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Tales from a Scenic Artist and Scholar. Part 859 – Jesse Cox, Scenic Artist

Much has been written about Jesse Cox, the scenic artist purported to be the inventor of the Diamond Dye process for scenery. Cox’s obituary even credits the artist as the “originator of commercial dye painted scenery for theatrical productions.” His obituary details Cox’s process that involved mixing dye with warm water, making it “possible for scenery to be much lighter in weight and transported more conveniently.” I highly doubt that Cox was the first scenic artist to use commercial dyes on scenery, especially when looking at his birthdate and timeline. However, I do believe that he popularized the process, if only through sheer self-promotion.

*Jesse Cox sitting in one of his sets. Image from Michael Kramme’s “Palimpset” article “Opera House Illusions: Jesse Cox and Theatrical Scenery” (Vol. 71, No. 4, pages 154-172).*

*Jesse Cox. Image from Michael Kramme’s “Palimpset” article “Opera House Illusions: Jesse Cox and Theatrical Scenery” (Vol. 71, No. 4, pages 154-172).*

There is also no question that the Diamond Dye manufacturers would have been thrilled to have Cox as a poster boy for their company, however there is no clear evidence that suggests Cox was the inventor of the process. Even the Jesse Cox Scenic Company’s early twentieth-century catalogue makes no mention of their specializing in dye scenery or Cox’s reputation as the inventor of this unique scene painting process. I have to wonder when the Diamond Dye process of painting scenery became specifically associated with this artist, as the earliest mention that I have uncovered to date is 1936. To all indications, Cox’s story was shared at a time when he was reflecting on his own history, and contributions to the world of scenic art. I am reminded of the erroneous credit given to Lee Lash for his invention of the ad drop. Over time, facts blur and history is carefully shaped by those who gain the most from its telling.

Here is a little background about Cox that was included in his 1961 obituary:

Jesse Matthew Cox was born on March 3, 1878, in Seneca, Illinois, the son of Mr. and Mrs. Spencer Cox. One of five sons born to the couple. His eldest brother was James, and his younger brothers were George, Chauncy and Spencer Jr. The family moved to Estherville in 1891. At the time, Jesse was at the age of 13 years old. Initially, he worked for his father, but soon became interested within the next three years, going on the road as an actor at the age of 16. He initially toured with the [Warren G.] Noble Dramatic Shows of Chariton. As many young performers involved with touring productions at the time, Cox also performed as a musician and assisted in other technical duties. It was while on tour that Cox became interested in scene painting, likely out of the company’s necessity for additional settings. There is no indication that he became a scenic artist by going through any traditional training or apprenticeship program.

After touring, Cox worked as an itinerant artist in Chicago, Minneapolis and St. Paul, spending several seasons in the Twin Cities. It is reported that Cox returned to Estherville to settle down, painting “great quantities of scenery” there and shipping much of it to California and Texas. Local newspapers cite that his return to Estherville coincided with the decline of demand for road shows. In Estherville, Cox started a scene painting studio in the old Lough opera house, the same venue where he once worked as a prop boy before going on the road with Noble. Cox had little luck with studio locations throughout the duration of his career, as the first was destroyed by fire and the second razed by a tornado. Cox’s third studio was located at 606 N. 12^th St. There he worked with his son Robert, primarily making scenery for theaters and high schools, but also completed many sign painting projects. The firm’s business gradually expanded to include neon signs. His company continually diversified as the demand for painted scenery continued to decline. This was the case with most scenic studios that survived the Great Depression. In regard to neon signs produced by the studio, in 1942 the Estherville Daily News announced, “The Jesse Cox studio has been busy the past week building the first complete neon sign to be fabricated in Estherville” (22 Sept 1942, page 1). The sign was made for the Hossack Motor Company.

Cox’s scenic art and performance career was supplemented with entertainment news. He and his brother George established and edited the Opera House Reporter, an entertainment industry trade paper, from 1898 to 1907. In the greater scheme of things the establishment of the publication coincides with his development of the Diamond Dye process and touring on the road. The dates just don’t add up when compared to newspaper accounts. The Opera House Reporter included a variety of information, such as office reports from theaters and general theatre advertisements. The Cox brothers are also credited with running the first movie projector in the state of Iowa. They were quite an innovative and busy pair.

