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Travels of a Scenic Artist and Scholar: Chicago and Minneapolis, Dry Pigment in 2022

I decided to use distemper paint for three shows this year: L’amant anonyme (Haymarket Opera Co., June 2022), L’incoronazione di Poppea (Haymarket Opera Co., Sept. 2022), and Pirates of Penzance (Gilbert and Sullivan Very Light Opera Co., Nov. 2022).

In my experience, no other paint medium feels quite so pure, nor reflects light quite so beautifully. Whether distemper compositions are lit by incandescent light or LED, the colors literally glow on stage; there are no “dead” spots. The colors are vibrant with a perfectly flat finish, a necessary characteristic for scenic illusion under stage light. Below are three painted details from my aforementioned productions, all painted with pigment paste and diluted hide glue.

Painted detail from *L’incoronazione di Poppea*.

Painted detail from *Pirates of Penzance*.

DISTEMPER PAINTING

The distemper paint system was the preferred method of scenic artists for centuries in both Europe and North America. It remains an extremely efficient process today, with little waste at the end of a production. Dry pigment left on a painter’s palette can simply be scraped off and reused for future projects.

Unlike contemporary premixed paint, there is no added filler nor extender that dilutes the colors. Contemporary paints also have a relatively short shelf life. Such is not the case with distemper paint for the stage. In dry form, both pigment and hide glue granules can last for decades, if not a century or more. The longevity of these materials is remarkable. Distemper paint consists of only two ingredients: pigment (color) and binder (glue).

Pigment in paste form. The paste is placed directly on a scenic artist’s palette and mixed with hide glue.

Dry pigment is pure color. It can be transformed into a variety of artistic mediums, including pastels, watercolors, gouache, acrylics, and oil paints. Dry pigment is created from a variety of sources, including plant, mineral, insect, or chemical processes. Dry pigment remains readily available in many fine art stores, often sold by the ounce. Here is a link to an ARTnews article about contemporary dry pigment manufacturers: https://www.artnews.com/art-news/product-recommendations/best-pigment-powders-1202688380/

You will have to cut and paste the link, as I cannot share it here.

In historic scenic art studios, pounds of colors arrived in both block and wet pulp form. Keep in mind that some colors cannot transform into paste with water alone and require a solvent. It is best to keep these colors wet, hence their arrival at a studio in pulp form. For most colors, however, large blocks of compressed pigment were ground into a very fine powder and then transformed into a wet paste just prior to use.

Dry pigment in block, powder, and paste form.

This pigment paste was placed directly on the scenic artist’s palette and mixed with diluted hide glue, also termed size water.

Jesse Cox’s scenic art table. His palette and scenic art tools are part of the permanent exhibit at the Theatre Museum of Repertoire Americana in Mount Pleasant, Iowa.

If binder (size water) was not added to the pigment paste, the color would not adhere to the fabric. Without the necessary binder, the pigment simply dusts off of the scenery, leaving behind faded areas of stained fabric.

A variety of binders can be mixed with the pigment paste, however, scenic artists prefer animal hide glue due to its flat finish. Any reflective sheen on painted scenery reflects stage lights and diminishes the overall scenic illusion on the stage.

Hide glue is the gelatinous substance obtained from rendering animal hides, and sometimes bones and/or hooves. Think of the old threat about sending a horse to the glue factory. Whether horse, bovine, or rabbit, animal hides are boiled to create a gelatinous product that is dried and used by a variety of artisans as a binder, including furniture restorers.

Once the hide glue is dried, it is sold as a block, coarse granules, or fine powder. There are many different types of hide glues, with clarity and strength varying from animal to animal and batch to batch. This factor, as well as its proper preparation prior to mixing with pigment paste, directly contributes to the overall longevity of any distemper painting.

In dry form hide glue has an extended shelf life and is easily stored for long periods of time. Both dry pigment and dry hide glue could be easily stored and shipped to various locations and stored without the threat of spoiling. This made it an extremely successful paint system for generations of American scenic artists as they journeyed from one venue to the next.

Dry hide glue must be returned to a liquid state prior to mixing with pigment paste during the scene painting process. There are various ways to prepare hide glue and much depends on personal preference. Over the years, electric glue pots replaced double boilers on wood stoves or modern hot plates. The key to making glue is using indirect heat and never bringing it to a boil.

Reconstituted hide glue is further diluted with water throughout the painting process. The concentrated glue (in syrup form) is combined with an equal amount of water to make “strong size.” Strong size was often used to prepare the fabric of painting, sealing the surface to minimize paint spread. Again the ratio of glue to water depends on the quality of the product.

Strong size is best stored in a glass container.

In many cases, historic scenery was not primed with any color prior to laying out the composition. This is how I approach much of my distemper work; I seldom prime a backdrop with whiting or any color when using distemper paint. When one only uses strong size it allows each drop the possibility to function as a translucency. It also means that the scenery will roll, fold, and travel better.

Front view of painted detail for *L’amant anonyme*.

Back view of same painted detail for *L’amant anonyme*.

In the distemper painting process, strong size is diluted with water to make working size, or “size water.” Size water is used throughout the scene painting process and continually mixed with pigment paste.

Strong size is diluted to make the size water pictured above.

Unlike contemporary scenic paint, there is no successive paint layer build-up with each paint application. Distemper paint allows each wash or glaze to completely penetrate the previous paint layer, reducing the overall thickness of the painted composition while keeping the color vibrant.

A view of distemper paint as it permeates the underlying layers; it will dry light. This painted detail of ivory draperies is from my *Pirates of Penzance* drop curtain.

