The final day of the Distemper Painting Workshop focused on drapery painting and value.
Title photo for Drapery Presentation. Tyne Theatre & Opera House, 2024.
The goals for the day were maintaining a consistency of color and contrasting value. As previously explained, a contrast of value supports scenic illusion for the stage (large-scale paintings that are viewed from a distance). Drapery painting is the perfect example to discuss painting for a distance. Typically, the goal of this exercise is to use a thicker mixture of paint, focus on value and aim for a consistency of color.
For years, I have observed that many scenic artists take pains to carefully blend each fold in a drapery composition. Unfortunately, this ultimately destroys the painted illusion from a distance; the subject loses definition. Careful blending only works well when examining a painting from close-up, such as in Trompe l’œil murals in residential and commercial settings. The smallest details and smooth transitions that make Trompe l’œil a success are not visible on stage. Painted illusion for the stage necessitates a great contrast of both hue and value. Again, we want to make the audience eyes work; therefore, making the painted illusion appear more realist from afar. Scenic art is more akin to fresco painting on ceilings; they are also large-scale artworks intended to be viewed from a distance. Throughout my travels, I document the treatment of fabric on figures in ceiling murals. Most recently, I visited the Painted Hall in London. Here is an example of a drapery, showing a sharp division of value and alternation of warm and cool colors (see yesterday’s post for more detail color characteristics).
Detail from mural at the Painted Hall, London.
There is a distinct division of value; a sharp contrast between dark, medium, and light colors. This is what accentuate the folds of the fabric. To illustrate my point about the over-blending of drapery folds, I share two examples.
The scenic artist’s careful blending does not suggest a lack of skill, but a lack of understanding when painting for a distance. Drapery folds really need to be accentuated to remain visible from far away.
Here is how I decipher drapery painting; it is an approach that is based on my documenting thousands of extant backdrops over the years.
Again, it is the rule of three for value – dark, medium, and light. From a distance, the darkest value suggests the color, a mid-tone identifies the shape, and a highlight identifies the fabric type.
For my presentation, we looked at a variety of drapery examples where I identified the three values, again and again.
This is not meant to suggest that only three colors can be used, but it is the basic approach. In the end, some folds are accentuated with a final shadow wash, and some highlights get a “flash” (hot twinkle).
Highlights are extremely important in the end. If they are indecisive (“smudgy” and “worm-like”), it is difficult to determine either the type of fabric, or the weight of the folds.
Here are some photographs, capturing a few moments of the drapery painting project. A special shout to Mike Hume of Historic Theatre Photos for his willingness to document process.
Drapery Painting Projects at the Tyne Theatre & Opera House, August 1, 2024. Photograph by Mike Hume.Drapery Painting Projects at the Tyne Theatre & Opera House, August 1, 2024. Photograph by Mike Hume.Caroline Shelley adding shadows. Photograph by Mike Hume.Erin Heming adding highlights. Photograph by Mike Hume.Michael O’Reilly laying in drapery folds. Photograph by Mike Hume.Laura O’Connell of Birmingham Rep. laying in drapery folds. Photograph by Mike Hume.Completed project by Claire Thompson of Nottingham Playhouse.Claire Thompson holding up project to show transparent effect.Completed projects by Laura O’Connell of Birmingham Rep.Laura O’Connell and Paul Westcombe showing transparent nature of the project.
Painting waves help students become familiar with distemper paint (dry pigment paste and diluted hide glue) process. Seascapes they are very forgiving, and allow a student to focus on viscosity of the paint, blending of colors, and economy of brushstroke. This is also one of those projects where the first step (basing in the water) can be slapped on, or overworked, without later consequences.
Seascape projects. Distemper Paint Workshop at the Tyne Theatre & Opera House, 31 July 2024.
For the second day of distemper painting workshop, the students selected one of five compositions. I am a firm believer in allowing students to select a subject that speaks to them. I hate forcing any class to paint the same picture. My rationale is that learning should never be about competition. When we all paint the same scene, a “best” painter will immediately emerge, and often steal inspiration from those around them/her/him. Most importantly, art should remain an individual journey. I believe that we learn something new, about both the painting process and ourselves, at each step of the process. Distemper painting classes should fuel a students enthusiasm for future projects.