Of his personal life, Cox was twice married, first to Mabel Gerberick and second to Carrie Beaty in 1939.

Cox died at the age of 83, a longtime businessman and member of the Estherville City Council. His health was failing for some time, with his passing being attributed to the “complications of advanced age.” Cox was an active member with the Knights of Pythias and the Benevolent and Protective Order of Elks. His assumed high offices in each fraternity, with achieving the Elk’s rank of Exalted Ruler.

Cox’s professional and personal memorabilia are on display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. Even his accordion is on display. The museum’s library includes an article written in 1990 by Michael Kramme for Palimpset, a publication advertised as Iowa’s popular history magazine (Winter issue). His article “Opera House Illusions: Jesse Cox and Theatrical Scenery” was included in Vol. 71, No. 4 (pages 154-172). Kramme credits Cox as “the inventor of a system of painting theatrical scenery that revolutionized the industry.” Unfortunately Kramme gives no specific technical information or dates to support this statement. Again, I question the legitimacy of Cox’s claim to fame as the inventor of the dye system of painting scenery.

The earliest mention that I encountered in my research describing Cox’s dye process is in an article from the Estherville Enterprise on 9 Sept. 1936 (page 2). The article reports, “There is a very interesting story connected with the [Jesse Cox Scenic Studio]. Jesse Cox, the owner and operator, when a very young man was a trouper with Nobles’ Stock company for seven years. While following the road and assisting in handling massive curtains, Mr. Cox conceived the idea of painting scenery with diamond dyes. These could be folded and packed in a trunk and were much easier to carry. During the summer of 1899 Mr. Noble sent Mr. Cox to Estherville on pay and in the old low opera house, the young man designed and painted the first diamond dye scenery, now popular the world over. Later Mr. Cox closed with the Noble Company and started the business of scenery painting. He has shipped scenery to every state in the Union and from New York City to San Francisco can be found scenery labeled in the corner, The Jesse Cox Scenic Studio, Estherville, Iowa. The largest scene Mr. Cox ever panted was 24 x 150 feet for the Robinson Bro. Circus. Many of the largest traveling companies have used Mr. Cox’s scenery but the outstanding feature is the fact that he conceived the idea of diamond dye scenery which is now used extensively throughout the world.”

My research does not suggest that Diamond Dyes were that extensively used for scenery production in the United States at the time.

What I found interesting, however, is that the 1900 census lists Cox’s profession as “actor” and not “artist” or “scene painter,” as was the case with other scenic artists at the time. By 1900, he was editing the Opera House Reporter and supposedly running a scenic studio, as well as working in other cities throughout the Midwest.

In Kramme’s article he describes, “Cox developed and patented a process of painting scenery with heated dye rather than paint.” However, some of his scenery on display at the Theatre Museum is clearly painted with dry pigment and his paint table has pots of dry pigment too. In terms of a patent, there is a Jesse Cox that designed a hay knife. There are quite a few “Jesse Cox” individuals living at the same time in the United States. Kramme goes on to explain, “His technique remained a trade secret. But the result, vivid color that would not peel, crack, or rub off, was shared nation-wide as owners of opera houses and managers of acting companies bought lavish sets of scenery.” I am perplexed that his use of Diamond Dyes on cotton sheeting would require any trade secret. The preparation for dyes in scene painting is pretty consistent. Furthermore, aniline dyes had been around for a while and were widely used in the theatre industry for variety of effects. By the 1860s chemical aniline dyes were readily available. The process for preparing dye to use in scenic art is not like dying yarn or clothing fabrics where different mordants baths shift final color results when fixing the dye.

Jesse Cox’s paint table with containers of dry pigment. Image from Michael Kramme’s “Palimpset” article “Opera House Illusions: Jesse Cox and Theatrical Scenery” (Vol. 71, No. 4, pages 154-172).

I also have to point out an alternative to dye in theatrical scenery. When applied properly, and in thin coats, dry pigments result in vivid colors that will not peel, crack or rub off. The English practice of glazing scenery results in lightweight and foldable scenery. See past posts that distinguish between the two schools of scenic art that were established in the United States. When using thin coats of dry pigment, the fabric remains pliable. I known this first hand because the scenery that I transported to Europe this summer in my luggage was folded and crushed during transport without any harm to the painted composition or permanent wrinkles. The only problem is when dry pigment is applied in thick coats or with strong size water. Thick coats of paint also make scenery heavy to transport.

