A Little Dab Will Do Ya: Paint

CHAPTER NINE

IN THIS CHAPTER

Overview

Safety

Tools and Supplies

Paints and Glazes

Texturing

Step-by-Step Techniques

Study Words

The next logical topic is a discussion on paint. This chapter first addresses the paint shop and its tools. Then we talk about the range of paint techniques that have been in use for centuries and are still in use today. You might wonder how painting has changed, or what new technologies there are. It’s just a paintbrush and some paint, right? Wrong! There are many new developments in this area. Some changes are small, some are large, but all are important. There has been a resurgence of painted faux finishes both in the theatre and in homes. These techniques will help to complete our picture of what is possible from a scenic point of view.

OVERVIEW

Let’s start with a little background on getting a job as a scenic artist. What kind of training is needed to become a scenic artist? You will need a good understanding and background of architecture including the orders of architecture and architectural styles. Your training must obviously include drawing and, very specifically, perspective. Expect as a matter of course to know the basic techniques that include wood, marble, etc. You will need that kind of groundwork. Specialty techniques are great, but only if you can also have a handle on everything else including the basics. Perhaps most important, you will need to be able to look at a rendering and envision what the designer intends.

Obviously to paint something, it needs to be built first. The scene shops will organize all the different departments’ schedules so that there is a smooth process following each element from the first meeting all the way through to it being loaded on a truck. Every painted element in the show will need to have a sample created. The first week or two is usually for these samples, and there is no limit to the size of the samples. They can be large or small, whatever size is needed to show the color and texture properly. The samples are primarily for internal use as well, but are also shown to the designer or client. This is the time when the final look for each technique is controlled and determined. The “recipe” for the paint color and texture as well as the technique are determined and documented so that other scenic artists can share projects seamlessly.

Backdrops are the one exception to this rule as they can start right away. The design is first cartooned onto kraft paper with vine charcoal. Cartooning refers to drawing the basic design at full scale using a grid to enlarge it. The kraft paper is then pounced. A pounce wheel is a small tool with sharp teeth around the wheel. Think of a small pizza cutter and you’ve got the right idea. You use the pounce wheel to trace the cartoon, punching holes in the paper as you go. To transfer the design to the drop’s fabric, lay the kraft paper on the fabric and use a pounce bag filled with either chalk or charcoal to transfer the design. A newer technology to help this process along is the electronic pouncer. It is much easier on your hand, taking less strength, and it does the job much faster.

FIG.9.1
Hudson Scenic’s paint bay, empty and waiting for the next job.

SAFETY

Let’s address some safety concerns in the paint shop before going further. First, and most important, research all products before buying them to check for safe use practices. MSDSs are available for almost all products, and you can download this to check and make sure your shop is properly set up to use the product. You should always keep a copy of the MSDSs in the paint shop in case of an accident! Latex allergies are becoming a bigger and bigger issue. Latex gloves used to be the standard in a paint shop, but they are now being replaced completely by vinyl gloves.

Solvents and sprays must be stored in a metal cabinet as they are combustible. Theatre, as an industry, is getting away from the use of metal flake for safety reasons. There are certain products that have been shown to be accelerants. That is a bad thing. There is really nothing you can do to change it. So just don’t use them. There is an OSHA requirement that when you are mixing different products together, you have to create a label for the container that states all the various elements you put into the mixture. Think about it for a second. You’ve made a new chemical compound. Labels are important to identify what type of paints went into the mixture in case you need to make more of it, but also as a safety concern, since you might not be the only one to use it.

FIG. 9.2
Hudson Scenic’s paint bay, in full swing with several projects and workers.

FIG. 9.3
Hudson Scenic painter, Kyle Higgins, using the electronic pouncer.

FIG. 9.4
Painter’s elevation by Scott Pask for Nine.

FIG. 9.5
Full-color model by Scott Pask for Nine.

FIG. 9.6
Backdrop in the process of being painted at Hudson Scenic for Nine.

FIG. 9.7
Backdrop further through the process of being painted at Hudson Scenic for Nine.

TOOLS AND SUPPLIES

OK, let’s move on to the tools of painting. We’ve all used a paintbrush, but it isn’t the only tool of the trade. And there isn’t just one kind of brush. Before we go into the different types and styles, let’s look at the anatomy of a brush. Every brush can be divided into three different parts: the bristles, ferrule, and handle. The bristles are what you dip the paint into. They can be made from a variety of materials and shapes depending mostly on what kind of paint you are going to use. The handle is what you hold and can be in a variety of different shapes and sizes. The word you are probably not familiar with is ferrule. Like bristles and handles, they can be made in a variety of ways. The job of the ferrule is to hold the bristles in the proper shape and attach them to the handle. This is the “weak” spot of the brush. What I mean by that is if the brush is left soaking in liquid before cleaning, the ferrule can loosen its hold on the bristles and handle. This is the main way that brushes are ruined!

