinforce a Cut DropNetting a DropThe Role of Flame Retardants with Soft GoodsFlame RetardantsPretreated Flame-Retardant FabricsStretching and Priming Soft GoodsMounting Soft Goods for Sizing and PrimingWorking on a DeckWorking on a Paint FrameSizing and Priming Soft GoodsFloating Soft Goods on a DeckSizes and PrimersApplying Size or PrimerProblem SolvingSizing Translucent DropsPriming ScrimsPriming GroundclothsPreparing China SilkMonk’s ClothInterview with Jane Snow, United Scenic Artist Member, Based in New York City
Working with Scenic Wall UnitsPreparing Hard-Covered FlatsPreparing Soft-Covered FlatsDutchmenPreparing Floor CoveringsFloor Sheet StockPriming Sheet Stock for FloorsPriming WoodPreparing and Priming Other Scenic MaterialsPreparing Noncellulosic MaterialsPlasterPriming and Sealing MetalsPreparing Plastics and Foam PlasticsFabric Skins, Sculpture Coatings, and Other PreparationsSmooth Sculpture CoatingsFoam-Coating MaterialsRoof PatchingTwo-Part ResinsInterview with Arnold Abramson, Master Scenic Artist
The Tools of CartooningMeasuring ToolsScale RuleTape MeasuresRulers and SquareDrawing Tools for CartooningVine CharcoalChalkCharcoal HoldersFloggers and Compressed AirInk MarkersDyeGraphiteFixativeMechanical Drawing ToolsSnap LinesLining Sticks and Straight EdgesSplinesCompassesStringTrammel Points and Bar CompassesTriangles and TemplatesTransferring a Cartoon or Repeating PatternUsing a PounceThe Transfer ScreenTemplates, Stencils, and StampsPreparing Scenery for CartooningPreparing the Design InformationPaint ElevationsThe Scenic ModelPreparing Hard Scenery for CartooningPreparing Soft Goods for CartooningTwo Methods for Finding a Perpendicular LineMeasuring the DropDrawing The CartoonArchitectural LayoutUsing a Grid for CartooningPerspectiveAtmospheric PerspectiveLinear PerspectiveThe Principles of Linear PerspectiveThe Method of PerspectivePerspective for the StageThe Raked Stage and Traditional Wing and Drop PerspectiveMethods of Doing Linear Perspective in the ShopPerspective Problem SolvingUsing Projectors for CartooningUsing Geometry for CartooningConstructing a Perpendicular LineDrawing Accurate Architectural ShapesConclusionInterview with Robert Moody
Putting a Production Together: The PaintingStarting the PaintingThe Prime CoatPlanning the Painting ProcessDetails and Hard ScenerySoft GoodsBase Painting TechniquesBrushed Base Coat TechniquesBase Painting Large Areas Without Leaving a GrainCreating a Grain Pattern in the Base CoatCutting a Hard Line in a Base CoatBase Coating with a SprayerTexture Base Painting TechniquesWet BlendingScumblingBase Coat Painting with a RollerTexturing with a RollerOverpainting TechniquesWashes and GlazesCombing (Dry Brushing)The Tools and Paint for CombingCombing TechniquesStriéDry BrushingGraining and VeiningGraining Techniques and ToolsGraining Techniques for WoodGraining Techniques for MarbleLiningLining BrushesSpongingSponge TechniqueRag RollingFlogging and SchlepitchkaTools and Paint of Schlepitchka and FloggingSpatteringSpattering Technique and ToolsBlockingStipplingGarden SprayersGarden Spraying Techniques and ToolsPneumatic SprayersPneumatic Spraying Techniques and ToolsPaint StampsStamp RegistrationStencils and TemplatesWhat Tools to Use with StencilsStencil RegistrationTemplates and Spray MaskingSpray Masking Using ParticulatesSpraying Patterns and Masking with FabricConclusion
Trompe L’Oeil Painting TechniqueThe Theory of Practice of Trompe l’OeilColor Theory of Trompe l’OeilShadeLowlightHighlightsCut LinesCast ShadowReflective or Bounce LightApplication TechniquesFinishing and Toning
Signs and LetteringTools of Sign PaintingLayout ToolsSign Painting BrushesBasic Fonts of LetteringGothic FontsRoman FontsScriptRules and Techniques of Signage LayoutGeneral LayoutSpacingMarginsLayout on Transparent SurfacesVinyl LetteringAdhering Vinyl LettersReprographicsSignage and Theatrical Design
Considerations of Scenic Art CoursesProject Scale and Class TimeDrawingPractical ConsiderationsInfrastructure and EquipmentClass Project RenderingsA Selection of Class ProjectsFoundation Projects, Working with Opaque PaintThe Cornice Project“Trompe l’Oeil Scene Painting Made Simple”Pedestal and Urn ProjectArch and Urn ProjectGold CartoucheOrganic and Atmospheric Projects, Varied Techniques, and Transparent MediumPainting a Landscape Without BrushesForest ProjectRobert O. Moody Landscape DemonstrationThe City Wall: A Disney-Inspired Translucent ProjectTranslucencies: Student’s ChoiceReproductions: Old Master’s and PhotographicPortrait PaintingOld Master’s Still-Life PaintingsThe Bistre ProcessBistre and Old Master’s ReproductionPhotorealistic Reproduction, Glass ProjectsSpray Projects, Photorealistic FacesConclusion
The Tools and Materials of TexturingTexture MediumsPaint ThickenersDrywall TreatmentsAdhesives for Texture MediumsPolymer Glues and Theatrical CoatingsContact CementRubber LatexTile AdhesiveRoof CoatingsTexture Compound AdditivesClaySandPerliteVermiculiteMulchTexture ToolsPaper and Fabric TexturesCelluloseFabricBinders for Papier-MâchéTexture StencilsPainting on Miscellaneous MaterialsSubstitute Glass and Plexiglas®Using Caulk on Plexiglas for TextureMetalFoam RubberCarpetingUpholsteryDried PlantsWallpaperConventional WallpaperRaised Pattern PaperLaminate PapersConclusion
Faux Finish Techniques and MaterialsThe Layering Process: Glazes and ResistsGlazes with Pigment or Dye and Finish MediumsFinishesResistsCreating Faux FinishesWoodWood GrainingMarbleMetalGildingBronzing Powders and Mica Flake Metallic PigmentGraphiteImitating Commercial Decorative MaterialsLinoleum FlooringPlastic Laminates and Ceramic TileSurface Enhancement with Glazing and StainingGlaze Tints and MediumsStainsAging Techniques and MediumsPaintPeeling and Cracked PaintSodium SilicateGlue BaseBoardingAging WoodWood PicklingWood and Metal PatinasOxidizing Patina MediumsRustDistressingFabricsDirt and SootAsphaltumConclusion

Content preview from Scenic Art for the Theatre, 3rd Edition

CHAPTER 11 TROMPE L’OEILPAINTING TECHNIQUE

TROMPE L’OEIL PAINTING TECHNIQUE

Trompe l’oeil, a French term that means “deceive the eye,” is a means of painting any surface employing the pictorial devices of perspective and foreshortening combined with the painting techniques of chiaroscuro and cast shadows. The result is to trick observers into believing they see three-dimensional objects on a two-dimensional plane. Successful trompe l’oeil technique results in stunning results of illusion perfectly suited for the theatre.

The techniques of trompe l’oeil were developed and widely practiced during the Italian Rococo period as a way of satisfying the increasing demand for sumptuous and fantastical interior decoration, reaching a state ...