Theatrical Design and Production Chapter 10: Scene Painting 2006
McGraw-Hill. All right reserved. Scenic Painting: The crowning
touch Creates character in the set 2 Main Areas: 1.Materials
2.Techniques Slide 2 Theatrical Design and Production Chapter 10:
Scene Painting 2006 McGraw-Hill. All right reserved. Materials
Paints Applicators Slide 3 Theatrical Design and Production Chapter
10: Scene Painting 2006 McGraw-Hill. All right reserved. Scenic
Paints 4 Elements of Paint 1.Pigment Material that imparts color to
a paint or dye 2.Filler Material that creates opacity in paint
3.Vehicle Liquid medium water, oil, lacquer, and the like in which
pigments, fillers, and binders are suspended to create a pain
mixture; after the paint is applied, the vehicle evaporates
4.Binder The adhesive that bonds the pigment and filler together
**most scenic paints are water-vehicle paints nonflammable / less
expensive / easier to mix / quicker to dry / lighter in weight /
easier to clean Slide 4 Theatrical Design and Production Chapter
10: Scene Painting 2006 McGraw-Hill. All right reserved. Safety
Note Dry pigment & binders Sometimes chemicals in paint are
highly toxic!!! When in dry form, they are easy to inhale Consult
MSDS (Material Safety Data Sheets) to know how to handle certain
materials!!! Slide 5 Theatrical Design and Production Chapter 10:
Scene Painting 2006 McGraw-Hill. All right reserved. Dry Pigment
and Binder Oldest form of scene paint Pigment and filler are
pre-mixed and kept in dry form (powder) Requires size water to
create the paint Size water A mixture of one cup hot animal glue
and one tablespoon of Lysol per gallon of warm water (white glue
can be substituted) Comes in wide range of colors (See Table 10.1
pg. 250) Relatively inexpensive & stores indefinitely Going out
of style Size water will spoil!!! Throw it away!!! Dont use spoiled
paint!!! Slide 6 Theatrical Design and Production Chapter 10: Scene
Painting 2006 McGraw-Hill. All right reserved. Casein Paint
Water-based paint with a binder based in soy protein or milk Comes
in a concentrate that can be thinned with water Easily mixed Has
excellent covering properties Matte finish Water repellent when dry
Negatives: Spoils quickly when opened and smells like super-sour
milk Smell remains once dried!!! Slide 7 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Latex Paint Latex = Synthetic liquid plastic with
flexible qualities White latex is used as a base to mix tints with
more saturated colors Can use dry pigment / aniline dyes / casein /
vinyl acrylic concentrates to tint latex Matte finish Adheres to
wood and fabric well Aniline dye A transparent pigment made from
aniline, a poisonous derivative of benzene; characterized by
brilliant hues and full saturation Vinyl acrylic concentrate A
highly saturated pigment with a vinyl acrylic binder; mixed with an
opaque base (for tints) or a transparent base (for fully saturated
hues) to create a working paint Slide 8 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Vinyl Acrylic Paint Water-based paint with a vinyl
acrylic binder Excellent adhesion Extremely flexible Suitable for
painting wood, fabric, & most metals and plastics
Water-resistant Can create a glaze (transparent wash) by diluting
this type of paint with 8 to 10 parts water Slide 9 Theatrical
Design and Production Chapter 10: Scene Painting 2006 McGraw-Hill.