Brushes come in a variety of styles and shapes, all of which have different names. The standard brush you are used to has no special name. It is a good rectangular utility paintbrush for many general uses. They come in a variety of sizes, including ¼, ½, , 1, 1¼, 1½, 2, 3, and 4 inches. Lining brushes, also known as Fitch brushes, have a much more defined shape. They are usually better made, and much more expensive. The ferrule is seamless, which helps to keep its shape, and the bristles are natural not synthetic. They also come in a range of sizes, including ¼, ½, , 1, 1¼, 1½, and 2 inches.

Chip and foam brushes, as well as pads, are now popular as inexpensive alternatives to standard brushes. Chip brushes are a very inexpensive alternative to the standard paintbrush. They are less durable and considered to be disposable. They come in all the same standard sizes. Foam brushes and pads come in a variety of sizes and are mostly rectangular or round. Instead of bristles, these brushes have a foam block that comes to a wedge at the tip. These are great for cutting in and keeping a straight line. Once the foam has been saturated for a while it tends to become limp. Although these brushes can be washed, and when completely dried, return to almost their original condition, they are considered to be disposable by many.

FIG. 9.8
Finished painted backdrop at Hudson Scenic for Nine.

FIG. 9.9
Diagram of scenic brush with the parts labeled.

The lay-in brush is a specialty brush used specifically for painting large areas such as a drop or a large expanse of scenery. They are larger than most other brush types with typical sizes of 5 and 6 inches. Due to their large size they can hold a lot more paint, so painting goes faster. That is good, but it also makes the brush heavier and cleaning them more difficult.

When you need to create a wood grain, graining brushes and tools come in a wide range of choices. Brushes will typically look like a standard brush with the bristle end varying in length and density to create the grain texture. Rubber rollers and rockers are another way to create wood grain. The rubber surface has the texture raised to grab the paint. As the tool is rolled or dragged along the painted surface it can leave, or remove, paint to create the effect.

Another type of specialty brush is called a flogger. Think of a regular paintbrush with really, really long bristles. The flogger can be used for creating textures in wet paint or for removing cartooned chalk and charcoal from the material’s surface. It is very versatile but also expensive. Be careful when using it as the longer bristles can bend and break. Also make sure to clean it out fully when you are done.

OK, so brushes are cool and you get the differing kinds. But how on Earth do you paint something that is bigger than you can reach? With a piece of bamboo of course. Bamboo sticks come in a variety of lengths and diameters. Since bamboo is hollow, you can put your paintbrush handle into the center and tape it in place. This lengthens the span of your arm, which means you can reach more surface, and save your back from having to bend over at the same time. With all these wonderful tools, you will still have to occasionally paint a straight line. A lining stick is a beveled straight edge that allows you to run your brush along the side, using it as a guide for creating precise lines. It usually has a handle to make holding it easier when working from a distance with a paintbrush in bamboo.

Paint rollers, similar to paintbrushes, are something you’ve seen and probably used many times. But did you know that both the frames and the covers come in many sizes and textures? Well, they do! The frames come in different widths and most have a female screw at the end to accept an extension. This allows you to paint further away than your arm can reach. The covers come in differing widths as well. They also come in different materials from wool, to synthetic version of wool, to microfiber. Differing surfaces include smooth, semi-smooth, semi-rough, rough, and extra rough. Textures can include anything from generalized texture to carpet stipple, and custom-cut rollers. The sky is the limit with the custom rollers. You can even cut these yourself to make a design specifically for your show.

FIG. 9.10
Various lengths of bamboo at Hudson Scenic.

Sponges, plastic wrap, rags, and anything else that will hold paint and create a pattern are all viable choices for texturing the paint. Most of these are a messier technique than brushes or rollers, so be aware and use gloves. These “tools” are easy to use. Load them with paint by dunking, dipping, or whatever. The way you apply the paint to the wall will control the final look.