Furthermore, less distemper paint is needed to saturate the fabric as the colors are so vibrant, further contributing to the end result of very thin and very flexible painted fabric. The end result is similar to a dye drop.

HISTORIC AMBIANCE AND TRANSLUCENCIES

This was the approach that I used when painting the scenery for all three shows. Haymarket Lighting Designer, Brian Schneider, partially backlit the painted scenes for both L’amant anonyme and L’incoronazione di Poppea. Harkening back to an era of candlelit stages when lanterns were hidden behind the wings, sections of painted wings were inadvertently backlit. Our goal for Poppea was to recreate this historic ambiance with current theatrical lighting systems.

The mixing of distemper paint on a large scenic art palette adds variety throughout the painting process, extending reflective quality of each hue. I always add a complementary color throughout my scenic art process. For example, orange is always added to blue and red is always added to green. The addition of complementary colors adds a depth to the color palette otherwise unachievable under stage lights. Colors that a not identifiable under front light, blossom when backlit. Schneider’s lighting design reinforced this effect. Pictured below is the partially backlit with for L’amant anonyme.

Partially backlit wing (left) and backdrop with front light (right). Notice the color shift between the two. Backlighting reveals base colors that otherwise remain unseen when solely lit from the front.

My scenic design for Haymarket Opera Company’s L’incoronazione di Poppea utilized a classical garden setting to suggest numerous interior and exterior locales for the first and second acts. Painted fabric panels were added to the third act for palatial scenes and Poppea’s coronation. These panels were painted so that they could also be backlight and indirectly illuminate portions of the scene.

The addition of painted fabric panels for Act III for *L’incoronazione di Poppea*.

Backlit painted drapery attached to painted wing.

The minimal color palette for L’incoronazione di Poppea was inspired by historical writings, artistic treatises, and extant scenery at Česky Krumlov Castle Theatre, Czech Republic, and Drottningholms Slottsteater, Sweden.

Painted detail from extant scenery at Painted detail from extant scenery atPainted detail from extant scenery at Česky Krumlov Castle Theatre in the Czech Republic.

The design utilized a limited number of colors that included yellow ochre, brown ochre, red ochre, vermillion, ultramarine blue, malachite, and van dyke brown.

Dry pigment and hide glue used for *L’incoronazione di Poppea*.

I purposefully omitted any black paint from my color palette as it diminishes the overall reflective quality of color under stage lights. Therefore, the darkest color incorporated into the distemper palette was a deep, dark brown (pictured above).

Over the centuries, the color palettes of scenic artists shifted to included new or popular colors. Regardless of an artist’s individual palette, the painting process remained the same. Generations of artists were united as the carefully prepared and applied distemper paint to stage settings.

Scenic artists on a paint bridge using distemper paint. Published in *Harper’s Weekly* Magazine, Nov. 30, 1878.

The use of historic scene painting methods and material to accompany historically-inspired operas was recently examined by an article by Anne E. Johnson in Early Music America. Here is the link: https://www.earlymusicamerica.org/web-articles/historically-inspired-set-design-for-haymarkets-monteverdi/?fbclid=IwAR19qFyanzQp5jJBawtvBrMuesfUlxW0hOLaD1KM0sHRCVT2vcUSiT1Rodc

Johnson wrote, “Opera has always been a spectacle, enveloping the audience in sight and sound. On the American early-opera scene, the audible aspects—the voices, the instruments, even effects like a thunder clap—are commonly governed by some sort of historically informed approach. Choreography and costumes, too, are often developed based on historical research. But one essential element is often left out of the equation: set design. That is beginning to change, thanks to the groundbreaking work of Wendy Waszut-Barrett.” I don’t necessarily consider my work groundbreaking, but I am trying to use the most effective paint for the scenic illusion.

FLOOR PAINTING AND FRAME PAINTING IN SCENIC ART

The backdrop and wings for L’incoronazione di Poppea were painted in the Continental Method, where the canvas is tacked to the floor. Paint brushes were attached to bamboo poles, allowing the artist to stand throughout the entire painting process; the idea is to NOT crawl around on the floor. This was a departure, as I used a vertical frame to paint scenery for both L’amant anonyme and Pirates of Penzance.

The scenic artist’s view when painting a backdrop on the floor.

A view from my ladder when painting the second set of wings for *L’incoronazione di Poppea* at my studio.

Both frame painting and floor painting were adopted by early American scenic artists. The Continental method of scene painting was not popularized in the United States until the late-1920s. Prior to this time, the majority of American scenic artists utilized vertical paint frames. This is not meant to say that American scenic artists never painted backdrops on the floor. However, using vertical fames was more economically viable in many situations for both scenic artists and scenic studios, especially in a studio setting. Keep in mind that floor space was often at a premium, reserved for many tasks that needed to occur after the painting process was completed, such as netting cut openings or rolling scenery for shipping.

In early American Theatre, the demand for painted scenery was often greater than the supply of artists to paint stage settings. It was not until the mid-nineteenth century that a series of scenic studios appeared across the United States, mass-producing painted settings for touring productions and venues throughout North America. The mass-production of painted illusion at scenic studios in North America peaked between 1900 and 1910.

A photograph of frame painting at the Sosman & Landis Studio in Chicago, Illinois, ca. 1910.

The scenic artist’s view when painting a backdrop on a vertical frame.

As the demand for scenic illusion waned after WWI, scenic studios shifted from painted illusion to three-dimensional settings, increasing their use of fabric draperies with painted ornament. In many ways the scenic art trade shifted from an art to a craft. There was less of a demand for scenic artists to paint pictorial realism for the stage. At the same time there was an increased demand for decorative paintings and stencil work on draperies, as well as three-dimensional scenery.