Keep in mind that there are historic scenes well over a hundred years old whose colors remain stable and can easily be folded without irreparable damage. It all depends on the application coat and strength of the binder at time of manufacture and subsequent environmental conditions. The biggest threat for scenery painted with dry pigment and diluted hide glue remains water damage and high humidity, ultimately causing the breakdown of the binder and reactivating the paint. This causes as much damage as poor preparation of colors or size during the initial painting of each scene. Not every scenic artist or potboy thoroughly understood the preparation of paint or binder. In many instances, corners were cut, and the life expectancy of the scene was ephemeral at best. I always think of the Demotivator © poster defining the word mediocrity: “It takes a lot less time and most people won’t notice the difference until it’s too late.”

From https://despair.com/collections/demotivators

To be continued…

Tales from a Scenic Artist and Scholar. Part 858: Jesse Cox and the Diamond Dye Process

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. Now is a good opportunity to unwrap Jesse Cox’s purported contribution to theatre history and his scenic art process.

In 1983, Mrs. Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, am happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor f a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s. This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

*Jesse Cox display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.*

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. The docent who led my private tour during their off season, was a wealth of information about tent shows, but really did not understand Cox’s artifacts or the scenic art painting process. The big talking point, however, was that Cox invented dye painting on scenery.

*The paint on display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa, is dry pigment. There are some containers of dye in his paint trunk and a Diamond Dye cabinet on the wall.*

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them.” Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.” That this dye product would not be considered for theatrical scenery during this same time is unrealistic.

*Part of the Jesse Cox display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.*

So what makes a product indispensable, especially one that expresses such versatility? Availability. In 1915, The Practical Druggist included the article reported, “Diamond Dyes are unquestionably staple goods for druggists” in the article “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book.’”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing. Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.’”

Any enterprising scenic artist who discovered an affordable alternative to dry pigment, such as Diamond Dyes, would be an immediate benefit to both the company and himself. This new use accentuated the versatility of Wells, Richardson & Company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses. Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference.

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows. Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant. Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the individual credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…

Tales from a Scenic Artist and Scholar. Part 858 – Jesse Cox and the Diamond Dye Process

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. In light of yesterday’s post about dye drops, now is a good opportunity to unwrap Jesse Cox’s purported contribution and his scenic art process.

*Diamond Dyes advertisement, date unknown.*

In 1983, Mrs., Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, an happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor of a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s. This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

*Jesse Cox’s paint table at the Theatre Museum in Mt. Pleasant, Iowa. The containers on the table are filled with dry pigment and not dye. Note the dye cabinet on the wall.*

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. They museum staff that gave me a tour of the museum during their off season, did not really Cox’s artifacts or the scenic art painting process.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them” (an I am sure they were before child labor laws). Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.”

So what makes a product indispensable? Availability. In 1915, “The Practical Druggist” included the article, “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book,” noting “Diamond Dyes are unquestionably staple goods for druggists.”

The article continues:

One might immediately recognize that an enterprising scenic artist who decided to use this readily available material to make theatre scenery would be an immediate benefit to both the company and himself, becoming an example of the versatility of the company’s signature product.

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Tomorrow I will look at the one who was credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…

Tales from a Scenic Artist and Scholar. Part 857 – Dealers in Theatrical Goods and Dye Scenery, 1913

While looking for information about scenery delivered by Sosman & Landis in 1913, I stumbled across an interesting publication – “How to Enter Vaudeville” written by the Frederic LaDelle that same year. The content of the book covers a lot of ground, providing an interesting snap shot of the production process and terminology in 1913. There was also a guide to theatre manufacturers, suppliers, and services. The “Dealers in Theatrical Goods,” however, only four studios were listed under “Theatrical Scenery.” I don’t know if this speaks to Frederic LaDelle’s limited connections or if other scenic studios perceived this publication as lacking importance.

The four dealers in theatrical goods were listed in the following order:

1. John C. Becker, 143 Southport Ave., Chicago, Ill.

2. Manning Studio, Rochester, N.Y.

3. Eugene Cox, 1528 Van Buren St. Chicago, Ill

4. W. Crosbie Gill, Warrick’s Theatre, N.Y.

N J. Pausback purchased advertisement space in the book, yet was not listed as a theatrical dealer in the directory. The add was worth mentioning.

