COURSE DESCRIPTIONS
STUDIO CLASSES
S3.1 Interpreting Computer Generated Sketches
The greatest challenges today for the scenic artist, are coming from designers who have mastered painting
programs offered for the computer. Repetitive, intricate patterns; intricate patterns with no repeat; subtle color
transitions; translucent patterns that defy masking and others that require masking of epic proportions are
being delivered daily to shops. Students will investigate some ways of approaching these projects which, when
interpreted creatively, have become some of the most interesting work done today. Four Sessions.
S3.2 Photographic Realism: Architectural with Sky, Graduated Translucency
Different than the computer generated sketch, the photographic image presents another stylistic challenge to the
scenic artist. Students are presented with a rough sketch and photo research and asked to combine the two, much
as what was done in the Studio Class S1.6 when a B&W sketch was combined with color research. Not as difficult
as one would imagine, painting from a photograph employs many of the methods which have already been explored
in past projects. The class affords another opportunity to paint a translucent sky. Additionally, there will be
experimentation with the "graduated translucency", in which areas of student work range from the translucent to
semi-translucent to opaque. Consideration will be given to backpainting this type of work. Four Sessions.
S3.3 Figurative Painting
The hard work in Life Drawing classes will pay off here, when students will choose a master painting including
one or more clothed or nude figures. Emphasis will be placed on color mixing to produce lively flesh tones and on
accurate drawing to create the subtle inflections of expression necessary in a successful portrait. Five Sessions.
S3.4 Figurative Sculpting
Having accomplished the sculpting and carving of organic form used in architectural ornamentation, in this class
students will turn their talents to the human form. In combination with Studio Class S3.3, students will have gained
tremendous experience in understanding the most difficult of artistic subjects. Six Sessions.
S3.5 Portfolio Completion and/or The Union Exam
In this last six week session, students will review their portfolio of work from the past three years. If there is
unfinished work, now is the time to complete it. If there is a skill which a student feels they have not mastered,
or a project which one feels does not represent accurately the level which has now been achieved, this is the time
to master and refine. Attention will be paid to putting the portfolio together in a professional manner,
photographing work, writing a resume and concentrating on job possibilities. If a student chooses to take the
entrance examination for membership in United Scenic Artist Local 829, students may paint the test's "home"
project in the studio. As they say in the business "It's a wrap." Six Sessions.
S3.6 Year End Portfolio Review
FORUM CLASSES
F3.1 Materials and Techniques
There are many instances when masking will be necessary to successfully complete scenic work. Not only
in spraying, but in brushwork and rolling as well. In this class students will explore masking materials such as
tapes, toughback, bogus and other papers, vinyl, rag masking, chicken feed and similar materials, and various
resist techniques. The surface determines what type of masking used. Different materials will be discussed
such as velour, muslin, scrim, plastic, wood, and other hard surfaces.
F3.2 Masking and Spraying Exercises
With computers, designers generate images that in the past could only be achieved by the most accomplished
airbrush artist. Projects will include color block and color fade designs to develop ones skills with various spray
equipment. Two Sessions.
F3.3 Painting Considerations for Velour, Scrim, China Silk, and Other Theatrical Fabrics
Different materials require the use of various techniques. In this class students will learn to develop rich color on
velour without matting the surface, the successful methods of painting scrim without filling holes, how to avoid
worming in china silk, identifying man made fibers and how to cope with their non-absorbency. "Novelty" fabrics
will be shown and discussed.
F3.4 Aging Techniques for Stage and Screen
Often scenic artists will point out cracked or stained plaster or peeling, discolored wood remarking, "If we painted
that, no one would believe it was actually real." In this class students will learn to make aged scenery seem real.
Various methods of distressing, blocking, and glazing will be discussed, as well as techniques for making
crackled and peeling paint, verdigris, tarnish and rust, peau d' orange and other aged surfaces.
F3.5 Styles of Ornament Lettering
In this second Forum on lettering, an investigation of decorative lettering will lead to ones choice of lettering
style to be used in creating a specialty sign in Forum Class F3.6. Both incised and raised lettering will be studied.
Students will have to consider what function the sign will have. Is it for a law office or a 16th century pub?
What time period and is it aged? Students will create a pounce for this in F3.6. Two Sessions.
F3.6 Specialty Signage
In this class students will create a specialty sign, that is, some decorative sign that might be used in a film
or theatrical production. Using the pounce developed in F3.5 and the techniques gained in previous classes,
students will develop their imaginative idea. Two Sessions.
F3.7 Binders and Adhesives
With so many materials to join, and so many products to join them, this class will help decipher the mystery.
A discussion about paint binders will help the students understand the uses of clear acrylics, urethanes, methocel,
starch, etc.
F3.8 Metal Leaf and Bronzing Powders
While scenic artists are rarely called upon to do real gold leafing, metal leafing is commonplace. This class will
give hands on experience with both hard and soft surfaces. Bronzing powders are also widely used. Students
will learn to use them safely.