On the first day of the workshop, we analyzed examples of distemper seascape – both historic and contemporary. I explained that there are three basic steps to painting water.
The first step is alternating warm and cool colors for the base coat; it should never be a solid color. This should depict a significant contrast in color and value. The second step is identifying water movement (waves) with a shadow glaze, and the third step is defining each wave with highlights, lowlights, and shadows. I used three process shots to show what I meant from my process for painting the wave rows for the Tyne Theatre & Opera House.
Process images showing the paint of water rows for the Tyne Theatre & Opera House.
I explained that at the end of the day, the goal was not to simply copy the source, but to understand the shapes and movement in the source.
I typically recommend mixing the distemper paint for this step as thin as possible; stretching the colors so that it almost becomes an exercise in dye work.
Standard goal for the distemper seascape project.
This is often the perfect project to explore translucent effects. However, the transparency of the workshop fabric prohibited this aspect, and we went for creating a sea scrim.
Emily Hackett (left) and Claire Thompson (right), of Nottingham Playhouse, showing transparent nature of workshop fabric.Seascape project by Michael O’Reilly, fabric detail (left)
For both the seascape project and the drapery project, I provided a color source and a grayscale version (to help identify value). As I was taught (by Prof. Emeritus Lance Brockman at the University of Minnesota), it is more important to match the value in a composition, than color. This frees the student to focus on technique and not copywork. I also gave the students an option to solely use the grayscale version and create their own color palette.
Seascape drop detail. Original distemper art by Wendy Waszut-Barrett, 2023.
This option meant that everyone could chose their own path towards the finish line. Here were the three steps employed by the class the second day.
1. Alternate warm and cool colors for the base – keep a strong contrast so that it is easier to define the waves.
Scenic artist Paul Westcombe alternating warm and cool for a base. Note how the variations between wet and dry paint.
2. Identify waves – using a deep shadow wash, start to draw the shape of cresting water.
Emily Hackett, Claire Thompson, and Erin Fleming, of the Nottingham Playhouse, identifying waves with shadow washes.
3. Define the waves with highlights, lowlights, and deeper shadows – keep the movement organic without creating a pattern.
Megumi, scenic art instructor at the Royal Conservatoire Scotland, defining the waves with highlights, lowlights and shadows.
Although it is human nature to make order out of chaos – to organize elements– creating patterns that are equidistant destroys painted illusion on stage. When creating scenic art landscapes, vary color and placement; this is paramount in the process.
Here are a few photos from the workshop on July 31, 2024.
Seascape Projects. Distemper Painting Workshop at the Tyne Theatre & Opera House, 2024.Constanza Dessain adding highlights to the waves.Caroline Shelley applying shadow washes to define waves and water movement.My demo-space where I explained application techniques.Yvonne Dick finishing the base coat.Emily Hackett drying a final area.Stepping back to see how well the compositions reads from the audience!Some of the completed Projects at the end of Day 2!
I was asked to teach a three-day distemper scene painting class at the Tyne Theatre & Opera House last fall. The workshop would coincide with my delivering new ground rows to the theatre. It was scheduled immediately before the 19th-century Scenic Art conference on August 2, 2024.
Flyers advertised:
The Tyne Theatre & Opera House are offering a 3-day distemper painting workshop with scenic painter Wendy Waszut-Barrett. The course will take place in Newcastle from Tuesday 30 July – Thursday 1 August 2024. Over 3days participants will learn historic painting techniques and create 2 paintings using distemper. All equipment including painting frames, brushes, pigments, gloves, etc. will be provided. A maximum of 12 places are available.
Day One: Introduction to Distemper Painting/Distemper Paint Preparation/ Colour Theory/English and Continental Methods
Day Two: Seascape Project
Day Three: Drapery Project
I have continued to fine-tune both the timeline and projects for my distemper painting classes; it has taken me years to come up with a framework for this type of workshop. First and foremost, it is extremely important to devote one entire day to color theory and experiencing the nuances of distemper paint.
I always try to start with a presentation about color; selection, mixing and application. Revisiting color theory as a group places all the students on the same page. It levels the playing field before trying to replicate any artwork, or understand a new application technique.
Title slide for my presentation on the first day at the Tyne Theatre & Opera House, 2024.