Scenery by ACME Scenic Studios, Chicago, Illinois, ca. 1928.

Throughout the duration of the twentieth century, frame painting became less popular for many live theatre productions. The exception was film backings where the demand for scenic illusion thrived. Much had to do with the extreme detail; painted details that were only achieved when holding a brush at arm’s length.

The Continental method is now the preferred method for most contemporary scenic artists producing scenery for the stage. In fact, many have never experienced the ease of painting on a vertical frame. It is truly unfortunate, as frame painting accommodates a scenic artist’s aging body, as your artwork remains at a comfortable height.

Drops and wings tacked to a motorized paint at for *Pirates of Penzance.*

Moving a motorized paint frame is easily done with the push of a button! This photograph was taken when running painted draperies on the frame at Hamline University, St. Paul, Minnesota.

Frame painting can also speed up the entire process.

Below is a link to my time-lapse YouTube video that I posted Nov. 4, 2022. It shows me painting scenery for Gilbert & Sullivan Very Light Opera Company’s “Pirates of Penzance” on a motorized frame. Over the course of three days, I painted one roll drop, one backdrop, one border, two shutters, and four wings.

Three-day time-lapse video, painting distemper scenery for “Pirates of Penzance”, Aug. 23-25, 2022.

To be continued…

Tales from a Scenic Artist and Scholar. Part 984 – Reflections on Scenic Art

This is a long and contemplative post, so my apologies in advance. Quarantine is providing me with a little too much time to think, hence why I am painting so much; it silences the internal dialogue.

In 1918, Thomas G. Moses wrote, “Pitt and Stella dropped in on us from Trenton on my 62^nd birthday on the 21^st, and we all enjoyed their surprise and their visit.” Pitt was Moses’ eldest son who lived in New Jersey. Today, Moses may be considered three years away from retirement. In 1918, he was mid-career with no retirement in sight. What were the physical barriers of a scenic artist working in the early-twentieth century versus now?

There are a few things to consider about the careers of scenic artists during the early twentieth century. The first is that they were not working on the floor, most painted on a vertical frame, one that moved up and down. Aged scenic artists didn’t have to crawl around on the floor to tack down a drop, or bend over to paint some little detail. They did not spend a lifetime having to suddenly drop to the floor or kneel for extended periods of time.

Thomas G. Moses working at Less Lash Studios in New York, ca. 1910.

How long could scenic artists work during the late-nineteenth and early twentieth century? Until death. If you don’t have to kneel down, and the painting was at a comfortable height, why stop working? With no social security net, stopping work at any point might not be an option. Take away the physical obstacles and you could paint as long as your mind stayed sharp.

It’s pretty simple if you deconstruct the early-twentieth century painting process. What are the greatest obstacles that an older artist may encounter in a shop if they are above the age of 60? Kneeling, crouching and climbing. I am almost fifty-one years old and consider myself in pretty good shape. I am overweight, but I have remained active my whole life and spent hours working on the floor. Starting out as a dancer, the flexibility remains with me – so far. That being said, I can no longer crawl around on my hands and knees for extended periods of time anymore, without suffering the next day. I had a big epiphany a few months ago when I was painting an ad drop on a motorized paint frame at the University of Minnesota, Duluth. I was putting in an ungodly amount of hours, all by myself, yet did not feel the strain. Although I enjoyed what I was doing, the key for me was painting on a vertical paint frame. At every step of the process, my painting was at the perfect height. No over-reaching, no crouching and no straining. Why would I need to ever retire if I could physically do the work I love?

There is another thing to keep in mind about the early-twentieth century American scenic studio that is really important– journeyman artists had assistants. That is not the case with every journeyman artist now, especially if you freelance and do not enjoy a permanent position. These young assistants, “pot-boys” (for filling pots of paint), would tack up the drop on a vertical frame, prime it and possibly base-coat many of the basic colors. If you were at the top of your profession, you may only need to show up to paint the complex part of scene, adding in flourishes to add dimension and sparkle. There are pros and cons to our industry at every step it seems.

The industry really began to change in the 1920s – and then completely shifted in the 1930s during the Great Depression. Scenic artists noted the shift in their memoirs and in newspaper articles. Those who recalled the changing times at the end of their life detailed the cause of change in scenic art. A few years back, I read a series of letters between John Hanny and Dr. John Rothgeb from 1979. They are now part of the Rothgeb collection at the University of Texas, Austin. Hanny was hired at Sosman & Landis by Thomas G. Moses in 1906; he was 16 years old at the time and earning $6 a week. Although his salary increased five-fold in six years, by 1920, he and four other artists left to form Chicago Service Studios. That business only lasted six years. In 1926 Art Oberbeck of ACME studios of Chicago bought the studio. Hanny’s scenic art career was tumultuous at best beginning in the mid-1920s.

When asked by Dr. Rothgeb in 1979 to describe the era from 1900 to 1929, Hanny wrote the following:

“The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musicals, etc. if any were being produced in New York and Hollywood. At this point all the studios disappeared but the scene painter just couldn’t disappear and had to become freelancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay. Most of the following 10 years were really tough and 1929 proved to be a big change in our business, in purpose, in design, paint and other materials.” Hanny goes onto describe the emergence of a new theatrical supplier: “These were not Scenic Studios but rather combinations of carpenter and machine shops equipped to turn out booths, revolving turn tables, electrical effects and so on. The art was done in any available loft or vacant store space.”

