Travels of a Scenic Artist and Scholar: Ample Opportunities, July 17
One of our Austin adventures included another trip to the Scottish Rite. We wanted to further explore the effects of electric lighting on the backdrops and brought a few people along. It is delightful to watch people see the magical transformation of light on painted scenery for the first time.
The appearance of light on dry pigment backdrops (also known as distemper painting) is partially created with the specific combination of colors selected by the scenic artist. A blue seascape was not created with pure blue paint from a can, or it would appear flat. A purple shadow was not created with purple paint from a can, or it will appear unnatural. Each backdrop color was a combination of both warm and cool pigments. In college, I was taught to “knock down” the brilliancy of a pure color from the can, adding a complimentary color. Part of this reasoning is to make the painting appear more natural, and not too vibrant as when it comes straight out of the can. Another reason is that both the warm and cool colors uniquely reflect light – it is all about optics.
When making a lovely purple shadow that defines a nineteenth-century forest composition, or some architectural detail, the historical combination of complimentary colors may be ultramarine blue and French mineral orange. This is just one example. There is both a warmth and coolness represented in this color combination throughout the composition.
During two conversations with historic theater owners, I was able to watch their complete comprehension of a historical aesthetic; the facial expressions said everything as they processed the information. That being said, not all people understand color. Not all people understand the variables in painting techniques throughout the 19th and 20th century. I encountered two people today who understood both – this is remarkable
Both understood exactly what I was talking about in terms of color palette as we watched the drop’s magical transition under different lighting effects. It was some of the most exciting exchange of information that I have ever had with a potential client. I recorded the scenic illusions in both still photography and videography, capturing the effects of various lighting effects on historical drops. These images were shared with many colleagues at the conference, as well as theatre owners. All were astounded at how the stage composition shifted in appearance and overall composition. At one point, he exclaimed, “I can’t believe how it looks like an entirely different setting now. It’s the lights!” It IS a big deal to present the possibilities to a historic theater owner. This is one of the reasons that early 20th century scenic studios used electrified models to display the scenery; you have to see it to believe it. There are so many possibilities for the stage, with minimal investment.
After our Scottish Rite adventure, we accompanied our friend Frank Cortez to the Long Center. Cortez runs the backstage area at the Long center as well as taking care of the aging counterweight system at the Austin Scottish Rite. He is an amazing and very talented professional. It is wonderful to see a space through the eyes of someone who has worked in a performance venue for years; there is both the presentation of the flaws and advantages of the venue. What a lovely space. I absorbed much information about the current counterweight system like a sponge; I love the mechanics of the entire system and wish that I had studied the intricacies of theatrical rigging just a tad more while in college. After a long day, we returned to our lodging and later met with a dear friend, Karen Maness. We exchanged stories about scenic art, the Press, and the future of our industry.
To be continued…