My rationale is that when you discuss color as a group, it is much easier to understand the various characteristics.
I tweak my color theory presentation for each class. It helps me grow as an instructor, allowing me revisit my own thoughts each time. I was extremely fortunate to have such a wonderful group of students and one stellar assistant (pictured below)!
Distemper Painting Workshop Students (from left to right): Laura O’Connell, Grit Eckert (assistant), Caroline Shelley, Erin Fleming, Claire Thompson, Emily Hackett, Michael O’Reilly, Megumi, Paul Westcombe, Yvonne Dick, and Constanza Dessain.
As promised to the class, here is the color theory section of my presentation.
One of the easiest ways to teach color theory for painted illusion on stage is using distemper paint. Pure color (pigment paste) is combined with diluted hide glue (size).
The ingredients for distemper paint: dry pigment and hide glue
Mixed on the scenic artist’s palette, it was immediately applied to the fabric. The constant mixing of strategic color combinations worked with various lighting systems to promote special effects on stage. This is why so most extant drops could transition from day-to-night scenes.
It is VERY important to not get caught up in the name of any one color, as it is the characteristic that’s important – warm or cool.
The easiest way to show color characteristics is with yellow. On the left is a “warm” yellow, and on the right is a “cool” yellow. It is very important to know the various characteristics of the colors that you are planning to mix.
Warm yellow (left) and cool yellow (right)
The characteristic greatly affects the result in a color wheel or when mixing neutrals.
Here is an example of a color wheel with primary and secondary colors clearly marked on the ring. However, it will shift if a warm or cool yellow is combined with a warm or cool red to produce an orange. This ultimately affects the creation of neutrals.
For example, green will shift if blue is combined with a warm yellow or cool yellow.
Also, combining blue with orange produces wonderful variations for shadows that reflect both warm and cool lights.
We are familiar with spattering a drop to make sure that it will glow on stage, as some contemporary colors look “dead” under certain lighting conditions. That is never the case with distemper painting, as the actual painting process ensures that every color will reflect light.
For example, a blue sky, always has a little warmth (orange/red/burnt sienna) added to the color, and this allows a sky to transition from a beautiful sunrise to midday to sunset. The same can be said for mixing shadow colors and washes, whether applied as a transparent glaze or an opaque wash.
This (orange/blue) color combination appeared on historic scenery in North American, the UK, and Europe. Here is an example from the Stadsschouwburg (Municipal Theatre), Kortrijk, Belgium.
Matching colors to replicate a composition at the Stadsschouwburg, Kortrijk, Belgium.
Working with a minimal color palette in the beginning works best for understanding distemper paint. I love to show Tobias Mayer’s color triangle from 1758. It looks at a unique combination of primaries (blue, red, and yellow). In the end, it is important to select four colors (blue, red, yellow, and dark) when exploring strategic color combinations for the stage.
Once strategic combinations are understood, we move on to the application and an economy of brush stroke.
Here is an example of a floral detail from a palatial courtyard scene.
There is a basic contrast of value that must be used for painted illusion on stage. This is crucial when painting for a distance. The audience’s eye really needs to work.
When a subject is finely painted, with careful blending, like in the art of trompe l’oeil, it does not read well from a distance. I will later go into depth about this when we get to the drapery painting project.
The flower below shows a selection of dark, medium, and light colors without any careful blending. There is a distinct contrast of color and value.
Each of these values also alternates between warm and cool. The dark-medium-light values alternate cool-warm-cool or warm-cool-warm.
Even when the same value is used (pictured below), there is an alternation of warm and cool. The strategic color placement for the foliage allows the object to shift under stage lights and appear more realistic from a distance. It reads better from the audience and does not appear flat.
Our first exercise explored both color and painting process.
Here are a few examples of my own color swatches. Before any distemper painting process, I familiarize myself with the colors, even if I have used them before. This often includes a “draw-down” so that I also know how far a color will stretch.
I divided the first project into four quadrants. The intent was for the students experiment with color and viscosity of the distemper palette.
The first step helps facilitate a basic understanding of mixing pigment paste and size. Creating basic color swatches helps us understand not only the color’s characteristic, but also how far the color will extend when thinned out.
Swatches that I keep on the wall in my studio.
