COURSE DESCRIPTIONS
STUDIO CLASSES
S2.1 Translucent Techniques: Stained Glass on Starched Muslin
The purpose of this class is to develop the student's intuition and understanding of translucency in theatrical
projects. Basic translucent methods using dyes mixed in starch and painted on starched muslin will be employed
in class. Additional binders will also be surveyed. Leading will be painted opaquely to create a stained glass
window effect. Students will prepare a drawing of a stained glass window using research from the picture files.
Students will be taught to use the overhead transparency projector and will have the option of using it to make
the required pounce. The class also provides an introduction to the technique of starching a backdrop and an
investigation of how to mix dyes safely. Four sessions.
S2.2 Translucent Sky with Opaque Landscape Foreground, Backpainting
Students may choose the landscape work of any master. The sky will b painted using the methods learned in
Studio Class S2.1 and the foreground, whether an architectural or natural landscape, will be painted using the
opaque methods studied in the first year. When complete, the project will be back painted to insure complete
opacity when backlit. Proper consistency of paint, types of paint used for backpainting, and a light touch will be
studied. Four Sessions.
S2.3 Still Life Exercise
For this project the student will be given a life drawing. The drawing will include a variety of objects that will
challenge his/her skills. Typical components are: drapery with rope tieback, tassel and fringe; crystal; mirror or
mirror like surface; china or porcelain; wallpaper or patterned fabric; silver or gold appointments; ornate
furniture; framed paintings; etc. The light source will be specified and students will be required to make their
own color palette. Students will have the option of using the "draw direct" method or of making a pounce using
the transparency projector. Forum class F2.6 will provide students with some approaches to this vigorous
painting project. Five Sessions.
S2.4 Post Impressionism, Symbolism, and Art Nouveau
As the semester opens students will continue to develop the stylistic tools that will support their work as scenic
artists. These turn of the century art movements afford a unique look at color, brushwork, line quality and
composition. There will be opportunities to use scenic techniques to develop texture in the painting. Students may
choose from the works of Cezanne, Van Gogh, Seurat, Moreau, Redon, Lautrec, Klimt, Beardsley and others.
Now that students are familiar with the basic methods of opaque and translucent painting, students may develop
their project in either method. Forum Classes F2.5 and F2.12 will support the stylistic investigations in this class.
Students will exercise their sensitivity to translucency as it might best serve the piece they are studying.
Four Sessions.
S2.5 Painters of the 20th Century
This project will focus on paintings which require scenic techniques to achieve the effect that the artist has
created. Throughout the semester students have been developing an appreciation of surface textures and how to
successfully render them in paint. Students may choose from our picture files, or bring in a reproduction of a
work that particularly interests them. The focus will be on textural color fields, composition and line work.
Four Sessions.
S2.6 Repetitive Image Techniques: Stencils
Since the Baroque, the world has seen no new style of ornamentation. And then there was William Morris.
Using his designs for wallpapers or textiles, students will create a multicolored hand cut stencil from stencil paper
in the Art Nouveau style. Correct preparation of the paper stencil using shellac coatings will be practiced. In this
class students will learn the various materials out of which we make stencils, methods of applying paint, and use
of the cut-awl for cutting heavy materials or multiple stencils from stencil paper. Stencil making is a classic skill
of the scenic artist and it is a craft that has had it renaissance in home interior decor. Four Sessions.
S2.7 Year End Portfolio Review
FORUM CLASSES
F2.1 Tools and Materials for Film
While many of the tools used in the scene shop for theatrical painting are used in film work, there is a
different emphasis when preparing scenery for the camera's eye. Bring notebooks and familiarize onesself with
the different applications of familiar tools and learn about tools and materials rarely used in the theatrical
scene shop.
F2.2 Using and Maintaining Spray Equipment
Air Brush, Pre-Val, Production Gun (HVLP, pressure pot and siphon feed), Floretta, Hudson sprayer, and the
Hopper will be demonstrated. Routine maintenance will be explained as well as trouble shooting techniques for
each type of sprayer. All types of sprayers require air compression, whether they are hand pumped,
pre-compressed, or compressor fed. Safety precautions will be emphasized.
F2.3 Glass Techniques for Stage and Screen (Hard Surfaces)
Plexiglass, vacuform and real glass are painted for use in theatre and film. Special preparation must be done,
and specific products used to insure the durability of ones work and the success of ones project. Make samples
of stained, etched and frosted glass and learn the procedures for lettering windows.
F2.4 Painted Foliage Techniques
This hands on class will acquaint the student with different methods of creating foliage for trees, shrubbery
and grass. Students will experiment with brushstroke using fitch and foam brush, stamps and cut rollers to invent
believable foliage. Methods of color building for both opaque and translucent applications will be considered.
These techniques prepare students for work in Studio Class S2.2.
F2.5 Techniques for the Scenic Artist
While much of scenic work will be done with a brush, there are many other tools and techniques that will be used.
They are important for quickly achieving effects that would be tedious or impossible to accomplish another way.