All right reserved. Aniline Dye Often carcinogenic & toxic
Safety 1 st when using these!!! Powder form Transparent, brilliant,
saturated dyes when mixed with water 1 tsp dye to 1 qt boiling
water as average mix Paint scrims & muslin drops & cycs
Tint water-based scene paints Dye tends to bleed / spread needs a
binder Add starch / white flex glue / animal glue size / clear
vinyl acrylic base as binder Slide 10 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Varnish Transparent coating made of synthetic or natural
resinous materials suspended in oil (oil varnish), alcohol (spirit
varnish), or synthetic vehicle (polyurethane, vinyl acrylic)
Sealing coat Matte, satin, glossy finish Polyurethane believed to
be better for stage easier to apply and dries more quickly than
other types Slide 11 Theatrical Design and Production Chapter 10:
Scene Painting 2006 McGraw-Hill. All right reserved. Shellac
Transparent finish coating made of resinous material (lac insect
secretion) suspended in alcohol Extremely volatile substance needs
to be handled carefully Often used as a vehicle for bronzing
powders Lacquer Form of shellac or varnish that has been diluted
with alcohol or other quick-drying solvents Slide 12 Theatrical
Design and Production Chapter 10: Scene Painting 2006 McGraw-Hill.
All right reserved. Polyester Resin Not actually paint! Used to
form fiberglass Finishing method that can hold color and textures
Must be mixed with MEK to harden Resin takes time to set Virtually
impossible to remove once put in place MEK methylethylketone
catalyst-hardener Slide 13 Theatrical Design and Production Chapter
10: Scene Painting 2006 McGraw-Hill. All right reserved. Enamel An
opaque paint with an oil, lacquer, or synthetic base Hard surface
Excellent covering power Smooth satin or gloss finish Surface to be
covered should have an enamel undercoat for proper sealing and
finished look Slide 14 Theatrical Design and Production Chapter 10:
Scene Painting 2006 McGraw-Hill. All right reserved. Important
Safety Tips Check MSDS Sheets for proper handling of all paints and
dyes Visit the MSDS FAQ online to get more information on how to
read this information properly Make sure to wear proper masks /
respirators when mixing dry pigment Oil-, alcohol-, and
lacquer-base paints and some synthetic- base paints are flammable
Keep all hazardous materials in appropriate storage and also work
with them in well-ventilated areas!!! Slide 15 Theatrical Design
and Production Chapter 10: Scene Painting 2006 McGraw-Hill. All
right reserved. Applicators Slide 16 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Brushes Good brushes are expensive but worth it! Natural
bristles are best Look for length and a natural springiness when
wet 3 types of brushes 1.Priming applies 1 st coat large (6 to 7
inches wide) 2.Lay-in applies base coat medium (4 to 5 inches wide)
3.Detail Used for fine work small (1/4 to 2 inches wide) Multiple
types of brushes exist for multiple purposes Match the purpose to a
specific brush for best results Slide 17 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Other types of applicators Sponges Use for texture and
for creating several different paint treatments Rollers Use with
water-base paints to get large amounts of coverage Aerosol Spray
Can Allows for some control of paint often used to distress objects
due to look of paint once sprayed Spray Gun Variety of methods use
these Drops to furniture can be painted with these **Useful for
applying glaze coats, fire retardants, spattering Slide 18
Theatrical Design and Production Chapter 10: Scene Painting 2006
McGraw-Hill. All right reserved. Auxiliary Scene-Painting Tools
Slide 19 Theatrical Design and Production Chapter 10: Scene
Painting 2006 McGraw-Hill. All right reserved. Auxiliary
Scene-Painting Tools Charcoal & Chalk Used to draw parts of the
design before painting Handle extender Allows painters to reach
inaccessible areas with ease (Often made of bamboo) Bucket
Straightedge Guide to painting straight lines / beveled underside
to prevent paint from creeping Chalk Line a.k.a. snap line Aids in
creating lines Paint Cart Convenient to carry paints Electric glue
pot essential for creating size water Immersion heater Helpful for
mixing and heating water, paint, dye, etc. Stirrers Slide 20
Theatrical Design and Production Chapter 10: Scene Painting 2006
McGraw-Hill. All right reserved. Preparing Scenery for Painting
Repair Holes Patch on the BACK of the flat Applying Dutchmen 4-6
inch wide strips of muslin to cover joints between flats Compound
water to glue Flame proofing All scenery must be flame proofed
Compound 1 lb borax, 1 lb sal ammoniac, pt vinegar, 1 g hot water
Horizontal and Vertical painting Prepare the paint space for
whichever method will be used Horizontal large amounts of clean
floor space Vertical large amounts of wall space and more care from
the painters Slide 21 Theatrical Design and Production Chapter 10:
Scene Painting 2006 McGraw-Hill. All right reserved. Vertical
Painting Structures Slide 22 Theatrical Design and Production
Chapter 10: Scene Painting 2006 McGraw-Hill. All right reserved.