Flame retarding is an important step in the paint shop. There are a variety of products you can use depending on the scenic element that needs to be treated. These chemicals require caution when using and you must follow the instructions that come with the products. Someone certified in flame testing will come in to check your scenery once everything is ready. This certification process is very important as it is the only way to know whether you have applied the product properly and the product is working the way it was intended. Your flame certificate should be kept on file for as long as you use the scenery.

There are a number of other general supplies that the paint shop will need. These can include blue painter’s tape in a couple of sizes, and frisket. The painter’s tape you may have seen and used at home. It is good for covering molding when you are painting a wall. Frisket is a plastic sheet with an adhesive back. It is used when you need to mask a specific part of a design. You lay it down and cut a design out to reveal the portion you need to work on, leaving everything else masked.

Another very handy tool is the Hudson® sprayer. The brand name Hudson has become synonymous with the canister type of compression sprayer. The Floretta® is a smaller, handheld version of the compression sprayer. These are the most popular brands. A sprayer allows you to put paint into a canister, put the top on, and then pump air into the paint. A nozzle allows you to release the paint/air mixture. This is a great tool for many, many uses.

PAINTS AND GLAZES

OK, let me give a generic disclaimer for this chapter. Whenever I say paint, I mean anything you might apply to change the color of a surface. There are many different compounds that will do this, and I will get into that shortly. It will be easier as we go on if we all agree to a simple shorthand.

Scenic paint started out as powdered pigment. We used to start out by mixing different powdered pigments together until we achieved the color we needed. Then we would need to make a binder and a medium that when mixed together became the sizing. Be happy you don’t have to still do this! Here are the details. The binder was originally made from flake or ground glues. The glue was made from parts of a horse or ox—I’m not going into any more detail. So anyway, you melted the glue in a double boiler, added water, stirring constantly as your product was sizing. Slowly mixing the sizing into the pigment, stirring constantly, created scenic paint. It smelled nasty, never mind the fact that it wasn’t exactly animal friendly. So we don’t do that anymore.

Now there are a variety of manufacturers for theatrical paints, such as Rosco, Artist’s Choice, Wild Fire, Spectral, and Mixol. By far, Rosco is the unrivaled leader. Rosco offers the biggest variety for these kinds of paint, suited to any type of product. These include Off-Broadway®, Super Saturated®, Iddings Deep®, and clear glazes. Special Effects paints from Rosco include fluorescent, Vivid FX®, Clear Color®, and Rosco Glo®. All of these are water soluble, meaning you can clean your tools in water. It also means these paints can all be thinned with water for varying effects.

FIG. 9.11
Kyle Higgins, scenic painter, applies texture at Hudson Scenic.

FIG. 9.12
Scenic brush storage at Hudson Scenic.

FIG. 9.13
More scenic tools in storage at Hudson Scenic.

FIG. 9.14
Painting over a frisket at Hudson Scenic.

FIG. 9.15
Removing the frisket at Hudson Scenic.

FIG. 9.16
Finished drop after frisket removal at Hudson Scenic.

FIG. 9.17
Romeo Et Juliette at the Metropolitan Opera, November 2005. Director, Guy Joosten; Scenic Designer, Johannes Leiacker; Costume Designer, Jorge Jara; and Lighting Designer, Peter Cunningham.

You are probably wondering what the difference is between paint and glaze. Well, I’m just getting to that. Paint is what you are most familiar with. It is usually opaque, meaning it completely covers the surface below it. I say usually. When you are painting sometimes it will take several coats of paint to cover, but eventually it will cover. Glazes are used differently. Glazes are thinner than paint and they are transparent instead of opaque. Glazes are used for a variety of effects that we will talk about shortly. The key with glazes is to put them on thinly and let them dry completely. Otherwise you end up with mush.

All of the paints listed can be mixed within their type to achieve the exact color you are trying for. Remember the color wheel from Chapter 4? Now is the time to use that knowledge. Easy to mix, easy to use, easy to clean up. Easy! Don’t forget, you can experiment (a.k.a. play) and create your own techniques. Nothing is truly set in stone, except of course Excalibur.

There are many other products on the market for varying effects. What about metallics, you might ask? Well some of the best metallic paints and powders on the market are from Europe via Benjamin Moore’s Metallics series. Metallic paints are used the same as regular paints. If you get metallic powders they need to be mixed into a glaze of some sort to be used. Keep in mind that metallics, by their nature, have a higher possibility of being volatile. Always read the MSDS about a product before using it to make sure you are safe.

