Travels of a Scenic Artist and Scholar. Tyne Theatre & Opera House Distemper Painting Workshop: Drapery Project, Day 3

Copyright © 2024 by Wendy Waszut-Barrett

The final day of the Distemper Painting Workshop focused on drapery painting and value. 

The goals for the day were maintaining a consistency of color and contrasting value. As previously explained, a contrast of value supports scenic illusion for the stage (large-scale paintings that are viewed from a distance). Drapery painting is the perfect example to discuss painting for a distance. Typically, the goal of this exercise is to use a thicker mixture of paint, focus on value and aim for a consistency of color.

For years, I have observed that many scenic artists take pains to carefully blend each fold in a drapery composition. Unfortunately, this ultimately destroys the painted illusion from a distance; the subject loses definition. Careful blending only works well when examining a painting from close-up, such as in Trompe l’œil murals in residential and commercial settings. The smallest details and smooth transitions that make Trompe l’œil a success are not visible on stage. Painted illusion for the stage necessitates a great contrast of both hue and value. Again, we want to make the audience eyes work; therefore, making the painted illusion appear more realist from afar. Scenic art is more akin to fresco painting on ceilings; they are also large-scale artworks intended to be viewed from a distance. Throughout my travels, I document the treatment of fabric on figures in ceiling murals. Most recently, I visited the Painted Hall in London. Here is an example of a drapery, showing a sharp division of value and alternation of warm and cool colors (see yesterday’s post for more detail color characteristics).

There is a distinct division of value; a sharp contrast between dark, medium, and light colors. This is what accentuate the folds of the fabric. To illustrate my point about the over-blending of drapery folds, I share two examples.

The scenic artist’s careful blending does not suggest a lack of skill, but a lack of understanding when painting for a distance. Drapery folds really need to be accentuated to remain visible from far away.

Here is how I decipher drapery painting; it is an approach that is based on my documenting thousands of extant backdrops over the years. 

Again, it is the rule of three for value – dark, medium, and light. From a distance, the darkest value suggests the color, a mid-tone identifies the shape, and a highlight identifies the fabric type.

For my presentation, we looked at a variety of drapery examples where I identified the three values, again and again.

This is not meant to suggest that only three colors can be used, but it is the basic approach. In the end, some folds are accentuated with a final shadow wash, and  some highlights get a “flash” (hot twinkle).

Highlights are extremely important in the end. If they are indecisive (“smudgy” and “worm-like”), it is difficult to determine either the type of fabric, or the weight of the folds.  

Here are some photographs, capturing a few moments of the drapery painting project. A special shout to Mike Hume of Historic Theatre Photos for his willingness to document process.

To be continued…