Painting Arms and Hands

“For these, the variety of tints is less, though their volume is greater than in the palette of the face. The management is much the same; it demands only greater boldness in the execution and, in general, a somewhat heavier impaste of color, but not to excess. The local color of the arms and hands as well as the breast should be in harmony with that of the head, so that a brunette should not have those of a blond, nor a blond those of a brunette.”
From Frank Atkinson “Scene Painting and Bulletin Art” (1916, page 58)
 
For a little humor this morning: Here are some examples that stress the importance of figure drawing or the scenic artist. Pain cannot fix poor drawing or anatomy that is not in scale with the rest of the figure. One more example of why I say, “Just because it’s old, doesn’t mean it’s perfect.”
wsrt-2014-day-1-vision-with-altar-1
wsrt-2014-day-1-vision-with-justice-2
wsrt-2014-day-1-vision-with-justice-6
wsrt-2014-day-1-vision-with-sword-1
wsrt-2014-day-3-vision-with-justice-detail-2

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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