I believe that everyone needs a moment to experiment with a new type of paint – where the stakes are very low. It is too much to expect students to immediately replicate a stage scene with distemper paint; too much new information actually creates an obstacle to learning. This is the moment to “play” without any self-judgement.
The second quadrant of the first project was to test the opacity and value of each color. It was an opportunity to also experiment with neutrals that would be used on the upcoming projects. I firmly believe that if you know the range of your color palette (what colors can be achieved), you are one step ahead of the game.
Typically, the next two quadrants of the first project would be two color wheels. However, for this class we jumped into base coats – practicing for the next two projects.
In the end, this proved invaluable, as each student had a chance to work with color combinations and application techniques that would be used in both their seascape and drapery projects.
Constanza Dessain testing colors on the first day of the workshop.
We learned a lot that first day while overcoming a few obstacles. The stage lighting proved to be a bit of a challenge, as did the fabric weight.
Starting to experiment with distemper paint on the first day.
I will start with the fabric and pigments.
Although not quite what I expected, the workshop fabric was the same texture and weight that I have encountered with dozens of historic drops, c. 1890-1920.
It was a cross between a theatrical gauze and very thin cotton sheeting. The silver lining was that each composition could function as a transparency – another great learning opportunity!
Here are the slides that I added in my presentation to address this particular aspect/challenge of the projects:
I first explained the similarity in materials that I had documented throughout my career. Mill stamps are a delight to find on an extant scene. The fabric delivered for the workshop was almost identical to that used by J. M. Deeds Scenic Studio in Spokane, Washington, in 1915.
Fine sheeting (c. 1914) produced by Delta Mills in North America was very similar to the fabric purchased for the workshop.
As is the case with most painted scenery, when lit from the front, it all looks opaque. In many cases, it even looks like the painting is on the thickest canvas available. And here is where I want to take a moment and comment on industry standards and variables.
We take it for granted that the scenery fabrics in current use have remained mostly unchanged over the years. That is simply not the case; nor was it the case a century ago. Materials are always dependent upon location, supply, demand, budgetary parameters, and world events.
I agree that there was some consistency in larger metropolitan areas. This was primarily due to client expectations, suppliers and distributers. However, not everyone delivered scenery to prominent New York or London venues.
There was a whole other world where skilled scenic artists in distant locals used a variety of materials. In more rural settings, a wide range of cloth was employed for theatrical scenery, yet the inferior fabric did not detract from the painted illusion.
Here is a detail of extremely thin fabric beneath a distemper painting from the scenic studio of J. M. Deeds in Spokane, Washington, c. 1915.
Delta Fine sheeting beneath a layer of distemper paint. Painting by J. M. Deeds Scenic Studio, Spokane, Washington, USA.
This type of fabric was popular for its versatility under various lighting conditions. For example, it was popular for the revelation of a hidden artifact. The detail below shows a 1915 example of a transparency in the center of a treasure chamber scene at the Masonic Theatre in Grand Forks, North Dakota. This is a 1915 drop manufactured by Sosman & Landis Scenic Studio of Chicago, Illinois.
Fine sheeting (similar to theatrical gauze) used by Sosman & Landis for Masonic scenery in 1915.
Here is another early-20h-century example from a theatre in Quincy, Illinois. This was a 1912 transparent drop (same function as a contemporary scrim) manufactured by Toomey & Volland Scenic Studio of St. Louis, Missouri.
View from behind a transparent drop (left) and painted detail on the front (right). Masonic Theatre by Toomey & Volland Studio, Quincy, Illinois, c. 1912.
And lastly, here is a transparent drop that was produced by Becker Bros. Scenic Studio of Chicago in 1930 for the Scottish Rite Theatre in Moline, Illinois.
View of the auditorium from behind the transparent drop.Front of the same transparent drop painted at Becker Bros. Studio in Chicago, Illinois, for the Scottish Rite Theatre in Moline, Illinois, c. 1930.
Unlike contemporary scenic paint on shark tooth scrim, when holes are filled in the open-weave fabric, it does not destroy the scenic illusion on stage. One could argue that unless the majority of holes in a shark tooth scrim are filled, the entire scene will still successfully function as a transparency on stage.
Here is another view of the same drop from the wings.
Transparent drop produced by Becker Bros. Studio in 1930.