This is when scenic art shifts from an art, to a craft; no longer does painted illusion drive the industry, it almost becomes an after thought of the production process. Yes, there are exceptions.

Hanny continues, “The biggest change to us painters was our paints. Luminal Casein was pretty well established as a very practical and useful medium so, it, and show card color was the norm. So – no more ‘dry’ colors – no more soup bowls or hot size, and of course no more paint frames. Drops, if any were painted on the floor.” THIS is a turning point in American scenic art. We abandon something that worked incredibly well for over a century. Not everyone transitions to floor painting, and pockets remain with scenic artists continuing to paint on vertical frames – just look at Hollywood. Scene painting continues to thrive there more so than anywhere else in the United States.

With the shift from painting on a vertical frame to the floor for live theatre and industrial shows, standard techniques and tools also changed. Hanny recalled, “The house painter’s sash brush came into use and many of the former ‘tools’ such as snappers and center-poles and others were no longer needed. The folding 2 ft. brass bound rule gave way to the yard stick.”

When this industry wide change occurred, Hanny was in his forties and Moses was at the end of his career. I cannot imagine watching my entire life’s work be condemned as “old fashioned” as much pictorial realism went out of vogue. Think of the theatre world that Moses entered in 1873. He was from the generation of scenic artists who chummed together on sketching trips to gather resources. The generation who took art classes together at fine art academies and garnered some of the top salaries in the theatre profession. This was all ending, faster than any of them realized.

We talk about evolution in the theater industry; technological innovations that herald change and produce ever-better products. Sometimes the only way to forge ahead is to forget the past. If we don’t look back, we can’t lament what is lost. Such was the case when the golden age of American scenic art came to an end. 1880 to 1914 is what I consider the golden age of scenic art. Yes, I am sure there are many who disagree with those dates. Much scenic art training simultaneously shifted to academic institutions around this same time. This created a very different atmosphere, a departure from scenic studios that began training sixteen-year-old boys.

As with everything, a massive shift in any industry affects the accepted standards. What we consider “beautiful” or even “acceptable” is sometimes based on the lowest common denominator. As with many things, “quality” work is relative to accepted industry standards and the times.

To be continued…

Tales from a Scenic Artist and Scholar. Part 551 – The Phobias of Dry Pigment and Aniline Dye – Third of Three Parts

Part 551: The Phobias of Dry Pigment and Aniline Dye – Third of Three Parts

Over a fairly short period of time, the American scenic artists shifted from using dry colors to pre-mixed paints. Dry pigment and binder were replaced with a relatively expensive pre-mixed product in a can. In addition to the expense, pre-mixed paints had a limited shelf life and color selection. Keep in mind that dry colors can be stored almost indefinitely and used even after they freeze, get wet, or are stored in less than ideal conditions. The longevity of dry pigment is due to the fact that it is stored separately from the binder.

So why did we shift to a more expensive product, especially one with inferior paint colors and a shorter shelf life? Convenience is a big reason.

Selecting to use pre-mixed paints instead of dry pigment and hide glue is similar to deciding on take out in lieu of cooking a meal. When we buy fast food there is no shopping, preparation or clean up involved for that meal – just pull up, pay and drive away. You don’t even have to know how to cook. The same can be said for using pre-mixed paint in a can; no instruction needed, just open and apply. Pre-mixed paint was the great equalizer and removed some of the mystery from the scenic art process. You don’t have to understand how certain dry pigment colors interact with others or worry if the binder is either too weak or too strong.

But there is one factor to consider when we chose convenience. Just like preservatives placed in a variety of pre-made meals, we need to be aware of hidden ingredients in pre-mixed paint. Yesterday I alluded to ever changing paint formulas and additives introduced to the product; not all paint ingredients are safe. With dry pigments, we worried about the possibility of lead, cadmium, arsenic, or other dangerous ingredients in specific colors. However, beyond the concern of using certain colors, the binder was all natural, simply diluted hide glue. As scenic artists, WE controlled every ingredient that we were handling as we mixed our own colors and binders. This is not the case with pre-mixed paint produced by a company.

We also must always remember that paint manufacturers believe we solely handle and apply their product as recommended, and in a traditional manner with a brush, roller or sprayer. As scenic artists we have a variety of non-traditional practices when applying paint to scenery. We push the limits of the product and bend recommended handling procedures to achieve stunning effects. While doing this, we also get covered with paint.

Here is what I have observed thus far. Many scenic artists are much more cavalier with water-based products than their solvent-based counterparts – regardless of any warning. Water-based paints constantly get on our clothes and skin; we wear it like a badge, signifying what we are to the general public and our colleagues. Paint covers our shoes, socks, pants, shirts, sweatshirts and other personal items. Our phones, keys and jewelry all sport little droplets of paint. We spend hours spattering paint, squeezing paint out the bristles, cleaning spray guns, and scrubbing out buckets.

I have seldom encountered “tidy” scenic artists, those who wear street clothes that show no sign of their profession. We look back in wonder at early-twentieth-century photographs that depict scenic artists who painting in suits, showing very little paint spattered on their clothes. Our predecessors were smart to avoid dry pigment and hide glue from getting on their clothes and coming into contact with their skin.

Many artist’s don;t shy away from getting paint on our hands – we should.

A few years ago, I began wearing everyday clothes while painting. The immediate change in my behavior was astounding. I worked with the water-based paint as if it were solvent-based paint; avoiding contact with my skin or clothes at all costs. This immediate shift in my perception was fascinating. Our overall perception of all water-based paint needs to change. We must acknowledge that there are hidden dangers in pre-mixed paint and we have yet to discover them all.