The techniques will include: Bathing, combing, cut rolling, dry brushing, feathering and feather dustering, glazing,
puddling, rag rolling; and all the esses: schlapetchka, screen painting, scumbling, spattering, sponging, spraying,
stamping, stenciling and stippling. Two Sessions.
F2.6 Still Life Techniques
In preparation for S2.3, students will be given a demonstration of different approaches to painting drapery, fringe,
crystal, fabrics, etc. There will be discussion of how to achieve realistic effects pulling visual information from
imagination. Stylistic freedom and experimentation will be emphasized because when asked to paint these types
of things in the workplace, very often the designer's sketch will not give enough information to successfully
render the work. Many designer's expect that the scenic artist, will bring to the job these various skills and
be able to develop the details in full scale that are impossible to render in 1/2" scale. Two Sessions.
F2.7 Correct Methods for Stretching Backdrops on the Floor
This class outlines the procedures for properly stretching drops on the floor. Improperly stretched goods will
never hang straight and may be ruined. Learn the techniques used for muslin, scrim, scenery netting, velour,
canvas, china silk, linen, etc., including the purpose and placement of bridges and fans and correct way to lay
bogus, plastic or wax paper under backdrops. In addition, the correct way to fold drops (Broadway fold and West
Coast fold), when to use a liner, and considerations for road show drops that will travel in hampers will be
discussed.
F2.8 Preparation and Priming for Scenic Surfaces
There is an endless parade of new materials on which students will be asked to paint. In this class students will
explore some of the more common plastics, composites and metals in use today, learning how to prepare the
surface for properly accepting the paint. Also students will learn to use paint on particular surfaces. Take notes.
F2.9 Spackle, Plaster, and Tape
A tremendous amount of film and television work requires that you know the trade of the house painter and
refinisher. In this class students will learn how to prepare walls and wood for a smooth coat of paint. Strippers
and surface coatings will be highlighted. They will have hands on experience making a "hot mix" and taping
and covering a wall seam. These skills can also be used at home.
F2.10 Wallpapering
Essentially a hands on class, students will learn how to do the math of wallpapering, the activity and its processes,
and investigate various types of wall coverings. These will include papers, vinyl's, grass cloth, anaglypta, and
various fabrics.
F2.11 Semester One Portfolio Review
SEMESTER TWO
F2.12 Brush Stroke and Line Quality
The versatile scenic artist has an eclectic array of painting styles to call upon. In this hands on class, students will
explore the brush stroke and line quality of several famous painters to begin developing a personal style that can
encompass all styles. Learn what reads on stage and what doesn't. This class prepares for work in Studio Classes
S2.4 and S2.5, where a student may be called upon to use more graphic line work.
F2.13 Dimensional Surfaces: Faux Techniques
In this class students will take the techniques they have investigated this year and use them in an organized way
to create realistic painted surfaces. Cement, brick, stone, stucco and plaster are a few of the surfaces you will
chip, crack and peel in two dimensions.
F2.14 Dimensional Surfaces: Real Textures
Now students have studied how to create textured surfaces in paint. In this class, students will learn how to mix
and use various materials to create realistic, dimensional, textured surfaces. Become familiar with acrylink,
super 88, plaster, joint compound, mural tex, structolite, vermiculite and more. Sample boards will be made.
F2.15 Constructing Stamps for Scenic Work
In this class, a demonstration will be given on the construction of foam and rubber stamps. Typically constructed
with a handle so that the artist may stand while working, students will learn a simple yet sturdy method to make
these stamps. Types of foam and adhesives will be discussed.
F2.16 Wood Graining for Stage and Screen (Faux Finishes)
This hands on class will teach the tools and processes used to create wood grain effects in paint. Realistic pine,
oak and cherry with the realism necessary for film and TV as well as for the private interior work that shops
contract will also be explored. At the same time, students will learn a broader method of graining that is more
effective on stage.
F2.17 Real Wood Finishes
Samples will be prepared in this class exploring the various treatments for real woods. An investigation of
preparing surfaces to be painted by filling holes and imperfections with materials ranging from tinted wood filler to
Bondo, priming and sanding, oil and water based stains, urethanes and other oil and water based sealers, and
pickling will be surveyed. Students will learn to identify various types of wood by color and grain. Two Sessions.
F2.18 Flattage and Built Scenery
Although the techniques used for painting hard (built) scenery are essentially the same as those used for soft
scenery, there are considerations to keep in mind. What kind of physical use will the scenery have? Will it get
routinely wet or dirty? How do built pieces fit together and what needs to be painted to insure all construction
will be hidden? Does it require a sealer? This class will survey topics relevant to successful painting of hard
scenery.
F2.19 Advanced Sculpting and Carving (Architectural)
Using the skills acquired in Forum Classes F1.15 and F1.16, you will develop a more advanced piece of work
displaying architectural detail. Five Sessions.
F2.20 An Afternoon with the Shop Owner
It will be an interesting afternoon as you hear from the man who watches the bottom line in scenery production.
What does the shop owner want to see in the scenic artists he/she employs? What are the owner's
considerations and how do these differ from the considerations in producing quality work.
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