This was a very impressive set, and I was privileged to be able to get the position of Assistant to Scenic Designer for the show and got to contribute on everything from initial renderings and concept to model building to actual set construction and painting applications. And I know it was also a pleasure to the cast to act upon. The faculty actually kept most of the set intact after the show for possible rental or reuse within the program.
Director: Elisa Carlson
Set Designer: Stuart Beaman
The 4-step paint job, called Distressing, required not only a latex base and overtone but also two stains, and a water-spritz finish.
Step 1, painting all these insulation foam panels a nice solid base tone. In This Case it’s Orange.
Step 2- The First Water-based Stain is applied
Step 3 – Applying the Oil Based Stain
Step 4 – The Water-based Sealer is applied to give the paint an uneven, and final “distressed” look.
Balcony (from the front)
Balcony (from the back)
My friend and colleague, Kristina White, also my rival for the top set designer and paint/props crew chiefs, she kept me on my toes; recently graduated and on her way.
A closer look at the supports for the upper balcony unit.
…metal trusses sat atop the vertical wooden support trusses, which were then sheathed with 3/4″ ply.
Balcony and The Heavens, under stage-lighting.
A fabulous shot that really captures the scoop/scale of this set, it was probably one of the largest and most expensive sets we’ve ever built. And that was on an already limited budget for this show.
Closer look at the Heavens, light-weight luan, constructed & painted to look like massive square-cut timber.