Travels of a Scenic Artist and Scholar. Painting Workshop at CITT in Toronto, August 15-16, 2023

Copyright © 2023 by Wendy Waszut-Barrett

This post is long overdue. August, September, and October were a flurry of activity this year.  Subsequently, I am a little behind on several projects and events that I promised to share.

Jenny Knott, Wendy Waszut-Barrett, and Monique Corbeil.

Last August, I taught another scene painting workshop for the 2023 CITT/ICTS (Canadian Institute of Theatre Technology/Institut canadien des technologies scénographiques) Rendez-vous.

Before the pandemic, this was an annual master class taught with Jenny Knott, then paint product manager with Rosco. Our classes explored both contemporary and historic scene painting methodologies. Past workshops included: Drapery Painting (St. John, New Brunswick, Canada, 2017), Foliage Painting (Hamilton, Ontario, Canada, 2018), and Gold! (Whitehorse, Yukon, Canada, 2019). This year we tried something new.  Instead of contemporary and historical techniques, we decided to try 3D and 2D techniques.

Jenny demonstrated paint application techniques for three-dimensional surfaces, with Pulp Art supplying samples. I demonstrated paint techniques for two-dimensional surfaces, with Historic Stage Services supplying the fabric. Rosco provided the scene paint for the workshop.   

My portion of the class included a brief PowerPoint presentation entitled, “Seeing Color: Understanding Strategic Color Combinations.”  Most of scenic art has to do with not only paint application techniques, but a strategic combination of color that supports any lighting design. This is basic color theory for scenic art that works for both 2D and 3D surfaces.

Here is an abbreviated version of my CITT presentation. It summarizes my own scenic art process based on extant backdrops. All examples included in my presentation were created with distemper paint (a mixture of pigment paste and diluted hide glue).

I often begin many presentations with showing a basic color wheel with primary (yellow, red, blue) and complimentary colors (orange, purple, green).

Revisiting basic color theory before any scenic art class works in the long run. It places all of the students on an equal playing field. When you understand the basic steps for creating complementary colors, it is much easier to understand variables in creating neutrals. 

The metamorphic nature of scenic art is reliant upon neutrals, specifically neutral colors that are integrated into the base-painting. It is incredibly important to understand variations when combining complementary colors.

I repeatedly stress that successful scenic art is reliant upon not only a minimal color palette, but also the contrast of hue and value. Our choices as painters in the mixing and application of colors can help or hurt the lighting designer.

When selecting colors for a base coat, warm, cool, light and dark come into play. As you work up the details, careful placement of wars and cool colors will enhance depth.

The key to painted illusion for the stage is understanding your options. In other words, warm versus cool. Yellow is a good example to use when talking about individual color characteristics. It is much easier for many to see the difference.

We then discussed both understanding and adjusting the value of colors with whiting and Van Dyke Brown. High contrast is very important when painting compositions that are intended to be seen from a distance.

I then shared some historic scenic art examples. Identifying colors and application helps many students understand process.

In short, I try to select examples that are fairly easy to interpret. Adding color swatches, instead of using a laser pointer, has helped many students “see” the color. Here is another example. Identifying color combinations in historic scenic art to understand process.

I also share a contemporary scenic art example. One that I have recently painted for a production. Here is a painted detail from The Sorcerer (Gilbert & Sullivan Very Light Opera Company, March 2023).

I try to include as many examples as possible, varying the stylistic approaches as they shifted over the decades.

I try to show how this color theory can be applied to other subject matter too, such as metalwork.

This is where I often discuss the selection and interplay for both hue and value.

Both manmade and organic subjects can use the same painting methodology. Foliage is another good example to explore the placement of warm and cool colors.

This greatly helps the painting reflect stage light, allowing the painted composition to transition from a morning to evening scene.

Painting Process Samples

After the presentation, we applied this color theory to brickwork. I made a “process” sample. There are many artists (me included), who have a hard time internalizing process until they see the paint application broken down into colors and steps.

Each of my brick samples used a limited color palette, with specific color identifies on the left. The process was then broken down (right to left), with base coat and charcoal layout on the right and completed brickwork with spatter on left.  

Brick sample for workshop.

While doing the samples, I documented the use of tools and techniques. Here are the brushes that I used for detail work – highlight and shadow.

Shadow and highlight brushes.

Second brick sample with limited color palette. The mixing of colors was done on the canvas to make an interesting base. This technique is similar to distemper painting. Pre-mixed scenic paints can be arranged similarly on a palette for floor painting (Continental Method).

For more information about upcoming CITT/ICTS events visit: https://www.citt.org/

The next CITT/ICTS Rendez-vous is in Saskatoon, Aug. 14-17, 2024. See you there!

To be continued…