To be continued…

Tales from a Scenic Artist and Scholar. Part 550: The Phobias of Dry Pigment and Aniline Dye – Second of Three Parts

Part 550: The Phobias of Dry Pigment and Aniline Dye – Second of Three Parts

Dye drop at the Theatre Museum in Mt. Pleasant, Iowa. This museum features many of the design, drops, and scenic art tools of Jesse Cox.

Detail of dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

During the first decade of the twentieth century, much traveling scenery was created with aniline dye, allowing drops to be easily folded and packed in a trunk. This process ensured that the painted composition would not crack or dust off during transit and repeated use.

Folded dye drop collection from the 1920s. This scenery is still used by the Scottish Rite in Madison, Wisconsin.

Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors of aniline dye also worked beautifully for certain stage effects, translucencies and stained glass. All you needed to mix it with gum arabic, or a similar binder, and it provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct. For inking in charcoal lines, aniline dye was used with a little bit of shellac. Aniline dye was a wonderful and versatile “go-to” product for painting and staining.

Dye drop currently at the University of Minnesota – Twin Cities. This backdrop was produced with aniline dye and rented by the Eclipse Rental Dept. Inc of Chicago.

Detail of dye drop rented by the Eclipse Rental Dept. Inc of Chicago, now property of the University of Minnesota – Twin Cities.

Fast-forward eighty years to the 1980s. Aniline dye was still used in some paint shops, and for more than just translucent effects. The dye was used to brightened paint colors, especially when some pre-mix batches began appearing lackluster and dull. A good dollop of aniline dye dumped into a five-gallon bucket of paint made most drab colors bright and beautiful. But this colorful additive did not necessarily make everyone grab a pair of gloves to prevent the paint from staining their hands, or threatening their health. This was not an anomaly, as the handling of aniline dye was different then; previous generations of scenic artists broke up clumps of aniline dye with their bare hands, not fully understanding the health hazards. We were just starting to acknowledge some dangers in our industry. I doubt that any of these scenic artists were trying to be irresponsible or dangerous to others; they simply didn’t have all of the facts to properly handle the product.

As a parallel topic, there were prolonged debates about cutting Styrofoam with a hot wire. Some of my colleagues insisted it was perfectly safe, while others were adamant that it was an incredibly dangerous process. I then also think about the debates concerning the dangers of smoking and second-hand smoke – dangerous or not? We now know the science. It takes time to identify health concerns and disseminate the information to the general public. It takes time to establish and implement proper safeguards. In many cases, something has to happen for a safety warning to be included on a label – or a warning label to go on a product at all. Whether it is a problem documented during the testing of animals, or problems identified among a group of users, a consensus is reached to prior to adding a warning. For scenic artists there can be a long list of health concerns. Some are extremely hard to diagnose if the majority of users also smoke and are exposed to other airborne toxins.

So lets consider how an industry implements changes in handling procedures or identifies alternative products. Is it simply easier for us to distance ourselves from a controversial product that has been used for decades? How does that compare with trying to raise awareness about how to safely handle this product? These discussions become complicated if some belittle those addressing health concerns. Regardless, we now fully understand the necessary for safety precautions that must be in place when handling aniline dye. Has this information arrived too late? Why are some toxic paints acceptable and others not? Aniline dye is still readily available and actively sought out by woodworkers, leatherworkers and other artisans, just not scenic artists. Why?

It is understandable that we constantly seek safer products, especially in lieu of altering our handling methods for a familiar product. Are the new products really safer, or are we once unaware of the hidden dangers once again?

It takes decades of use and generations of artists to identify certain problems or health hazards associated with a particular product. New products simply can’t enter the market place with every danger being known. One example is the popular alternative to aniline dye – thinned supersaturated paint. This switch seems completely reasonable, and far safer. But what if we are unfamiliar with all of the ingredients and take very little care in the handling of this seemingly safe water-based product?

As an artists I read the safety data sheets (SDS). However, it is difficult to read it more than once, beyond that first time prior to handling a new product. It is difficult to continue examining information on updated SDS prior to every use, especially after our initial investigation; certainly when we have limited time and/or are freelancing where this research occurs on our own dime. Regardless, we must remember that many paint formulas change. Cheaper pigments are discovered or other ingredients are added to increase overall flexibility and shelf life. Changes also occur to a formula based on increasing the profit margin. This practice is not unusual and occurs in many other manufacturing industries. However, as scenic artists, we must look beyond the subtle color shifts in new batches of paint.

We must read, and re-read, every SDS each time we handle the product, even if we have been using this same product for years. We must also remember that even when paint formulas remain consistent, acceptable exposure levels could change; new information may come to light. When was the last time that you looked at an SDS for a product that you have used for over a decade? Look one up online and read it again.

To be continued…

Tales from a Scenic Artist and Scholar. Part 549 – The Phobias of Dry Pigment and Aniline Dye – First of Two Parts

Part 549: The Phobias of Dry Pigment and Aniline Dye – First of Three Parts

This seems to be an appropriate time to discuss both dry pigment and aniline dye. There will be three installments about these products.

Dry pigments are available for purchase online

Liquid aniline dye are available for purchase online

In the past, I have tried to avoid this subject. Discussing the use of dry pigment and aniline dye has become a hot button topic for some within the American theatre community, almost as volatile right now as discussing politics. That being said, safety has always been my first priority. I constantly refer to safety data sheets for paint products, taking precautions to protect both others and myself at all times. I take pride in being familiar with traditional and new products, as well the dangers for each. Over the decades, artists’ palettes have been affected by the ebb and flow of color availability.