N. J. Pausback’s advertisement in “How to Enter Vaudeville.

Here is Pausback’s 1913 ad on “How to Enter Vaudeville:”

“DYE SCENERY! Papier mache properties and stage effects. The best scenery for vaudeville performers is that which is known as ‘Dye Scenery.’ “It is brighter in color and can be folded and packed into trunks and traveling cases without the slightest injury to the scene itself. Dye scenery is also lighter in weight than the old kind and is therefore an important item in reducing excess baggage expense which amounts to considerable in the course of the season. Many acts make good on scenery and stage setting alone, and in such acts as Japanese, Chinese, Western Cowboy, Indian and in fact all impersonations of race or nationality, the scenery should be best. Write me a letter stating your requirements, and the nature of your act and I will submit you a rough sketch and quote you a satisfactory price on your work. N. J. PAUSBACK, Theatrical Contractor 6539 Ellis Avenue, Chicago, Illinois.”

I have continually explored the production of dye scenery in many past posts over he past few years, but it is worth repeating at this particular juncture in the life and times of Thomas G. Moses.

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 (for additional information, see past posts # 548-550). This process ensured that the painted composition would not crack or dust off during transit and repeated use. Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors also worked well for certain stage effects, such as sunsets and stained glass. All you needed to do was mix the dye with a binder, such as gum arabic. The right mixture provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct or it was a big bleeding mess. Dyes were also used for inking the drawing. It was a wonderful and versatile “go-to” product for painting and staining.

Dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

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

Dry pigment was also used in place of dyes, applied in a series of thin glazes. Many of the dry colors remained quite vibrant, even when watered down, but were not comparable to certain anilines. The earliest translucencies for the stage were simply produced with a thin glaze of dry pigment, but dry pigment glazes could not hold a candle to aniline dyes in terms of vibrancy.

In the past, I have examined dye drop collections at historic theaters. For example, in Madison, Wisconsin, all of their drops are dye drops, with the majority are kept off stage in a nearby storage room, as there are more drops than lines. Now kept in plastic tubs, each drop is easily accessible to immediately hang for a degree (for more information about this particular installation, see past post #107). There are also several lovely examples of dye drops on display at the theater museum in Mount Pleasant, Iowa. This museum purports that scenic artist Jesse Cox invented the diamond dye process for theatre drops, instigating the immediate popularity of dye drops for touring vaudeville acts and tent shows. Whether or not Cox was the first to popularize dye drops in immaterial, but the increased resulted in dye drop ads, such as Pausback’s in “How to Enter Vaudeville.”

Dye drop at the Scottish Rite Theatre in Madison, Wisconsin.

In addition to vaudeville and tent shows, many circus spectacles also used dye scenery. In 1906, Thomas G. Moses created a dye canopy for Al Ringling (see past post #548). Moses describes how dye work was still vulnerable to water, causing Ringling to greatly chastise him after one particularly sever rain storm. Just because a backdrop was painted in dye did not mean that it could not be water damaged. A dye drop simply helped the painted composition stand up to excessive wear and tear, it did not make it water proof; an application of paraffin helped waterproof canvas outdoors.

Over the years, dye drops have made their way into various performing arts collections. The historic examples greatly range in both size and quality. However, it is the brilliance of color that often remains, bringing to mind the spirit an energy that characterized many touring shows that left their mark on small Midwestern towns. I will continue down the dye drop road and Jesse Cox’s perceived role in this history tomorrow.

To be continued…

Travels of a Scenic Artists and Scholar – The Boston Scottish Rite’s LED Wall

The Boston Scottish Rite primarily uses an LED wall for the degree production backings. I had the opportunity to examine the effect on April 12 before my afternoon flight. My host went out of his way to take time from his full schedule to share both the building and his work.

LED wall at the Boston Scottish Rite next to a historic dye drop

The Boston Scottish Rite has only a few historic backdrops, ranging from the early to mid-twentieth century. The later versions are fairly crude traditions of standard themes, done in brilliant dye work. It really is an odd mix of painted elements. The theatre is located on the seventh floor of a building with architecture that is reminiscent of many Northern Masonic Jurisdiction Scottish Rite theaters, Gothic in feel.