Here is a little trick that can be good to know. Whatever the color you are going for, if it is intense it might be good to add a little ultraviolet (UV) paint. This makes the color pop out a bit. Of course, you can’t do this if there will be UV lights used in the productions. If you add UV paint by accident to a mixture, there is no way to cover it up. So be careful, and be sure of yourself before you try this.

FIG. 9.18
Paint storage at Hudson Scenic.

Last thing to discuss regarding paints and tools is their care. Paints must always be sealed tightly when you are done using them for the day. Otherwise a skin will form across the top and eventually the paint will completely dry out or get rancid, depending on the type of paint. Good brushes and roller covers can cost a lot of money. While cheaper ones are meant to be disposable, not all are. Take care of your tools and they will last a long time!

FIG. 9.19
Scenic tool storage at Hudson Scenic.

FIG. 9.20
More scenic tool storage at Hudson Scenic.

FIG. 9.21
And yet more scenic tool storage at Hudson Scenic!

Brushes and rollers require a good cleaning after each use. What you use to clean the brush depends on the type of paint you were using. Water-soluble compounds can be cleaned in good old-fashioned soap and water! The key to cleaning is to make sure to remove all the paint that is possible. There are tools specifically designed for cleaning brushes and roller covers. The brush cleaner looks like a metal hair comb. After wetting the bristles, insert it at the bottom of the ferrule/top of the bristle and gently pull down toward the end of the bristles. Roller covers can be cleaned using a five-in-one paint tool. This has been specifically designed for cleaning rollers and roller covers in a variety of ways to get the longest life from your tools.

Now that we know the tools and paints available, let’s put them together. You can just dip the brush in the paint, or you can dry brush, scumble, rag roll, spatter, sponge, wet blend, or stencil. Let’s look at these simple textures before we move on to the techniques that will use them. Here is an idea that will mess with your mind. Any of the tools we’ve discussed for applying paint can also be used to remove paint. Huh?! Well, think about it. You lay in the base color. Then you apply another color. While that color is wet you can remove some of it to create the texture! And then.…

TEXTURING

There are many methods for adding texture. Dry brushing is when you keep your brush as dry as possible, using only a minor amount of paint, or using a brush with no paint to move around, or remove, paint that has already been applied to the surface.

Scumbling is putting a small amount of paint on your brush, and then lightly dragging it across a dry surface. This is often used as an overlay to a background image, for example, to create sunbeams coming out of clouds.

Wet blending is just what it sounds like. You apply one layer of paint, and while it is still wet, you apply a second coat that blends partially or completely with the first.

Rag rolling can be done in two different ways. You can use a roller and paint a surface, then take a cotton rag that has been bunched into a loose ball and roll the rag ball across the paint to remove paint while also making a texture. You can also do the reverse by applying paint to the rag and rolling it onto the surface, adding paint and texture at the same time.

Spattering is a messy texture so be sure to use plenty of drop cloths. To spatter, you load a brush with a small amount of paint and then basically shake the brush at the surface without allowing them to touch. If you use too much paint all at once it will just make big ugly blobs of paint. Also, the paint for spattering is often thinned to avoid the blob idea. You can also spatter using a Hudson sprayer to make it a little neater and get more coverage quickly.

Sponging is fun and can provide a great variety to the texture. Sea sponges are often used as they are more natural in appearance than a kitchen sponge. However, any sponge can be used to apply paint. Just dip the sponge in paint and then dab it at the surface. You can vary the amount of texture and paint you use to create each part of a design. You can also take a sponge and a pair of scissors and cut a design into the sponge. This will create your own custom texture that is fun while making your design even more custom.

FIG. 9.22
Romeo Et Juliette at the Metropolitan Opera, November 2005. Director, Guy Joosten; Scenic Designer, Johannes Leiacker; Costume Designer, Jorge Jara; and Lighting Designer, Peter Cunningham.

A texture I won’t go into much detail on is distressing. Distressing is used in the theatre all the time. So why don’t I want to talk about it? Because there are so many different kinds and ways it could fill a whole book. Let me just say distressing is a way to make something new look like something old. So the best way to distress anything is to get some research of the same item when it is old and then copy that. Experience is great on this texturing idea because everyone you talk to will have different thoughts on how to do it. Keep a list of your favorites!

Three-dimensional texture can be created in any number of ways. I like to combine 2D and 3D techniques for the best result. If you want to add 3D texture there are a variety of options. You can use joint compound, cheesecloth, sawdust, newspaper, chicken wire, or almost anything that will adhere to the surface and is paintable in one fashion or another. The sky is really the limit here.