I start the dry pigment and the aniline dye debate with my own personal stance: I believe that all paints are dangerous when they become airborne and you inhale the product – whether wet or dry. I cannot think of a single paint product where any manufacturer will tell you that their colors can be safely inhaled or ingested. As an artist, it is my job to carefully research and handle all paint materials that I encounter, as well as training my students in the safest way to handle, mix and apply paints. Yet, many in our industry are quick to point out the dangers of dry pigment and aniline dye, especially focusing on their powder form during the initial stages of mixing. Not all pigments arrived at the studio in dry form. Keep in mind that going from dry to wet is a self-contained step. While mixing the dry pigment paste, one takes the proper safety precautions, such as respirators and gloves. These are the same safety precautions when encountering anything that becomes airborne, such as sanding treated/painted/stained wood, foam, fiberglass and other materials used for theatre scenery. Many artists prepare the surfaces that they will paint, and this even includes the sanding of gesso layers.

There was a shift in our industry about two decades ago; dry pigments and aniline dyes went from being used in university shops to being avoided at all costs. What happened? Dry pigments and aniline dyes are still manufactured and distributed all over the world, used by a variety of artisans for many projects.

Dry pigment available for online purchase

Dry pigment available for onllne purchase

We can purchase dry pigment from many local art stores throughout North America, Europe and the United Kingdom; we can even order it online. Keep in mind that dry pigment, aniline dye, and hide glue ship Amazon Prime. There are even aniline dye starter kits with set colors for fine artists to use in the comfort of their own home. Website warnings include, “a respirator mask should be worn so that no pigment dust is inhaled.” Pretty straightforward, isn’t it? Dry pigment no longer arrives by the pound in brown paper bags with only the manufacturer label and color. For some dry pigment containers, labels may include additional information and directions; this is standard procedure for most paints today. It helps companies protect themselves from a client’s ignorance about the product.

Dry pigment is readily available from Gamblin, Sennelier, Cornelissen, Langridge Artists Colours, Dick Blick, Michaels, Grapewoods International, Earth Pigments, Pip Seymour Fine Art Products, Kama Pigments, Newton Art Supplies, and many others. Some dry pigment is still shipped in glass jars due to high lead content of the product. Small amounts of dry pigment, like most other products when sold at retail price in minimal quantities, are very expensive. Huge amounts of dry pigment are still purchased by art supply manufacturers, such as Golden acrylics or Conté Crayons.

Aniline dyes are also purchased and used by both individuals and large companies today. Aniline dye manufacturers include Keda Dye and J. E. Moser’s, just to name a few. Woodworkers and those who stain leather love working with aniline dyes due to their transparency and brilliancy; Gibson guitars are even stained with aniline dyes. Like other paint products that we handle in our profession, aniline is a known toxic substance during the application of the product. It has been linked with causing bladder cancer since the late 1890s. Safety precautions are crucial while handling, the same as with many paints.

Liquid aniline dye available for purchase, marketed to leather workers

Powder aniline dye available for purchase, marketed to woodworkers

Guitars are often stained with aniline dyes

Sadly, after continued use by generations of scenic artists, a significant part of our theatrical heritage linked to both dry pigments and dyes has been lost. This shift happened relatively quickly. This is especially unfortunate since we now live in a time where safe handling procedures for all art products are readily available to the users. Many scenic artists are simply unfamiliar with the use of dry pigment and aniline dye because they have been labeled as “dangerous.” This means that many historical scene-painting techniques specifically associated with those products are now veiled in mystery. It is unbelievable that techniques associated with a centuries-old trade could be lost so quickly over the span of just a few decades.

The theater community has simply decided that we no longer use dry pigments and aniline dyes. Ever. Again. They are deemed “unsafe.” Fair enough. But, if they are handled properly, as with any paint product that is out there, they can be enjoyed and the traditions passed along to future generations. Keep in mind that a far worse product readily available to scenic artists in prop shops and paint studios is spray paint. It is extremely dangerous. Yet, we are expected to safely handle this product with proper ventilation in a spray booth. Why did we so quickly turn our backs against dry pigment and aniline dye while continuing to embrace other equally dangerous coatings?

Let’s look as what has been lost due to our inability to believe that professionals can use these products safely. Twentieth-century scenery, like that produced before it, was painted with dry pigment and diluted hide glue. We know that dry pigment and aniline dyes should be mixed in a spray booth while wearing protective clothing, a respirator and chemical gloves. This is not too much to ask, as we constantly handle and mix many other dangerous products. When I handle dry pigment, aniline powder, or any paint for that matter, safety comes first. I control the color, I prepare the environment, and I take precautions to prevent any overspray or contamination to people and other projects nearby. These are the same precautions that should be taken for all paint procedures.

Now let’s think about the danger of other toxic particles floating around scenic artists in a shop. I want to put the “dust danger” of pigment in context for those of us who paint scenery used for theatre, opera, theme parks, industrial shows, and other venues. Although I may always try to take proper safety precautions while handling any type of paint, those around me may not take similar precautions with their own projects. I am not just speaking to my fellow artists, but also the sculptors and carpenters who construct and carve massive set pieces created from wood, foam, steel and other materials. What I have noticed over the years is that I am always at the mercy of those working around me. I can control the potential dangers associated with my own project, but not the projects of others working nearby, especially those cutting or sanding treated lumber, foam, fiber glass, plaster, or other materials. The dust from these products may be extremely dangerous.