Preliminary Coating of Paint 2 basic coatings Size coat Shrinks the
fabric (tightens to frame) Fills the surface of the cloth to better
take paint Water & hot glue (16 to 1) Prime coat a.k.a. Ground
coat 1 st layer of paint Usually painted over with detail layer use
garbage paint Neutral color to prevent bleedthrough Slide 23
Theatrical Design and Production Chapter 10: Scene Painting 2006
McGraw-Hill. All right reserved. Paint-Mixing Techniques Dry
Pigment & Binder No set formula working to get consistency of
coffee cream Casein 1 part paste to 2 to 4 parts water Latex If
undiluted extend with 1 pint of water to 1 gallon of paint Vinyl
Acrylic Versatile with a wide variety of techniques for mixing
Slide 24 Theatrical Design and Production Chapter 10: Scene
Painting 2006 McGraw-Hill. All right reserved. Scene Painters
Palette = Light = Pigment Slide 25 Theatrical Design and Production
Chapter 10: Scene Painting 2006 McGraw-Hill. All right reserved.
Scene Painters Palette Practical Hints and Tips Be sure all paint
is thoroughly mixed and stirred To reduce value or saturation add
complimentary hue add a less saturated pigment add black (last
resort) To increase value add pigment of same hue but higher value
add white (judiciously) When mixing high values start mixing with
lightest pigment and slowly add other components When mixing dark
colors start with darkest and slowly add lighter colors If mixing
large quantities be sure to box the paint Paint appears lighter
when dry test your mix with various samples to make sure you are
getting the correct end result Slide 26 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Painting Techniques Smooth Base Coat Vertical paint top
down Horizontal paint corner out Keep brush fully loaded with paint
Keep a wet edge Dont scrub surface with brush Dry pigment &
binder apply with a cross-hatch pattern to avoid brush marks
Application here is being done in a cross- hatch pattern working
from the top down in a vertical painting situation Slide 27
Theatrical Design and Production Chapter 10: Scene Painting 2006
McGraw-Hill. All right reserved. Painting Techniques Graded Base
Coat One that generally changes hue or value over the height or
width of the painted surface. Common to fake a sense of age or
being well-worn Requires speed blend must be done while paint is
wet small areas at a time Look at the images from top to bottom to
see the stages of creating a graded base coat Slide 28 Theatrical
Design and Production Chapter 10: Scene Painting 2006 McGraw-Hill.
All right reserved. Painting Techniques Scumbling Blends several
hues together creates illusion of texture Two guidelines 1.Use a
separate brush for each color to maintain integrity 2. Work rapidly
paints must be wet for blending to take place Textures rough
plaster / wood / stone / dirt / etc. 1.Sharply textured,
high-contrast curvilinear 2.Softly textured, low-contrast
curvilinear 3.High-contrast linear scumble 4.Low-contrast linear
scumble 1 2 3 4 Slide 29 Theatrical Design and Production Chapter
10: Scene Painting 2006 McGraw-Hill. All right reserved. Painting
Techniques Aniline Dye Different due to type of color produced
high, intense, transparent color Mix in boiling water (vinegar or
alcohol as a potential way around boiling still requires hot
water!!!) Dye Penetrates rather than covers!!! Dye must be mixed
with a binder or fabric must be sized Difficult surfaces to
penetrate 8 parts water to one part vinyl Non-porous surfaces 3
parts water to one part clear vinyl Slide 30 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Spraying Techniques Fastest method of applying paint 3
Parts: 1.Spray gun A pistol-like device that shoots out a cone of
paint 2.Spray cone The pattern of paint emitted from the nozzle of
a spray gun. 3.Compressor A pump, typically electric- or
gasoline-powered, that drives air into a tank, output pressure from
the tank is controlled by a valve called a regulator. Slide 31
Theatrical Design and Production Chapter 10: Scene Painting 2006
McGraw-Hill. All right reserved. Cartooning The process of
transferring detail to the scenery after prime and base coats are
applied. Combination of technical transfer using scale measurements
and grids to freehand sketching Painters elevation provides the
information on the details to be transferred Slide 32 Theatrical
Design and Production Chapter 10: Scene Painting 2006 McGraw-Hill.