The Boston Scottish Rite stage and LED wall.

I was anxious to see how well an LED wall worked in a historic venue. There can be many short-term benefits to embracing digital scenery before the system becomes obsolete and/or irreparable. Scene changes require no stage crew and the subject matter is limitless, with endless possibilities for backings during degree productions.

However, I recognized that the use of digital images in lieu of historic scenery could result in an overall loss of scenic illusion on the stage. Until I saw the LED wall in Boston, I was unsure as to the extent. There is increased realism for the backing and more flexibility of subject matter, but there is something missing from the stage aesthetic. It is as if the soul of the stage has disappeared, with the space being transformed into something entirely different.

There are a few things to consider when contemplating a switch from traditional painted scenery to digital imagery for Scottish Rite degree productions.

LED walls are fantastic for many things, but the technology is racing so fast that they become obsolete in a relatively short period of time. This nuance of technology is frequently not fully understood by those purchasing a new system. Often the Masonic clients have lived with their historic scenery and stage machinery for decades, and they expect a new system to last just as long. This is especially pertinent if a substantial amount of money is being spent on an entirely new system.

A parallel could be made with much older adults who consider the purchase of a computer as an investment, not a short-term appliance that will soon have to be replaced as technology continues to advance. The same can be said with motorized line sets, lighting systems, and any other digital systems; at some point they will need to be replaced as they will not last for an extended period of time. Many modern components for the stage with computer systems and software cannot last for decades, as technology races forward, thus making replacement parts often unavailable when the need for a repair occurs a few years down the road. At some point the technology will need to be repaired or replaced. As we experience with many other appliances in our home, it may not be possible to get the necessary replacement parts if our specific the model is no longer being produced as better versions are available. Does the client realize that their new technology has a proverbial shelf life and that the entire system will soon need to be replaced?

Regardless of the ease of use, or anticipated life expectancy of an LED wall, its mere presence is incongruous with the visual aesthetic established by historic costumes and properties. What made the traditional painted illusion so successful was that the selection of scenery, props and costumes where selected as a part of a unified visual whole; one intended to be illuminated in a very specific way. To overcome the brilliancy of the LED screen as a backing, I would be curious to see how bright the front light needs to be during degree productions.

A few digital images that the Boston Scottish is using for their LED wall is identical to that used by the Fort Worth Scottish Rite. The photographs originated from a scenery collection produced by Don Carlos Du Bois, representing the Great Western Stage Equipment Co. of Kansas City. The stage compositions are vibrant and very characteristic of the mid-twentieth century. As projections, there is a tendency for fading and a loss of detail. I again noticed this on the USITT Expo floor when looking at a rear projections screen placed next an actual backdrop. The dark areas weren’t as dark as they needed to be. There is a lack of overall contrast, and everything seems to be a just little too light. At the time, I considered how well a rear projection screen would work for degree productions, with performers being placed in front of so much light.

Now the digital images of historic backdrops on an LED wall are even brighter. The spacing between individual LED lights is based on the viewing distance. Just as scenic art painting techniques fall apart as the viewer nears the backdrop, so do individual LED lights that relay the overall image; the farther away the audience is, the greater spacing between the lights. This is why they work so great for rock concerts in auditoriums that seat thousands of people. At the Boston Scottish Rite, the LED wall reads best from the back row of the auditorium, not from the first few rows. It is almost too much technology for the relatively intimate space as you near the stage, let alone step onto the stage.

Now, let’s consider the overall experience of degree participants, after all, that is a major consideration when altering degree work practices. An LED wall creates an entirely different environment for the stage performer. Stepping onto stage in the midst of a fully lit historic scene is magical. You are encompassed by brilliant color and detail, becoming part of the scenic illusion. In the short time that I stood next to the LED wall in Boston, my eyes hurt. The brilliancy for the screen overpowered the entire stage and was very distracting.

A scene on the LED wall at the Boston Scottish Rite

The same can be said for the audience experience as you are watching degree work in front of an LED wall. There is a distinct light spill from the image on the screen and I would be curious to see how much front light on the performers is necessary. Just as dimly lit stages cause visual fatigue for the audience, so do brilliantly lit compositions, especially if you are ten feet way.