We work in an industry where many airborne toxins are prevalent, some of which are never acknowledged or addressed. Even when there are regulations, standard air quality tests are not common practice for every shop, especially during periods of high productivity. So why did dry pigment and aniline dye take the rap a few decades back, becoming the poster children for “shop danger?” There are several factors to consider that I’ll discuss in detail tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 297 – The Color of Success

Dry pigment has four categories: earth colors, organic colors, manufactured colors, and mineral colors. Earth colors are those such as ochre, umber, and sienna. Organic colors are often plant-based like the indigos and Indian yellows or the red that is made from insects (cochineal). The manufactured colors are produced with a chemical process and are often the most toxic, but stunning. Mineral colors, such ultramarine (ground lapis lazuli), often have chemically-manufactured versions. In the end, some colors are considered “fugitive,” meaning they and are prone to change. Other colors may be labeled “poisonous” as they not only change, but also attack their neighbors.

My smallest dry pigment palette. This was when I was preparing to touch up at patch on a historic drop at the SOKOL Hall in St. Paul, Minnesota.

A selection of dry pigments brought to Santa Fe to be photographed and included in the book, “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” Museum of New Mexico Press, 2018).

Dry pigment painting is incredibly complex if you are unfamiliar with the medium. There are surprises that will occur with certain color combinations. Old books, manuscripts, and other publications may briefly mention historical painting techniques with dry pigment, but you have to look for them. The Chicago Sunday Tribune article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” described the challenges of certain colors for the nineteenth century scenic artist (Dec, 18, 1892, page 41). For the article in its entirety, see installments #246 to 251. The article reported that scenic artist “must avoid powerful greens which become coarse” and “strong blues which grow black.” Furthermore, they must “exaggerate yellows which are robbed of strength by excessive light.”

I love studying dry pigment and historical scenic art techniques. It is both exciting and extremely frustrating. Just like making bread, a few simple ingredients can produce drastically different end products. To explore the nuances and master the color combinations is more than a simple challenge. Producing a new painting with dry pigment is radically different than trying to match colors during restoration. A new painted composition becomes all about technique. Restoring an old composition is all about science. You need to identify identify the correct color combination while factoring in discoloration, color characteristics and other factors that will continue to affect a hue over time.

“In painting,” or retouching damaged areas of paint on any historical backdrop is appealing to many people. You need to get in the original artist’s head and take the whole composition into account. This is the big appeal for many individuals during a restoration project, especially if they are artists.

Working on a Scottish Rite drop in Danville, Virginia, 2012.

I have frequently had people say, “give me a call when you get to the painting part.” They simply don’t understand that most of my knowledge comes from handling the historic scenes well before picking up a brush to apply any paint. One must also be familiar with the history of scenic art techniques as well as the history of color. Unless there is severe water damage, applying paint to a historic backdrop makes up approximately 5%, or less, of any restoration project. Ideally, you don’t want to apply any paint at all if the damage is minimal.

During restoration it is imperative to create a color chart of the colors. Dry pigment colors vary from manufacturer to manufacturer. Slight changes of color occur over time. Think of the current need to place batch numbers and manufacturing dates on cans of paint. There are always variables and if the paint fails, the manufacture needs to consider what happened to that entire batch, or whether something happened to the paint after it left the factory.

Scraps of dry pigment boxes shipped to Thomas G. Moses while working on site at the Scottish Rite theater in Fort Scott, Kansas.

Bag of dry pigment from Gothic. Dry pigment was shipped to restoration artists on site while working at the Scottish Rite in Deadwood, South Dakota (1990s).

Bag of dry pigment found backstage at the Deadwood Scottish Rite during November 2017.

For dry pigment powders, you cannot always identify a manufacturer, or even the decade when it was made. Some colors are no longer available, and yet they are still needed when mixing the correct sky colors. There is also the consideration that not every drop used the correct color combinations in the beginning. Not every studio purchased a good batch of binder and not ever paint boy prepared the size water correctly. I am sure that some projects left the studio with the instructions “just get it out the door today.”

Some colors have high dye contents. This means that a particular color – like malachite green – will continue to permeate any other color placed on top of it. A pure white highlight painted over a malachite green base will become a lovely shade of pale green. No matter how thick that white paint is when applied, the base color will rise to the surface. You have to understand what colors must be used sparingly. There is a science to the paint mixing and application.

The preparation of the dry pigment paste is also very important in the painting process. If you rush the preparation and a few granules do not dissolve in the paste they will eventually reappear – even a century later. Pigment granules that did not dissolve at the time of initial application will blossom when water (or any liquid) is introduced at a later date. You can literally see the granules on the surface of historic drops and there is nothing that can be done. If they are scraped off, the powder will spread and the color reappear. If the painted surface becomes wet, a yellow background with small particles of magenta that was mixed into the base color to “warm it up,” with turn the area bright pink.

Then there is whiting. Whiting is the wild card when mixing paint. It was a product used by scenic artists to both prime the fabric surface and lighten some of the colors. When mixed with other colors it can cause a wet color to appear many shades lighter once dry.

The difference between a wet and dry color (dry pigment and size water).

Light colors are the most tricky to match during restoration as the wet color applied to the composition appears to be nothing like what you are matching. You just have faith that it will dry the same shade and that there wasn’t anything in the original base coat that will shift the final color. The variables are the type of whiting and the type of color. There is nothing like having a dark blue magically transition to sky blue in the last thirty seconds of drying a test sample.

Adding whiting during restoration of roll drop last summer. Shieldsville Catholic Church, 2017.

Matching color during restoration of a roll drop last summer, Shieldsville Catholic Church 2017. Being able to use similar scraps of old drop fabric is very helpful.