The scenic studios of Sosman & Landis, Toomey & Volland, and Becker Bros. were major theatrical suppliers in large metropolitan areas. In the end, the weight of the fabric was often concealed by the skill of the scenic artist. Using a less-expensive fabric also increased the overall profit margin for many studios. As we learned in the workshop, it paints up quite well.
To cook the rabbit skin glue on the stage, we used a double boiler on a hot pot, placed on a metal table. You can successfully use a variety of appliances that use indirect heat – this is just one method. I have often picked up crockpots to cook glue too.
A side note on selecting animal glue… I personally used a combination of hide glue and technical gelatin (high-clarity). In the past I worked with the chemist at Bjorn Industries . The company offers a variety of hide glue grades, ranging in strength and clarity. Their is also a quaint family-owned aspect to the company, with their products being delivered in a Ziplock bag.
Hide Glue that I use for distemper painting in the US.
For the Distemper painting workshop, we used the following HATO pigments:
Lemon Yellow, Chrome Yellow, Indian Yellow, Raw Sienna, True Orange Medium, True Red Light, Ultramarine Blue, Turquoise Blue, Crystal White.
I selected Indian Yellow for the workshop, as it was the closest to the orange that I use for distemper painting.
And two pigments from Mylands: Burnt Umber and Raw Umber.
The was an incredibly dark brown.
Everything went well, but I really missed my two standard colors: a cool red (one to counter the warm red) and a really dark brown (Van Dyke). Although black was available, I refuse to place that on my scenic art palette (unless it is for a sign painting project). That is a whole other discussion and has to do with stage light.
Fortunately, the Raw Umber was uncharacteristically dark, almost filling the Van Dyke gap. Despite this minor deficit, the projects did not suffer from a lack of color options.
I am also going to address pigment quality and availability. For me, even poor-quality dry pigments are better than pre-mixed scenic paints.
I also consider sustainability when planning a scenic art project. The distemper paint system is a relatively green process with very, very, very little waste. In its dry form, color and hide glue can be stored for decades. Dry pigment paste that dries on a palette, or in a pail, can also be reconstituted, again and again. The only waste is size water that has turned. However, the shelf life of size can be greatly extended if stored in glass, left uncovered, and refrigerated. It can easily keep for up to a month in proper conditions.
I’ll start with a note on the Flints website concerning their Dry Scenic Colors:
Flints have struggled to maintain a regular supply of good quality Dry Powder Pigments so we have now decided to stock this excellent range from Germany. Haussmann have been producing these fine pigments for many years, so we are very confident that we will be able to provide you with a consistent range of excellent quality scenic powder pigments with some really vibrant bright colours plus a good selection of earths. A hand painted colour chart is available for a nominal sum. Please note, the Raw and Burnt Umber pigments are now from an alternate supplier, as Haussmann are no longer able to supply them. We have elected to do this in order to ensure we can supply an adequate range.
It is wonderful that Flints carries dry colors, and there are many pros to using the distemper painting system. Here is a slide that I included in my presentation:
Also, if you are looking for a color that is not carried by a theatrical supplier, check out the fine art world.
This is not a finite list, and dry pigment is available from numerous art stores, including Dick Blick, Jackson’s, Jerry’s Artarama Art Supplies, Etsy, Archsupplies, and more. Dry pigment is far easier to purchase now, and more readily available, than thirty years ago.
Throughout the duration of the Distemper Painting Workshop, the stage lighting proved to be a challenge, in term of both temperature and direction. However, we were able to rearrange the frames and add some lighting booms to resolve some of the issues.
By the end of the first day, we recognized that two rows of projects created very poor lighting conditions in some areas.
The first configuration of project frames.
We opted to have a single row of frames, placed directly between two main light sources hanging above the stage. This provided a general wash that equally illuminated all of the projects. It also allowed students to view their projects from the auditorium.
The second configuration of project frames. This worked beautifully!
Additionally, we placed a sheet of black plastic between the frame projects, blocking light from the other side, as the fabric was so thin. This was Grit Eckert’s idea, as she was reminded of some scenic studios who used black behind the vertical frame when painting transparent scenes.
I want to take a moment to thank Grit for her amazing assistance throughout the entire workshop. She was there to document the process, as well as lending a helping hand whenever needed. It would not have been possible to run this class as smoothly as it went without her assistance.
