Teaching Historical Scenic Art Techniques at Cobalt Studios in White Lake, New York

I am back in Minneapolis!

Wendy Waszut-Barrett with her seven students at Cobalt Studios in White Lake, New York. The three day class focused in dry pigment painting and historical scene painting techniques.

Although a snow storm, rain and ice delayed my scheduled Sunday arrival  at Cobalt Studio until the end of the day on Monday, I was able to work with the Cobalt students and out-of-town guests on Tuesday and Wednesday.  Yesterday was only a half day, as my flight departed in the early evening.

Over the course of 2 1/2 days, the majority of students completed three dry pigment projects.  Immediately upon my arrival Monday afternoon, we looked at a power point presentation on historical scene painting techniques.  For the remaining hour of the day, I taught the students how to work with dry pigments and diluted hide glue. They experimented with various colors on test flats to get familiar with this artistic medium, producing a variety of  rich color combinations.  Dry pigment mixed with diluted hide glue (called size) is a lovely medium to work with, and very different from premixed paint that comes in cans.

Each student had the opportunity to work up a painting from light to dark, with a series of glazes (in the English style that I have been describing in this blog).  They also painted a composition that went from dark to light, using more solid colors (European style that I have been describing in this blog). The replicated sections from  historic backdrops that I have photographed over the years and historic designs from the University of Minnesota Performing Arts Archives.

For all projects, we worked on speed, layout, color and technique.  Rachel requested that the focus of the class this year was rocks, both natural and carved.  However, the students had a chance to work on a little foliage and gold ornament as time permitted.  For the most part, each student was able to select there project with minimal guidance from me.

Each composition was created from a palette, where the colors were individually mixed up and immediately applied to the canvas.  They did not mix individual colors in cans.  This is a very economical way to paint, as nothing is wasted or left over at the end.  I love not having to worry about disposing any leftover paint.

Below are the students with all of the projects that they completed from Tuesday morning until Thursday noon.

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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