Frank Atkinson described the painting techniques for shiny fabrics, noting that the configuration of the folds was of lesser importance to the reflective quality. He writes, “Thus satin, with its large, sufficiently remarkable folds, is distinguished still more by its singular brilliancy and the beauty of its reflection.”
In other words, the brush strokes that denote the final highlights are of the utmost importance for reflective fabric. As previously discussed for dull materials, the shape of the fold and suggestion of texture was paramount. This was not necessarily the case with shiny fabric where the placement of the highlight becomes crucial. A good example of this technique is depicted in the front curtain for the Masonic Theater in Grand Forks, North Dakota.
The painted front curtain’s highlights are indicative of the specific fabric. Interestingly, the lightest color does not simply follow the fold but frequently crosses it, catching the light.
This light color may be placed as jagged lines, some even placed at an angle across the fold. It is the placement that creates visual interest and suggests the reflective characteristics of the material. Furthermore, the painting of gathered, or Austrian draperies, also use an interesting highlight at the seam. In some cases, the highlights are painted in loops that indicate the puckering along the gathered line.
It is this particular application of highlight that allows the audience to immediately identify the fabric and understand its unique characteristics.
This now brings us to the patterns placed on either dull of shiny draperies. There is also process to create pattern on ornamental decoration on draperies. Many painted curtains with incredibly complex patterns do not necessarily alter the shape as they cross the deep recesses and peaks for each fold. Simple shapes need to follow the shape of the fabric whereas complex designs do not. For a standard stripe, the scenic artist will carefully follow the curvature of the material, reinforcing each rise and fall.
If the print is complex, one only needs to accentuate the highlight. For the painting of complex patterns of draperies, a stencil could be applied over the entire area of the fabric drape; it does not have to conform to the shape of each fold. Placing the appropriate highlights and shadows on the pattern allows the eye to successfully translate the overall appearance from a distance. It will appear as though the pattern is moving with each fold, even though it doesn’t. This is the same approach as with the broken lines that visually tie it all together.
To be continued…
