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ix Preface to the First Edition All stage scenery strives for a textural quality, a surface smoothness or roughness that will provoke a particular, albeit subconscious, emotional reaction in the spectator. One does not react or relate equally to textures of coarse stucco, plush velvet, aged wood, or polished chrome. Through the setting, the scenic designer uses, among other tools, textures and dimensions to support the emotional qualities inherent in the play. Appropriate to the extent of the production budget, those textures may be three-dimensionally duplicated or achieved through the artistry of the scene painter. The following work takes a very traditional and singular line. The techniques that form the foundation of traditional scene painting are what will be examined here, techniques employed to fool the eye into believing that twodimensional surfaces possess a third dimension. Many devices and materials can be used to supplement the illusion of scene painting. Exciting and creative developments have been made with an aggregate of materials and textural aides. But this book is geared to the creative artist who, for lack of additional tools or for personal preference, must work with merely canvas and color. Everything discussed and illustrated on the following pages is directed toward techniques employed in the realistic style of scene painting. But attempting to teach or learn and recognize realism is merely a starting point. Although realism and attempts to “mirror the real world” may be the foundation of one of the largest walls in the theater, they do not necessarily provide the most enjoyable entertainment. Realism may, conversely, serve as a model from which we derive our own interpretations and create individual styles of expression. Of course, scenery and its accompanying scene painting must blend into the style and interpretation of the production. And more often than not, a play x will demand a realistic locale for the passage of its events. Accordingly, the painter must apply his knowledge of realistic impressions. But it is important that each and every painter in doing so not preoccupy him or herself with a quest for realistic duplication. Style must be encouraged. For with the development of style, self-assessments of aptitude and strong and weak points will occur. With the strong points will come the confidence needed to expand and experiment. With the weak points, ideally, efforts will be made to overcome shortcomings or find alternate approaches. What will result will be the individual painter—a painter who, through experimentation, has developed a uniqueness of expression unlike any other painter. And, after all, is that not what the theater is about: to develop an ability to perceive, evaluate, and create an expression that is distinctly individual, meaningful, and entertaining? Scene painting can be pleasurable or a devastatingly arduous and tedious experience. The hours can be long, and your wardrobe will take a good beating if you are not suitably dressed. The importance of preplanning and organization cannot be minimized. Preparation is the key. Carefully plot what has to be done, and verify the sequence of painting steps that best suit your working habits. Make sure the scenery has been fully prepared for painting and is securely in position. Is there enough floor space for safe mobility? There is nothing worse than having to walk uphill no matter which direction you head. Have extra surfaces been set aside for testing paint samples? Finally, are there enough buckets, containers, and stir sticks available to mix your colors? The next morning you will thank yourself for quitting earlier the day before so the painting area could be cleaned and reorganized. Most importantly, make every effort to keep your work enjoyable. Take a break when you need it. Don’t push for the marathon sessions. Remember that your painting is making a valuable contribution to the production and is no less important and integral to its success than any other element. Your role is an expressive one, but unlike any other in the theater, it can only be achieved by the sympathetic stroke of the painter’s brush. ...

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