F3.9 Punch Drops, Cut Drops, and Appliques (Sequins, Glitter, and Flocking)
These are the things that add glitz to the whole production! Students can practice with a glitter gun, also used to
apply flocking. Types of adhesives, how to prepare the surface to accept glitter and flocking, and how to seal
glitter will all be discussed. The tools and methods for creating punch drops and cut drops will be demonstrated
and discussed.
F3.10 Semester One Portfolio Review
SEMESTER TWO
F3.11 A Very Short History of Art, Literature and Music
The third and last of the short history classes, it provides an overview of the main movements in art, literature
and music as they may support your work as a scenic artist. The class is designed only as a survey to provide
students with an outline for their continued personal studies. Two Sessions.
F3.12 The Touch Up: Refreshing and Repairing Scenery
Going on touch up can be great fun. Scenics may be working in a Broadway Theater with the excitement of the load
in, or flying to the west coast, kit in hand. However interesting the touch up, artists must be prepared for any scenic
circumstance. It may involve taking a traveling shop along- the kit. Learn how to pack a kit and how to approach
the scenic fix quickly and successfully. Often scenery from a successful show or one that has been in storage,
needs to be refreshed. Students will explore how to bring scenery back to life without repainting it.
F3.13 Painting Decks and Ground cloth
Every show has a deck or ground cloth, some, like Cats, are highly painted pieces of scenery. In many ways they
are hard backdrops, but the technologies and materials to insure a surface that can withstand dancing and moving
scenery in no way relate to drop painting. This Forum class is an introduction to the challenges of painting the deck.
F3.14 Painting Props and Costumes
While not usually within the normal scope of the scenic artist, there are times when a scenic must enter the world of
props and costumes, especially in regional or educational work. Since these items are handled and worn by actors,
special materials and strict safety regulations should be used and followed. This class will alert students to these
special considerations.
F3.15 Serigraphy
Serigraphy, or silk screening, has limited application for the scenic artist. However, when it is needed students will
be happy to have experience in this wonderful printing method . Learn how to make a screen frame, attach the silk,
block out and register the image, and pull the screen. Techniques for water based and oil based inks will be
discussed.
F3.16 Time and Materials: Estimating the Job
One of the greatest skills to develop is the ability to project artistic labor required for a project and estimate how
long it will take and what materials will be needed. It is not usually the responsibility of the scenic artist to do this.
However, if one's aspirations are to work as a charge artist, this skill is mandatory. Working as an involved
journeyman, will mean being asked how long it will take to do the job.
F3.17 The Charge Artist
This is the first in the series of five Forum classes in which students will meet with working professionals. The
charge artist is the scenic who has the responsibility for the successful and timely completion of the work. Often,
this does not allow the Charge Artist the "luxury" of painting, and the crew the charge hires becomes his/her
hands. Students will find it interesting to hear how a charge artist forms and keeps a crew and what it means
to them to have this responsibility.
F3.18 The Crew: Lead Artist, Journeyman, and Shopman
As the name implies, the Lead Artist is the artist who leads the journeyman in painting and makes artistic decisions
on a particular job or part of a job. The Lead Artist is a Journeyman who has been given responsibility on a job
to job basis. The Journeyman is the workhorse of the industry, and as such, is required to have at hand all skills.
The Shopman is the oil that keeps the wheel of progress turning. Together they are the crew. Students will meet
members of an USA 829 crew, and hear them talk about the everyday work of a scenic artist.
F3.19 The Shop Steward
The Shop Steward is the scenic artist whose job it is to assure that contractual agreements between the Union
and the employer are enforced, both for the employees and the employer. The steward is the liaison between
management and the workers. This very delicate position is an elected position. The crew selects the Steward, and
it is a courtesy, but not a rule, that the crew elects someone who is considered a master painter and valuable to
the employer as well as someone who they feel is clear thinking and fair in personnel relations and who will
protect their interests. In this Forum, our Steward will talk about workplace issues of sexual harassment, playing
radios, wearing headphones, work attire, etc.
F3.20 The Camera Scenic
Hurry up and wait could be the motto for the camera scenic. Essentially a touch up artist with a well developed bag
of quick tricks, the Camera Scenic is on the job during film shoots to make scenic adjustments as they become
necessary. With the entire film crew on hand waiting for the scenic to correct something that is disturbing on
camera, or that has been damaged and needs repair, this job is the job for the quick thinking jack of all trades.
During filming, you stand by, often for very long hours and at any time of day. Students will enjoy this lively discussion.
F3.21 The Mural Artist
Scenic Artists paint most scenery knowing that it will sooner or later end up in a warehouse or in a dump. The
Mural Artist's work is different in that it usually is meant to have permanence, and it is often meant to be seen
outdoors withstanding the elements. While the scenic artist paints in a relatively normal environment, the Mural
Artists find themselves in interesting, varied and sometimes dangerous venues. Perhaps this area of scenic work
will capture your imagination.
F3.22 Commencement Party
At this year end gathering open to all students past and present, we celebrate those students who have successfully
completed the course of study by handeling out our Certificate of Completion.
back to year three