I am curious to see how long this system will last in Boston and hear about the Scottish Rite degree participants’ experiences.

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 548 – Al Ringling, Thomas G. Moses, and the Big Storm, 1906

Part 548: Al Ringling, Thomas G. Moses, and the Big Storm, 1906

In 1906, Thomas G. Moses wrote, “Went to St. Louis in May with new scenery for Ringling Bros. Visited Toomey. Scenery quite successful, excepting canopy. It was done in dye and a big storm came and ruined it. I was ‘called’ good and hard by Al Ringling.”

While attending to the new scenery for Ringlings’ spectacle in St. Louis, Moses visited Patrick J. Toomey, of the Toomey & Volland scenic studio; they were old friends.

It is interesting to consider Al Ringling (53 yrs. old.), yelling at Thomas G. Moses (50 yrs. old). These were two experienced individuals, both distinguished professionals at this point in their respective careers. Having and expensive piece of scenery water damaged had to have been a tense moment, especially with the artist on site for the production. Moses was referring to the scenery that he produced for the Ringling Spectacle “The Field of the Cloth of Gold.” For more information about this production, see past installments 482 and 483.

Advertisement from “Journal Times,” Racine, WI, 4 Aug 1906, page 3

For the Ringlings’ “The Field of the Cloth of Gold” the show bill advertised, “The Vast Main Tent of the Ringling Brothers World’s Greatest Shows, wherein are presented the Superb Circuses and Hippodrome Displays, is converted into a huge, hundred-fold theatre for the presentation of the gorgeous, brilliant spectacle, the Field of the Cloth of Gold.” Of Moses’ scenic contributions, “The Washington Post” reported “The scenery is massive and brilliantly painted to show the crystal palaces, fairy structures, golden tents, and other flashing and picturesque features of this famous plain, ‘The Field of the Cloth of Gold’” (The Washington Post, 5 May 1905, page 8).

Now, imagine transporting the scenery and setting it up with high winds and rain; even the simplest task could prove deadly. The running of dye would be the least of the Ringlings’ worries. An article in “The Green Bay Press Gazette” reported, “Thousand People Brave Storm to See Circus” (23 Aug. 1906, page 3). They did the show rain or shine. The article described, “Over 1,000 people braved the storm last evening to attend Ringling Bros. circus. The storm was an exceptionally heavy one but did not deter the circus loving people from attending. The reserved seat section was about the only section in the large tent that was filled. The performance was cut short, being all over before 10 o’clock. The show was loaded up and the first section left this city shortly after 12 o’clock over the Northwestern for the Iron Mountain, where it will show today.” The caution to close early was likely a result from a deadly storm the month before.

Article from the “Dispatch,” Moline, Illinois, 30 June 1906, page 1

On June 30, 1906, the front page of “The Moline Daily Dispatch” reported “Panic and Death in a Circus Tent” (Moline, Illinois, 30 June 1906, page 1). A “sudden storm partly wrecks big canvas of the Ringling Brother’s Circus, pitched at Aurora.” Two died as a result of the storm after “swaying quarter-poles mowed down scores among the 10,000 people in attendance.” The article noted, “The band, which had been playing waltz music during the performance of the elephants, changed, under Ringling’s orders, to a ragtime quickstep in the belief that the music would counteract the panic.”

I was curious about the scenic disaster, however, that made Ringling reprimand Moses. The exterior of each tent was coated with a gasoline and paraffin mixture to make it waterproof. Circus tents were supposed to be treated with flame retardant, otherwise the fabric would create a death trap for those inside if ignited. The Ringling Bros. Circus would lose one big top when flame retardant wasn’t applied.

In regard to the ruined circus canopy painted with dye by Moses in 1906, it was still vulnerable to water. Just because a backdrop was painted in dye did not mean that it could not be water damaged. A dye drop simply helps the painted composition stand up to normal wear and tear, especially for traveling shows. The overall weight of the piece is lighter and folding doesn’t harm the scene. Dry pigment can be used in place of dyes, when applied in a series of thin glazes. Many of the colors remain quite vibrant when watered down. It is possible that early translucencies on stage were simply produced with a thin glaze of dry pigment. After all, when handling pure dry pigment, the color will easily stain fabric – as well as any exposed skin. The staining of dyes is similar to getting ink on your hands when a pen leaks.

To be continued…