Painting Technique – Page 4

General Hints on Scenic Colors – Highlights

“For highlights use flake white added to lemon or orange chrome, lemon chrome straight, or orange chrome with lemon chrome and dutch pink.”

From Frank Atkinson’s “Scene Painting and Bulletin Art” (1916, page 165)

Here is an example from Fargo Scottish Rite Treasure Chamber (15th degree) that has coin highlights illustrating the addition of white flake to lemon chrome.

This example from the Winona Scottish Rite Treasure scene shows the use of lemon chrome straight as the final highlight.

The third example depicts the use of orange chrome with the addition of both Dutch Pink and Lemon as a highlight.

To jog your memory, here are the colors that we are talking about:

1.) Lemon Chrome (my dry pigment, ca. 1980s and paste from Cobalt Studio):

2.) Orange Chrome (my dry pigment, ca. 1980s)

3.) Dutch Pink (dry, ca. 1980s)

The one color that is not mentioned is what I have come to know as Chrome Yellow and is frequently utilized in treasure scenes post-1920s. Prior to this time, the mid tone and highlights mainly derive from a lemon yellow that is warmed with an orange or dutch pink. Chrome yellow was available in light, medium, or dark. It is very different from the lemon chrome version, which is similar to a primrose yellow (where there is a lighter value and cool hue)

This is from my stock (medium chrome yellow, ca. 1980s)

Painting Arms and Hands

“For these, the variety of tints is less, though their volume is greater than in the palette of the face. The management is much the same; it demands only greater boldness in the execution and, in general, a somewhat heavier impaste of color, but not to excess. The local color of the arms and hands as well as the breast should be in harmony with that of the head, so that a brunette should not have those of a blond, nor a blond those of a brunette.”

From Frank Atkinson “Scene Painting and Bulletin Art” (1916, page 58)

For a little humor this morning: Here are some examples that stress the importance of figure drawing or the scenic artist. Pain cannot fix poor drawing or anatomy that is not in scale with the rest of the figure. One more example of why I say, “Just because it’s old, doesn’t mean it’s perfect.”

wsrt-2014-day-3-vision-with-justice-detail-2

Values

“Of supreme importance in painting is the true understanding of values. Color is at all times, comparative, and values cannot be determined in any way by comparison.

If we takes white and add a pinch , we produce gray, which compared with the white is a value. Add to this value a pinch of black as before, which will produce a trifle lower than tint, and we have what is termed a second value. This value, with a pinch of black added, will produce a trifle deeper gray; and we can proceed this until we reach deep, or low, gray, and lastly black itself. Now if we lay the values thus proceeding in small planes close to each other, with their edges touching, we can lightly soften these edges with a dry badger blender without interfering with the individual purity of each value and thus produce an agreeable gradation of values ranging from black to light.

With these values set upon the palette, we could render a drawing in black and white which would be suitable for reproduction in a magazine or book illustration and whose proper name would be monotone.”

Excerpt from Frank Atkinson’s “Scene Painting and Bulletin Art” (1916, page 11).

Below are two value scales and an image from the Scenery Collection database (https://umedia.lib.umn.edu/scenicsearch). The online database has both pencil sketches and monochromatic paintings.

From a freelance standpoint, I frequently use value to show clients a composition with atmosphere while not distracting them with color. Often clients will react to color before the actual subject matter and composition. In my opinion, it is also essential in the artistic process to truly prepare the painter for the final color painting.

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pencil-sketch-for-chaos

Painting Convertible Scenery – Spattering Scenery

Excerpt from “Scenery, a Manual of Scene Design” by Harold Helvenston (1931, page 58)

“In painting flats or units that are to be used in different scenes, under different colored lights, it is the common custom to paint a ground tone of neutral or almost neutral gray, either warm or cold in hue, and upon this spatter three or four or any number of different colors according to a definitely preconceived color scheme. The spattering colors may be primary colors of light or pigment, secondary colors of either, or any other chromatic system pleasing or displeasing to the artist. The value of these colors should be the same if there is not to be a predominance of any one color. This however, is arbitrary.

