A thrust stage floor painted for the production of Peter Pan for PCPA (the pacific conservatory of performing arts). First we did a three color scumble. Then we added wood texture with wood graining tools and paint mixed with a glaze. We painted on plank lines using lining sticks, added washes on top, and then used stencis created from a pounce machine to add designs. The last image was a reference elevation provided by the designer Jason Bolen.
A cut drop with opera netting. for the production of Peter Pan at PCPA. Design by Jason Bolen. Cartooned and painted by myself and four others.
After using a pounce machine to cut the stencil for this wallpaper I created a sample piece by scumbling two colors, cartooning the green shapes, and then hand painting in the pounced design overtop. This was the wallpaper used in the production of Peter Pan at PCPA. Design by Jason Bolen.
Trompe l'oeil. The last image is a reference photo.
This is the shop and warehouse where scenic work is done for Busch Gardens Tampa. Much of the work I did here was touch ups to clean up scenery that had been out in the weather or in storage. Here you can see a few pieces laying out that I did color matching for to fix imperfections.
Bloodied Props I painted for Howl O Scream at Busch Gardens Tampa. Fake blood was made with breakthrough sealant and food dye.. "Guts" were added to the "blood cage" at top left using Great Stuff, prop bones and organs screwed down to the wood surface. I painted the bottom platform to look like steel by doing a scumble of different greys. The cymbols and washboards were painted for the haunted house Bayou. at Busch Gardens. The image of the washboards has one unpainted next to one that has been completed. The symbols were made to look rusty and bloody with the fake blood mentioned above after sanding them down and spray painting them. Some latex paint was sponged on top.
Foam carving and painting done for Howl-O-Scream at Busch Gardens Tampa. The large sheets of foam were put together by carpenters. I helped a couple others carve out the individual stones and paint them. Several different colors were used for different stones which were painted solid with shading dry brushed on top.
Lettering and sponging done for the production of Into the Woods JR. at the Jenny Wiley Theatre
Wooden platforms painted for Tarzan at the Jenny Wiley Theatre.. First I painted the edges the solid beige, then did a wet blend of wood tones. Last I painted two shaded of grain.
Grout sponging and stencil cut on the repeat to fit together on all sides. Madagascar Jenny Wiley Theatre
Lettering for the production of Madagascar by the Jenny Wiley Theatre.
For the Jenny Wiley Theatre the scenery was all painted to look like steal. Dry brushing and sponging was done to create create this look.
I painted this drop the the show Go Dog Go! at the University of North Carolina at Greensboro. I used sprayers to paint the drop except for the balloons which I painted on with a brush. I used sawdust to mask the clouds. The last image is a watercolor rendering I did before beginning the drop.
Murals painted with S.A. Johnson Decorative Arts and Interiors. These murals were done in two separate pediatrician offices with one theme being outdoors and the other being a beach. Surfboards were done by me, the other two were collaborative.
I volunteered to paint this cut drop for a fashion show run by students attending The University of North Carolina at Greensboro. I painted the drop using a brush attached to a bamboo stick while standing. I used the grid method to accurately draw a small image of a curtain I was provided at a much larger scale.
All images above are of scenic painting class work at UNC Greensboro other than the stage floor. All of the above were painted on a two demential surface. The floor was painted a blue and purple scumble with mops for the show Pippi Longstocking at UNC Greensboro.
For Smokey Joe's Cafe at STAGES St. Louis I was able to paint a large piece of skrim. I was careful the paint didn't stick in the holes of the fabric and then added a stencil pattern on top with the help of three others. The same stenciled pattern was painted on the floor.
For the show Anything Goes at STAGES St. Louis I was able to do some foam carving along with painting. I was able to practice on a small piece of foam before making the larger piece with the help of the Props Master. The City was painted by me. I painted the sky with the help of one other painter and the floor was painted to appear as wood by four painters including me.
I painted these outdoor stone tiles for Raleigh Little Theaters production of Much Ado about Nothing. I painted the tile a grey blue color and sprayed it with some water. I then blended the shadows and highlights. The sprayed water left a slight grit texture as the lights and darks were blended. A layer of polycrylic was added for protection after the paint dried.
This is the stage left panel of the hard drop painted for Brevard Music Centers production of Don Giovanni. I first used chalk to draw out the clouds and then using a plank to walk on painted them in.
I made this damask stencil during one of our all nighters and was pushed for time. I had to simplify the example provided by our designer, Evan Adamson. I found the repeat and marked it with the dotted chalk lines. I folded the paper in half and drew half the design so after being unfolded both sides were left identical. .
Another painter helped me learn the marbling for the columns. She came up with the technique and taught me. My column is the one on the left. This was my first experience with painting a marble texture. We first did a scumble of reds followed by painting on the light lines with a goose feather giving width variation to the lines. We then added some red sponging to fade out edges and ends of the lines. A layer of polycrylic was added as well.
Stone walls painted for Sweeney Todd at the Brevard Music Center.
Hand lettering for Sweeney Todd, Speed Dating Tonight, Oliver!, and a sign to hang in the BMC box office. No stencils or projectors were used for any of these. For the Junk sign I was only given the example "knives to grind" in the font that the designer wanted and I designed the look of the other letters to match.
These are some of my favorite wood grains that i've been able to do. For the production of La Tragédie de Carmen, me and three other artists used joint compound raked with wire brushes to create a 3d wood grain effect before painting on the wet blend and going over the dried paint with some sandpaper to help show the texture.. For a production of Falstaff, the entire set was a grey scale, so we did grey toned wood. The dark wood floor is one that was done overnight for Albert Herring by painting a wet blend of two colors and adding combing and the dark lines for the spaces between the panels. On the thin piece that is part of a supertitle screen looking similar to the floor, the same technique was used. For the raked stage of La Tragédie de Carmen we were asked to paint something that could be a wood floor and also a bull fighting ring pit floor. We did a scumble of sand and wood tones and then did some combing followed by a spatter drag to give it a grittier texture.
Here is some trompe l'oeil I did for Falstaff in Brevard. The first two pictures are a before and after example of the grey wood grain shutters I did. Two other artists and I also got to paint the outside of a giant book that was used as a border for a projection screen. I did the old leather look around the edges as well as the crinkled paper bookmark.. The pages and other bookmarks were not painted by me.
This is one of my favorite scumble textures i've gotten to do. It covered all floor surfaces and several other items in the production of The Merry Widow at the Brevard Music Center. The pictures of the stairs and stage floor are process shots.
This is the china drop I did for Western Carolina Universities production of The Drowsy Chaperone. I drew out the dragon, and cut it out with a jigsaw to use it as a stencil. This made the two dragons the same size. I then went in with a sharpie to draw in the details.
I painted this floor at Western Carolina for the show Rashomon with the help of our shop manager and designer, Alex K.
This stump was made by doing a paper mache over chicken wire and then adding torn muslin to make the bark and ring textures.