Grit Eckert helping me cover the ground rows.
My next post will look at seascape projects, and why this type of exercise may be the best introduction to distemper painting.
Cobalt Studio in New York.The woods near Cobalt Studio.A tree near the entrance to Cobalt Studio.
I teach a specific class for Rachel Keebler at Cobalt
Studios in New York once a year. Over the course of three and a half days, I
lecture on historic scene painting, train students in handling dry pigment, and
explain painting techniques while students complete several dry pigment
projects.
The class goes far beyond replicating a few historic
compositions, with me offering suggestions along the way for a successful completion.
We look in depth at color characteristics, value placement, compositional layout
and brush stroke. In each case the individual
projects are tailored to each student, regardless of their skill level. I hate
having an entire class replicate the exact same piece, and try to give each
student as much power as possible to make it their own, or do a variation on a
theme. We all move in the same direction
so that students can reference each other as we progress. Gray-scale images in
addition to an original color source help when students opt for alternative
color schemes.
For this particular class, none of the students had
ever mixed dry pigment and size water (diluted hide glue) together for scenic
art. In itself, this is a challenge. The wet dry pigment colors on the palette
may not even remotely resemble their dry version is on the canvas. Also, many
of the colors contain a high dye content and can bleed through or interact
poorly with other colors. Part of each
class is to complete a color wheel, exploring the various color interactions,
reinforcing what we discuss.
This year we started the class with painting two water
compositions. By the end of the first day, we had explored glazing, opaque
washes, and the necessary value contrast to suggest water movement.
Starting water projects on day 1.Starting water projects on day 1 with dry pigment containers in the foreground.
The second day, we looked at painting techniques for glass
and metal, painting two contrasting projects.
Working on projects from days two and three.Working on projects from days two and three.
The third day we completed a shield that integrated all of
the painting techniques explored in the previous two days.
Nicole with her projects from days two and threeEmily with her projects from days two and three.Bethany with projects from days two and three.E
Our final half-day was a time for completion, reflection,
looking at other brush strokes required for other compositions and clean up. In
other qwords, if a student finished early by day four, I asked, “What do you
want to learn now?” In some cases it may
be foliage or draperies.
Finishing up on the final day of historical scene painting class.
This was a really good group of personalities. After a full day of painting and group meals, many students returned to the studio to work on their projects. It says a lot about the enthusiasm of the students. Overall, it was a delightful experience and I can’t wait to return next year.
Wendy Waszut-Barrett with her seven students at Cobalt Studios in White Lake, New York. The three day class focused in dry pigment painting and historical scene painting techniques.
Although a snow storm, rain and ice delayed my scheduled Sunday arrival at Cobalt Studio until the end of the day on Monday, I was able to work with the Cobalt students and out-of-town guests on Tuesday and Wednesday. Yesterday was only a half day, as my flight departed in the early evening.
Over the course of 2 1/2 days, the majority of students completed three dry pigment projects. Immediately upon my arrival Monday afternoon, we looked at a power point presentation on historical scene painting techniques. For the remaining hour of the day, I taught the students how to work with dry pigments and diluted hide glue. They experimented with various colors on test flats to get familiar with this artistic medium, producing a variety of rich color combinations. Dry pigment mixed with diluted hide glue (called size) is a lovely medium to work with, and very different from premixed paint that comes in cans.
Each student had the opportunity to work up a painting from light to dark, with a series of glazes (in the English style that I have been describing in this blog). They also painted a composition that went from dark to light, using more solid colors (European style that I have been describing in this blog). The replicated sections from historic backdrops that I have photographed over the years and historic designs from the University of Minnesota Performing Arts Archives.
For all projects, we worked on speed, layout, color and technique. Rachel requested that the focus of the class this year was rocks, both natural and carved. However, the students had a chance to work on a little foliage and gold ornament as time permitted. For the most part, each student was able to select there project with minimal guidance from me.
Each composition was created from a palette, where the colors were individually mixed up and immediately applied to the canvas. They did not mix individual colors in cans. This is a very economical way to paint, as nothing is wasted or left over at the end. I love not having to worry about disposing any leftover paint.
Below are the students with all of the projects that they completed from Tuesday morning until Thursday noon.
