Canada – Drypigment.net

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Painting Process Samples

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

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

Brick sample for workshop.

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

Shadow and highlight brushes.

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

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

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

To be continued…

Travels of a Scenic Artist and Scholar: CITT/ICTS Whitehorse, YT, Canada

Wendy Waszut-Barrett, President of Historic Stage Services, and Jenny Knott, Rosco Project Manager, taught another painting class as part of the annual conference and trade show for CITT/ICTS Rendez-Vous 2019. In the past, we have taught historic and contemporary techniques for drapery painting and foliage. This year, we were inspired by Klondike history, teaching “All That Glitters is Not Gold: Painting the Magic.” We simultaneously explored historic gold-painting techniques and metallic finishes for decorative objects.

https://www.citt.org/annual_conference.html

Our studio was the old Whitehorse Fire Hall, now a performance space. Located along the fast-flowing Yukon River, for short breaks, we were able to step outside and enjoy the view of old pilings that once supported the piers where riverboats stopped to deliver supplies.

The Old Fire Hall where the CITT/ICTS scene painting class took place.

The Yukon River near the old fire hall in Whitehorse.

Walking path along the Yukon River in Whitehorse.

After arriving in town and prepping for the workshop, Jenny and I were able to rejuvenate our batteries. Prior to my arrival in town, Jenny visited a local glass studio and bumped into the owner. An invitation was extended to Jenny; traveling north to kayak at her nearby cabin. I was fortunate to be a lucky recipient of the kindness, and the two of us paddled around a lake during the evening of my first full day in the Yukon.

Our visit to the rustic cabin, north of Whitehorse.

Wendy Waszut-Barrett kayaking in the Yukon.

A view on our trip back from the cabin in the Yukon.

There is something to be said about a gesture of kindness from a stranger, especially one at this magnitude. It immediately shapes your perception of the area and the people. The friendship and kindness extended by the local residents of Whitehorse is quite astounding, and humbling. The experience of kayaking on a serene lake, exploring the shoreline and hearing the loons was magical. I have not been so relaxed in years, with no solid plan or agenda. The beautiful log cabin had neither running water nor electricity, but there were welcome instructions, a gorgeous view, and the much-needed serenity. If ever I needed validation of being on the right track, doing the right thing at the right time, this was it.

Jenny and I ended up scheduling a “hot date” to create glass at Lumel Studios, our host’s company. We spent an hour, shaping and blowing glass in the shapes of paper weights, balls and bowls. What a transformative experience!

Wendy Waszut-Barrett making glass at Lumel Studio in Whitehorse.

Jenny Knott blowing glass at Lumel Studios in Whitehorse.

I have never stopped being a student. I love learning and working with my hands. Whether it is tuck-pointing, landscaping, gardening, embroidery, or other crafts, there is an energy that emerges when completing the project. This is intensified when learning with phenomenal instructors. The hour spent at Lumel Studios was a golden moment, that is now stored in my treasure box of memories.

Lumel Studios in Whitehorse: https://www.lumelstudios.com/

I cannot stress enough how wonderful CITT/ICTS is for my spirit. Kindred spirits and positive personalities that celebrate the moment while planning for the future. It is always an impressive and inspirational event.

To be continued…

Blog Author, Wendy Waszut-Barrett, is Taking a Break Until September 2019

I am taking a break from posting photographs of historic scenery until early September, as I am out of the country again. I am teaching a scene painting class with Jenny Knott of Rosco for CITT/ICTS (Canadian Institute of Theatre Technology).

This year, the national conference is in Whitehorse, a small city of 30,000 citizens in the Yukon.

From here, I venture south to Canmore and Banff, and then west to the Fargo-Moorhead area for the Western Minnesota Steam Threshers Reunion. To keep me busy on my travels, I am transcribing the last four handwritten diaries of scenic artist Thomas G. Moses (1856-1934). See you in September with a new backdrop theme!

Until then enjoy today’s my post to FB Page Dry Pigment, where I daily post images and painted details of historic scenery. Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923. These posts will also resume in September.

Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.

Backside of backdrop. Scenery by Toomey & Volland for the Scottish Rite in St.Louis, Missouri, 1923.

Travels of a Scenic Artist and Scholar: CITT, August 18, 2018

We started the day fairly early. Rick Boychuk and I walked to the conference center to see Peter McKinnon’s session about the creation of plays being inspired by theatre architecture. After a lively discussion, we took a quick trip over to Niagara Falls. I had never visited this famed site. There is nothing quite like looking at a composition that I have sketched from photographs! The experience exceeded all of my expectations.

A view of Niagara Falls from the Canadian side.

The famed Horseshoe Falls viewed from the Canadian side of the border.

By the evening, we attended the final happy hour reception. A group of us then walked over to have dinner at the Blue Mermaid. We all splurged and enjoyed a fabulous meal at this fine dining establishment. The biggest surprise of the day for me was the piano player. At 83, he was still working in the basement bar and had quite a following, What a perfect close our wonderful evening.

Dinner at the Blue Mermaid with Richard Nix and Rick Boychuk.

Dinner at the Blue Mermaid with Eric Mongerson and Mary Dupuis

However, I am exhausted and ready to go home.