Regardless of all the ups and downs, painting with dry pigment is extremely exciting. It is therapeutic, like the ceremony of making tea. Yes, some people can heat up a cup of water in the microwave and plop a tea bag in for their cup of earl grey. However, there is another process: the careful measuring of loose-leaf tea, the correct water temperature and straining the tealeaves that is almost like a ritual. Your first sip marks success. The preparation of dry pigment and hide glue mirrors that same ritual process for me. Anyone can pop open a can and scoop out color. I enjoy sharing a heritage with those who came before me.

To be continued…

Tales from a Scenic Artist and Scholar. Part 295: Dry Pigment and Hide Glue

Yesterday I mentioned the difference between the artistic medium used by panorama artists and theatre artists. It is now time to clarify how Thomas G. Moses painted scenery his whole career. The 1924 Fort Scott scenery collection was also created in this same way. He used an artistic medium that was known to nineteenth century scenic artists as distemper painting. Scenic artists combined dry pigment paste and diluted hide glue called “size” to paint theatre backdrops.

Ground hide glue (center) and dry pigment. This picture was taken when preparing images to illustrate my chapter in the upcoming book “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018).

The Chicago Sunday Tribune article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” described distemper painting (Dec, 18, 1892, page 41). The article reported, “the color work is all done in distemper and dries rapidly…The artist must not only be active but certain in the performance of his task. In using distemper the artist must paint solidly, otherwise his work will take the dirty complexion of thin oil and be ruined.” The articles reference to “paint solidly” meant making sure there was enough color, or pigment in the paint and that it was thick enough to completely cover the fabric. The paint application needed to appear opaque and not look like a colored water stain.

Dry pigment is pure color. It can be transformed into a variety of products, like colored chalks (pastels) or paint. The pure pigment colors are created from a variety of sources that can include plants, minerals, insects, and chemical processes.

The dry pigment is ground into a fine powder and mixed with water, prior to adding any binder. The pigment paste could also be stored in a container for quite a while. The worst that would happen is that it would dry out and harden. It the pigment paste did dry out, it only needed to be crushed up again and reconstituted with water.

Dry and wet forms of dry pigment and hide glue.

In 1916, Frank Atkinson wrote a book called “Scene Painting and Bulletin Art.” Some scholars believe that he described many of the practices commonly used at the Sosman & Landis Studios. In his book, Atkinson explained, “the medium for binding distemper is known as “size,” or sizing (page 154). He goes on to describe the purchase and preparation of the binder for scenic art. Any binder can be mixed with the pigment paste, but scenic artists commonly used diluted hide glue called “size.”

Hide glue is the gelatinous substance obtained from rendering animal hides and hooves. Think of the old threat about sending a horse to the glue factory. The hides are boiled to create a jelly that is dried. There are a variety of qualities and the strength of the final product can vary from batch to batch. This factor, as well as the actual preparation, directly contributes to the overall life expectancy of the backdrop. Once the hide glue is dried and solid, it is sold as a block, granules or fine powder. In this form it also has an extended shelf life and is easily stored for indefinite periods of time. Both dry pigment and dry hide glue could be easily stored and shipped to various locations.

Dry hide glue must be returned to a liquid state prior to mixing with pigment paste. There are various ways to prepare hide glue and much depends on personal preference. I like to soak the glue in water, ideally overnight, before slowly heating it up to thick syrup. It will eventually have the consistency of honey or molasses. You can purchase an expensive electric glue pots, use a double boiler on a stove top, or even a crockpot on the “low” or “warm” setting. Some people are very particular about this, but I am not. The big thing is to make sure that the glue doesn’t boil. Think of preparing hide glue like green tea, find the perfect temperature below boiling.

The quality and type of the glue will either make the syrup appear murky or clear. Reconstituted hide glue is further diluted with water – one part syrup to one part water to make “strong size.” Some artists used strong size alone to seal the fabric’s surface when painting with dye. Others mixed whiting into the strong size and create a primer for the fabric prior to painting a backdrop with dry pigment.

Strong size is further diluted with water to make working size, or size water. Due to the natural properties of the binder, once transformed into a liquid state, there is a very limited shelf life. It rots fairly quickly and smells of death. A way to prevent the quick failure of size water is to store it in a glass container and refrigerate it. You also never put size water in a plastic container, especially one that had been previously used to store another substance. Foreign properties will leach out of the plastic. You also never place the glue in an airtight container, otherwise you create your own little smelly science experiment. I plan accordingly and make fresh size each day as the age will also affect the efficacy of this binder.

My glue supplier is Bjorn Industries out of North Carolina. I have discussed my need for animal glue during restoration projects with their chemist and he recommended the product HC351. It is fairly clear, strong, and remains slightly flexible when properly prepared. Rabbit skin glue is my second favorite to work with as an alternative, but it is extremely strong and can set up too quickly.

If binder were not mixed with the dry pigment paste, the color would could not stick to the fabric surface. It would simply dust off over time. Poor preparation, high humidity and other factors can cause the binder to fail, allowing the pigment to eventually release from the fabric. This is a common problem with historical scenery collections. It is also a health hazard. Many dry colors are quite toxic if they become airborne and or inhaled. However, this is not solely an issue with historic dry pigment. ALL paints are toxic if allowed to become airborne and are inhaled. Think of spray paint. Many people often don’t understand the health hazards related to our seemingly “safe” and current pre-mixed products, especially the water-based versions. You have to know what you’re doing, be aware of your surroundings, and stay safe.

Wet and dry version of paint made with dry pigment and diluted hide glue.

To be continued…