Before you do any of these techniques, there is one basic thing that has to happen. You must prime your surface. Priming is a way to make the surface ready to accept your design. Raw wood or fabric will soak in a great deal of the first layer of paint. This is the basis for priming. It is better to use a neutral color and a less-expensive paint for this part of the process since it won’t be visible in the final product.

FIG. 9.23
Hudson Scenic scenic artist working on a 3D texture project.

STEP-BY-STEP TECHNIQUES

The following are the basic scenic painting techniques that create a base for all other techniques. You should practice these and become familiar with each step. Then, and only then, you can begin to experiment with your own variations to create different images. Let me give you a couple of basic disclaimers before going into the step-by-step instructions. Most important, do not rush the drying time. If you start the next step before the paint is dry, you will not end up with a good, recognizable effect. You will, instead, end up with a murky mess. Don’t skip the glazing either. Glazing is what helps to separate the differing layers of paint from each other, giving the visual effect of a 3D object.

Research becomes your last important phase before beginning to paint. You may have the designer’s paint elevations. You may also have a sample that was created and approved. Or you may have none of these and it is all up to you. However the process goes for you, it is important to do your own research. How many different kinds of marble, brick, and wood do you think there are? You’ll be amazed. Each different kind is slightly different. The more specific you are when researching, the more realistic you will be when painting. Lastly, remember that each step is a part of the process and not the finished product. Have faith, keep your research nearby, and here we go!

FIG. 9.24
Pride and Prejudice at the Guthrie Theatre in 2003.

FIG. 9.25
Floor fans at Hudson Scenic.

FIG. 9.26
“The Sound of Music Outside the Trapp Villa,” watercolor rendering by Oliver Smith. © Rosario Sinisi.

FIG. 9.27
“Hello Dolly Harmonia Gardens,” watercolor rendering by Oliver Smith. © Rosario Sinisi.

MARBLE

Marble comes in many colors and textures depending on where it comes from. Water and pressure are the major forces in marble’s formation. It is good to use puddling and spattering with clean water during the following steps to achieve the best results. Since this is such a wet technique, make sure to work it flat on the floor. Drips from working on a vertical surface will ruin the effect. The traditional method of veining marble is to use a feather instead of a brush. I find that using a combination of different feathers and brushes gives me the range I want and need to make the most successful marble.

Step 1—Lay in the base coat. Using a wet-blend technique, lay in the base colors based on your visual research. Blend a contrasting color over the base to lay in some texture as a part of the base. This coat may then be sprayed lightly with water to soften, if desired. Allow to dry. Apply a complimentary colored glaze selectively over the surface to vary color of textured areas. Allow to dry.

Step 2—Establish veining. Select two different vein colors within the same color family, one lighter and one darker. Lay in major vein areas in the lighter color. Assure that no pattern emerges in this part of the process, as marble is very random. Next lay in the minor veins with your other vein color. You may want to wet the surface before laying in the veins so that they are softened as they are applied. Or you may apply the veins and then spatter with water to soften afterwards.

Step 3—Glazing. Apply glaze colors as appropriate for your marble. Glazes tend to make colors look richer. They also add depth to marble. Both of these are good, but be careful not to overdo it.

Step 4—Veining detail. Apply additional veining detail as needed using a variety of colors, if appropriate. Wetting the surface lightly will enhance your results, enhancing the blending and making everything pull together. Apply glaze colors on select veins to add more interest and depth. Allow to dry thoroughly.

FIG. 9.28
Rosco scenic finishes: marble, step 1.

FIG. 9.29
Rosco scenic finishes: marble, step 2.

Step 5—Final glaze. Apply a final coat of clear acrylic gloss to the entire surface for added depth. This is the only time to use a clear glaze. It will seal the layers of paint to make everything unified.

BRICK

Bricks come in many sizes, shapes, and colors. Some brick is very old and worn while others look brand new—and everything in-between. The following technique is a basic guide for a common brick wall that can be adapted to suit many types of brick. These can also be suited to many types of stone as well. Remember what I said earlier: Follow the steps and once you are comfortable with them you can begin to put in your own variations.

Step 1—Mortar as your base coat. Mix the base coat mortar colors based on your research. Your mortar colors should be light in value with some gray/brown components as this is the most common mortar color. If your research shows something else, feel free to go with it. Cover the entire surface using a scumble technique with your base coat colors. This will make sure you have variety throughout the entire surface.

FIG. 9.30
Rosco scenic finishes: marble, step 3.

FIG. 9.31
Rosco scenic finishes: marble, steps 4 and 5.