This technique results in a very flexible surface for lighting, and when properly combined with different hues and intensities of light it is capable of creating many imaginative and pleasing effects. If any one light hue is used alone on scenery it has a tendency to bring out that particular hue in the setting. If two colored lights are combined, the result will reflect its corresponding combination in pigment. Thus a red light upon a scene that has been spattered with red will produce a red glow to the audience; a combination of red and blue will bring out the red and blue qualities of the setting or their chromatic result, which is magenta.”

Below are two scenes from the Scenery Collection Database at the University of Minnesota.

And here is an example of spatter on full-scale scenery for the Quincy, Illinois Scottish Rite Theatre (Secret Vault scene).

Sizing with Whiting in the 1930s

The following excerpt is from “Scenery, a Manual of Scene Design” by Harold Helvenston (1931, page 55)

“Sizing is made by putting into a large bucket about three-quarters of a bucket of dry whiting, allowing water to flow easily into the bucket while a stirring rod or stick is used vigorously to dissolve the lumps and make an evenly consistent paste. Three or four small cups of glue are then added to this mixture for binding purposes and enough water is added to insure the proper consistency for the easy use of the brush, the amount of glue is variable and is usually determined by each individual painter in the preparation of sizing…if there is too little glue the paint will crack and if there is too much the sizing will stretch the canvas or cloth too tightly. The whiting serves to fill the pores of the fabric and the glue acts as a binder to stretch it tightly on the frame.”

Cennino d’Andrea Cennini’s Size

Below is an excerpt from “The Craftsman’s Handbook” – D. V. Thompson’s English translation of “Il Libro dell’Arte,” an intriguing guide to methods of painting written in the 15th century Florence. Page 68.

“A size which is good for tempering blues and other colors. Chapter CXI.

And there is a size which is made from the scrapings of goat or sheep parchment. Boil them with clear (or light-colored) water until it is reduced to a third. Know that it is a very clear size, which looks like crystal. It is good for tempering dark blues. And apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently, and it will re-temper the colors, and reinforce them, so that you may varnish them at will, if they are on panel; and blues on a wall the same way. And it would be good for tempering gessos too; but it is lean in character, and it ought to be rather fat for any gesso which has to take gilding.”

What I find interesting with this is addressing the idea of colors dusting, or not being stable enough for a top coat to varnish. In other words, the unstable colors would smear onto the rest of a composition. This is similar to my process during scenery restoration. The dusting pigment needs to be “re-tempered.” Cennini writes, “apply a coat of this size in any place were you have happened to lay in colors which were not tempered sufficiently.” I spray a solution of size to stabilize the colors on the backdrop. The glue attaches loose pigment back to the surface of the fabric. It is crucial that you get the perfect strength, however, or it can make the surface shine and brittle.

Here is an example of pigment dusting…I apologize about the photo quality.

And to end with the following chapter in “The Craftsman’s Handbook” that made me grin….titled: “To make a glue out of lime and cheese. Chapter CXII”

“There is a glue used by workers in wood; this is made of cheese. After putting it to soak in water, work it over with a little quicklime using a ittle board with both hands. Put it between the boards; it joins them and fastens them together well. And let this suffice you for the making of various kinds of glue.”

Highlights and Shadows: Shadow Lines

“Shadows are those painted lines imitating the shadow that would be cast if the painted projection were real. In a stage setting, as in an actual room, light comes from various sources, but for the purposes of painting we must decide how and where our light comes to strike the walls of the setting. A good general rule is that light comes always from the left. Comes from the left, let us say, and changes at the six foot or eye level. That is, from six feet high light will be painted as traveling up. Below six feet, light comes down. And light is always painted coming down from the top of any exterior setting – for sunlight does the same.”

Excerpt from “Painting Scenery, a ‘handy book’ for amateur producers” (Leslie Allan Jones, 1935, page 81)

Everyone always has their own special mixture for a shadow wash and often scenery can be dated by the coloration of shadows. I have noticed over the years that a few combinations worked best for me during contemporary paint applications and historical replicas. For premixed scene paints used on contemporary backdrops, the master combination was Van Dyke Brown, Burnt Sienna, and Ultramarine Blue (with the small dab of Purple added for depth). It provided the necessary coolness with a touch of warmth for additional depth. Additionally, it would read under various lighting conditions.