All right reserved. Grid Transfer In scale a 1 sq grid is drawn on
the elevation In full-scale, 1 sq grid is placed on the surface
Painter makes transfer of information using grid for placement
Slide 33 Theatrical Design and Production Chapter 10: Scene
Painting 2006 McGraw-Hill. All right reserved. Projection Transfer
Uses an opaque projector to project the painters elevation onto the
scenery Design is then traced in charcoal or chalk Drawbacks 1.
Shop must be dark for this process 2. Projector must be placed
perpendicular to the center point or keystoning occurs **Computer
technology is changing and improving this method which is more
efficient than grid transfer Slide 34 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Standard Texture Coats Spattering Process of applying
small drops of paint to a surface Age the paint job, alter the hue,
smooth out irregularities of base coat Can be done by hand or with
a garden sprayer (Hudson is the brand preferred by many
professional scenic artists) Slide 35 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Standard Texture Coats Stippling Applies a heavier
texture than spattering to the scenery Uses an applicator loaded
with paint in a random pattern With a brush With a sponge With a
feather duster Slide 36 Theatrical Design and Production Chapter
10: Scene Painting 2006 McGraw-Hill. All right reserved. Standard
Texture Coats Dry Brushing Painting with a brush that holds very
little paint Tip of brush is dipped in paint, scraped across the
lip of the bucket, then dragged across the surface of the work Most
commonly used to create wood grain Slide 37 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Standard Texture Coats Lining Painting narrow, straight
lines of varying widths creates the appearance of depth Uses
highlight and shadow to trick the eye Slide 38 Theatrical Design
and Production Chapter 10: Scene Painting 2006 McGraw-Hill. All
right reserved. Applications of Painting Techniques Foliage Wood
Stone Marble Slide 39 Theatrical Design and Production Chapter 10:
Scene Painting 2006 McGraw-Hill. All right reserved. Specialized
Finishing Techniques Texturing Use of additives in paint to give
depth and texture Stenciling Large cut patterns used to apply paint
in detailed, intricate patterns like wallpaper Front-Back Painting
a.k.a. translucent painting Paint / Light the back AND the front of
a muslin drop Glazing Applying a clear top coat to an existing
finish Metallic Finishes Generates the illusion of metal or
provides accent Wallpapering Alternative to painting costly and
should be done on hard flats Slide 40 Theatrical Design and
Production Chapter 10: Scene Painting 2006 McGraw-Hill. All right
reserved. Drop Painting Techniques Drops must be stretched and
framed before being painted Horizontal vs. Vertical once stretched
this is the orientation painting will occur in If being painted
horizontal may require bogus paper to absorb excess paint If no
existing frame, one will need to be built Temporary drop stretcher
Slide 41 Theatrical Design and Production Chapter 10: Scene
Painting 2006 McGraw-Hill. All right reserved. Scenic painting
relies on the talent and ingenuity of the artist There are no true
rules for the painter Experimentation Trial and error &
learning from happy accidents are the main guidelines for scene
painting