FIG. 9.32
Rosco scenic finishes: brick, steps 1 and 2.

Step 2—Prepare your stencil. Prepare your stencil based on your research. The most important thing to consider when cutting your stencil is the proportion of the bricks. Lie out and cut desired sizes from craft paper or regular poster board. There are two ways to line up a stencil for repeating patterns. You can either put registration marks on the edges of your stencil or use an overlay method if your stencil is big enough.

Step 3—Stencil your base brick colors. Now you can mix your brick base color using two different colors to add depth. Line up your brick pattern stencil and stipple the brick base color onto the surface using a sea sponge or stiff brush. This is one time when the more inconsistent you are, the better it will look. Allow to dry thoroughly.

Step 4—Adding realism with spatter and glazes. Look closely at your research. Brick has naturally occurring dings, dents, chips, and other irregularities in the surface. The use of a fine spatter over the entire surface will replicate this effect convincingly. Mix two to three glaze colors, light and dark. Experiment with different colors for different looks. Apply the glaze over your dry brick base and notice how it adds dimension just like it did with the marble. Allow some original base color to show through for more variety in the surface. Allow to dry thoroughly.

Step 5—Highlight and shadow. The final step is to add highlight and shadow to individual bricks for even more added depth. Mix highlight color based on your research and thin it with water to the consistency of whole milk. Create your shadow color in the same way as the highlight. The final touch, if you are going for a strong lighting effect, is to add a “cast shadow.” Choose a cast shadow color that will work with your research. A cast shadow should be placed below the first shadow.

FIG. 9.33
Rosco scenic finishes: brick, step 3.

FIG. 9.34
Rosco scenic finishes: brick, step 4.

WOOD GRAIN

Wood, like brick, comes in many types including differences in color, texture and grain. Factor in the age of a tree, and the possibilities are endless. The following technique will give you an idea for how to create faux wood grain. Keep in mind that research is still key and you should keep it in front of you as you paint. As always: Follow the steps and once you are comfortable with them you can begin to put in your own variations.

Step 1—Lay in base coat. Prime your surface with a neutral color. Select several colors for your wood. Do a wet blend of your colors, keeping in mind the grain of your wood. Remember that wood is organic, therefore it is not perfectly straight. Minor variations will help this look better, especially if you are creating wood made from individual boards.

Step 2—Graining the surface. Mix the graining color as a thin glaze. This is a fine balance, because if you make the glaze too thin it won’t show up enough, but if it is too thick it will look like a cartoon. Use a dry-brush technique with a graining brush. Lightly drag the brush along the surface leaving a “combed” look. Make sure you have enough paint on your brush to do the entire length of the board; if you have to stop and restart the wood will not look right. Vary your technique including the pressure and amount of paint for more realism. Gently drag a clean, dry brush over the grain to soften.

Step 3—Create individual boards. Using the same grain color and a thin fitch brush, paint lines between boards to delineate one from another. Vary the line thickness slightly for added realism. Do a light spatter over the whole surface to add more depth and tie everything together.

FIG. 9.35
Rosco scenic finishes: brick, step 5.

FIG. 9.36
Rosco scenic finishes: wood grain, steps 1 and 2.

Step 4—Glazing individual boards. Mix your glazing colors using one part paint, four parts clear glaze, and four parts water. Check your research to determine if you will need one or two glazing colors. Apply each glaze selectively over the grained surface to achieve your desired result. Glazes allow for variations in color and give depth, as we’ve discussed with previous techniques.

Step 5—Finish coat. Your finish coat can be flat, glossy, or somewhere in-between depending on the wood you are simulating. Mix one part clear acrylic (in desired finish) to one part water. Apply finish in several thin coats allowing them to dry thoroughly between each coat. You can also mix a small amount of your wood color into the glaze to add another level of uniformity.

Now that we have all this information in our heads, let me tell you a little about one of today’s design trends. There is a shift to using more and more “real” materials instead of faux painting. There does not seem to be any shyness in ordering expensive materials for the theatre as some budgets can be extravagant on Broadway. The audiences’ expectation has made many modern musicals really costly. Big-money musicals in the 1980s started a trend that continues today. However, academic and amateur theatre still use many of the techniques we’ve been discussing.

FIG. 9.37
Rosco scenic finishes: wood grain, step 3.

FIG. 9.38
Rosco scenic finishes: wood grain, steps 4 and 5.

FIG. 9.39
Hudson Scenic scenic artists enjoy their work at the end of the day!