Scenic Art Class – Drypigment.net

Travels of a Scenic Artist and Scholar. Cobalt Studios 2019

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 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.

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 three

Emily with her projects from days two and three.

Bethany with projects from days two and three.

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.

View of the countryside from the Cobalt house.

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 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…

Teaching Historical Scenic Art Techniques at Cobalt Studios in White Lake, New York

I am back in Minneapolis!

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.