Dry Pigment painting for the pre-1914 stage painting era often necessitated the mixing French Mineral Orange, Ultramarine Blue, and Van Dyke Brown (with a small dab of Burnt Sienna added to the mix – dependent upon atmosphere). This gave a rich shadow wash that worked with all painted compositions and backgrounds. After 1915 and well into the 1920s, there seems to be a predominance of blue coloration for the shadows washes. These blue shadows later become straight Ultramarine blue and pick up a more graphic quality. By the mid-twentieth-century, there is more of a dead shadow wash. Color washes without any sense of depth hat I primarily attribute to wither specific design direction or an unfamiliarity with the technical skills of the scenic art world; specifically designers that do not come from a painting tradition.

Thinned out Van Dyke or (GOD FORBID) black – made the shadow areas flat and lifeless. These two solo colors sucked all of the life from the composition and contributed nothing to the atmosphere. Same with straight purple, dark green, or navy blue. I am NOT kidding about seeing people use green washes for shadow in ordinary compositions! It seldom works well.

Below are three painting details created in the Toomey & Volland Studio (St. Louis, MO) created for the 1914 Scottish Rite theatre in Quincy, Illinois.

5th degree Hiram Tomb

4th Degree Interior

15th degree Treasure Chamber

Highlights and Shadows: An Explanation

“Speaking of highlights and shadows, it is first necessary to have clearly in mind what these two terms mean. Placing a lamp on a table against a wall which has baseboard and cornice moulding will show us in a minute. Stepping back from the lighted lamp, notice the tope edge of the baseboard. See how the raised or jutting edge of the board catches the light pouring down from the lamp? From the cornice lighted in the up glow we can also see the flash of light catching the raised edges.

Highlights are the attempt to catch these lights on scenery, and thus trick the eye into believing that these painted lines are actually raised edges.

Shadows are those painted lines imitating the shadow that would be cast if the painted projection were real.”

Excerpt from “Painting Scenery, a ‘handy book’ for amateur producers” (Leslie Ann Jones, 1935, page 80-81)

The images below are from the Scottish Rite Cathedral scene in Pasadena, California (1900)

Lights and Shadows: Lining

“High lights and shadows are those painted lines in scenery hat give the effect of thickness and perspective. Well done, they do just that, but ill done, they merely confuse and make the setting messy. Unless you have an eye for color and have learned to line, better by far to forget the high lights and shadows on your set.

For lining, practice makes perfect. You need some lining brushes – a special scenic brush with long bristles and handles – and a straight edge. Hold the straight edge in your left hand in such a manner that the top edge of the stick is unobstructed by your fingers, to allow for free passage of the brush. Lining is a movement of the whole arm, from shoulder to wrist. The brush is held lightly between thumb and forefinger on the right hand. The bristles rest on the top of the straight edge which must be held at a slight angle from the scenery, so that the brush doesn’t not blot the color from the edge of the stick. The brush is held at right angles to the work, and the trick is to keep that angle at the finish of the “run” or the stroke. Draw the brush smoothly from left to right, and if your lining is properly thinned, a smooth even line will result. It is hard to keep from pressing the brush, thus making the line uneven, but with a little practice, and even line will be drawn.”

Excerpt from “Painting Scenery, a ‘handy book’ for amateur producers” (Leslie Allan Jones, 1935, page 80)

Attached are painting details from the Pasadena Scottish Rite and Winona Scottish Rite that depict lining. Both collections were produced by Sosman & Landis Studios.

Glazing

“Glazing is very much resorted to in scene painting and can always by employed in an agreeable effect…for glazing purposes, a little strong size must be added to the working size, and the deeper and stronger the glaze is desired, the stronger the glaze must be. It must be not strong enough, however, to impart to your color the shiny or crystallized appearance, which is to be avoided as you would a pest…The best of all size for glazing is glue size, and can be improved by adding a little molasses, which renders it more adaptable for a dark, strong glaze, and, to a certain extent, prevents it from shining when dry.”

Excerpt from Frank Atkinson’s “Scene Painting and Bulletin Art” (1916, page 169)