To be continued…

Travels of a Scenic Artist and Scholar: CITT, August 17, 2018

Rick Boychuk and I ventured with a group to the Hamilton Scottish Rite in the morning. About 45 minutes away from St. Catharine, the group on the bus survived navigating some unexpected obstacles on the way to the theater. A television series was filming outside of the Scottish Rite, so it caused a bit of a delay at first.

King Solomon’s private apartments at the Hamilton Scottish Rite. Scenery produced by Toomey & Volland in 1921.

King Cyrus’ palace at the Hamilton Scottish Rite. Scenery produced by Toomey & Volland in 1921.

The Masonic scenery collection was produced by Toomey & Volland of St. Louis, Missouri, delivered to Canada in 1921. Like many drops, their were charcoal notations that listed the degree, description of the composition and delivery location. The delivery for this scenery did not note St. Catharine, just “Canada!” There were 23 scenes spread out over 84 lines with the drops measuring 24’ high by 37’-6” wide. Although the theater was hot an humid, volunteers jumped at the opportunity to operate the lines. It is always fun to see the delight of my colleagues experiencing Masonic stages for the first time, and yesterday was no exception! As a few of the scene painting students were also able to attend, it was especially satisfying to watch them see what we discussed up close. Every collection is unique and has some delightful characteristic. Unfortunately, this particular collection has had extensive repairs completed over the years, not all of which will contribute the the overall longevity of the collection.

We returned to the Meridian event center by noon for the membership luncheon and then enjoyed a variety of educational sessions in the afternoon. Rick presented about our latest discoveries in the world of stage machinery, including the development of two program documents that we are currently developing at Historic Stage Services. I also attended John Madill’s session “BOO! Part 3. Smoke & Mirrors: The Importance of Horror in the Development of Physical Staging in Modern Theatre.” This was a continuation for me as we chatted extensively about “Tippy” Cooke and vampire roles the day before during the expo. John would later receive the Dieter Penzhorn Memorial Award at the evening banquet. John and I were able to visit quite extensively this year as he took both the scene painting class and he has been following my blog. Another of the students from the CITT scene painting class at CITT also received an award; Esther Van Eek received the education achievement award. She is absolutely amazing!

Overall, it was a wonderful and informative day.

2018 CITT/ICTS Dieter Penzhorn Memorial Award recipient, John Madill

I simply learned more than I have the energy to write about this morning; I am sure a surprise to some!

To be continued…

Travels of a Scenic Artist and Scholar: CITT, August 16, 2018

Jenny Knott and I completed the second day of our scene painting class at CITT. This was one of the most enjoyable classes that I have ever taught. It broke from my standard teaching protocol in a few ways; the class solely focused on techniques without replicating any particular composition. It provided a chance for the students to focus on painting techniques and contrast without getting lost in the details of the composition. It was wonderful to work with such enthusiastic and talented individuals. After final review, went across the street to the Meridian Center for the CITT picnic lunch outside.

The stage expo was in the afternoon and ran from 1:30PM to 5:30PM. For this part of the conference, I was stationed at the training and learning centre. My table was “Looking at the Past.” I had brought a variety of trinkets and historical materials that I had gathered during restoration projects over the years. The afternoon flew by as I chatted with a variety of conference attendees, including my table neighbor, Mary Dupuis. Mary’s table was “Repair Your Draperies Without Using Gaffer’s Tape.” The two of us are planning a fun expo project for next year’s conference for the Expo learning lab.

Part of the CITT Expo experience is also about collecting Bingo cards; they are later used that evening. We gathered at Kulley’s bar to enjoy dinner, swag bingo and the CITT auction. It is a hysterical event as the evening is a combination of stage jokes, social chatter, and juggling as many bingo cards as possible at once.

To be continued…

Travels of a Scenic Artist and Scholar: CITT August 15, 2018

I am taking a brief break from my tales concerning the life and times of Thomas G. Moses to focus on CITT. This year
CITT is in St. Catharine’s, Ontario; this is the Canadian equivalent of USITT (United Institute of Theatre Technology). My company, Historic Stage Services LLC, was co-sponsoring a scene painting class with Rosco paint to explore foliage painting techniques. The class consisted of a diverse group of theatre practitioners interested in painting techniques. The class was scheduled from 9AM-5PM on August 15 and 9AM-12PM.

We focused on artistic process, compositional coloration, contrast and brush stroke. As part of the class, I worked up a quick composition in steps on a 4’ x 6’ flat. My sample was to explain techniques and coloration. The day was not about replicating any particular composition, but examining and practicing various techniques, as each student worked up their own project. We try to share a variety of tools and techniques that may be helpful for future projects.

Wendy Waszut-Barrett leading the scene painting class at CITT. Historic Stage Services LLC and Rosco co-sponsored the 2018 event.

My foliage sample to share various painting techniques and coloration for woodland scenes at CITT 2018.

The group decided to take the last ninety minutes of class to venture over to the Shaw Festival Prop and Scenery shop, as three staff members were taking the class. It was delightful to learn about the process, products and tools used by the artisans in each shop. There is nothing quite like being part of a group who all gasp as a tray of textured paint roller were brought out! After, the tour, some of us stopped by the No. 99 Wayne Gretzky Estates Distillery and Winery on our way back to the reception.

Paint sink in the Shaw Festival scene shop

The rest of our week is action packed as I finish conducting the scene painting class, share historical scenery artifacts as part of the learning lab, and visit the Hamilton Scottish Rite.

To be continued…