MCCCD Program Description

Painting Techniques for Film, TV and Theatre

Course: THP267

First Term: 2018 Fall

Lec + Lab 3 Credit(s) 4 Period(s) 4 Load
Subject Type: Occupational
Load Formula: T Lab Load

Description: Theory and skills in scenic artistry. Techniques of painting two-dimensional and three-dimensional scenery, tools, and the use of color

MCCCD Official Course Competencies
1. Trace the history of scenic art in Western theatrical tradition. (I) 2. Describe the role of the scenic artist in theatre production. (II) 3. Describe the relationship between the scenic artist and the scenic designer. (III) 4. Describe characteristics of the scenic artist and the scenic studio. (IV) 5. Describe characteristics and requirements of the scenic artist`s workspace. (V) 6. Identify, describe, and use the tools of the scenic artist. (VI) 7. Color and paint theatre scenery. (VII) 8. Prepare for painting and texturing scenery. (VIII) 9. Explain and apply the techniques of scenic painting. (IX) 10. Explain and apply two-dimensional scenic painting techniques. (X) 11. Create aging, decorative, and faux finishes using multiple media. (XI)
MCCCD Official Course Competencies must be coordinated with the content outline so that each major point in the outline serves one or more competencies. MCCCD faculty retains authority in determining the pedagogical approach, methodology, content sequencing, and assessment metrics for student work. Please see individual course syllabi for additional information, including specific course requirements.

MCCCD Official Course Outline
I. The History of Scenic Art A. Ancient to Medieval Theatre 1. Greece 500-250 BC a. The Greek theatre building b. Greek stage decoration 2. Rome 250-500 AD a. The Roman Theatre and Scaenae Frons b. The Roman stage decoration 3. The Middle Ages 550-1400 AD a. The years of struggle b. The remnants of classical traditions c. Liturgical drama d. Tournaments and processionals B. The Renaissance Theatre and the Baroque Theatre 1. The Fifteenth and Sixteenth centuries: the Renaissance a. Italy b. France c. England 2. The Seventeenth and Eighteenth centuries: the Baroque a. Italy b. France c. England C. The Nineteenth century Romantic Theatre 1. Technical innovations of the Nineteenth century 2. England in the Nineteenth century 3. France in the Nineteenth century 4. The scenic arts in the United States D. Modern theatre to the present 1. Technology and scenic art 2. The Twentieth century artist 3. Scenic artist and scenic designers in America 4. The impact of the Film industry II. The Role of the Scenic Artist A. Training the scenic artist 1. Requirements of the scenic artist 2. Educational and training opportunities B. Working as a scenic artist 1. Freelance work for theatre 2. Employment at scenic studios 3. Movies and television 4. Freelance work outside of theatre and film 5. Contracting skills C. Professional unions: United Scenic Artist and International Alliance of Theatrical Stage Employees 1. Membership in United Scenic Artist and International Alliance of Theatrical Stage Employees 2. The pros and cons of membership III. The Relationship between the Scenic Artist and the Scenic Designer A. Collaboration 1. Working together 2. Visual materials from the scenic designer B. Understanding the scenic designer`s intent 1. Studying and preparing the paint elevations 2. Interviewing the scenic designer 3. Reading a paint elevation C. Interpreting the scenic designer`s work 1. Checking elevations and drawings with the scenery 2. Enlarging the design to full scale 3. Making samples 4. Using the scenic designer`s research 5. Understanding the limitations of a paint elevation D. Working with the scenic designer in the shop and on stage 1. Communicating with the scenic designer during the painting 2. Communicating with the scenic designer to finish the painting E. Possible challenges in the scenic designer/scenic artist relationship 1. Late design 2. Tinkering 3. Replacement of scenic designer IV. The Scenic Artist and the Scenic Studio A. Types of scenic studios B. The staff in a scenic studio 1. The scenic designer in the scenic studios 2. The technical director and the production manager 3. Production shop heads C. The paint department staff 1. The charge painter 2. Lead painter 3. Assistant scenic artist 4. Shop assistants 5. Apprentices of interns D. Paint department management 1. Challenges that may occur in the painting schedule 2. Costing out a design 3. Preproduction planning 4. The balance of time, space, and labor 5. Independent contracting 6. Working with other painters 7. Working with the technical director 8. Working with other production departments V. The Scenic Artist`s Work Space A. The painting space B. The layout of the scenic studio C. The scenic painting area 1. Managing the painting area 2. Shop configuration and painting techniques 3. Lighting and other utilities in the scenic painting area 4. Other work areas in the paint shop D. The scenic artist`s preparation area 1. Paint mixing 2. Paint storage 3. Storage of brushes and other tools 4. Storage of flammable products E. Safety and health regulations 1. Hazard communication laws 2. Respiratory protection 3. Protective equipment 4. Fall protection 5. Studio building hazards VI. The Tools of the Scenic Artist A. Brushes 1. Anatomy of a brush 2. Maintenance of brushes 3. Types of brushes 4. Broom, extensions, rollers and other painting accessories B. Other tools and accessories for the scenic artist 1. Stencils and stamps 2. Texture tools 3. Sprayers VII. Color and Paint A. Color theory 1. The physics of color 2. The terminology color B. The practice of color mixing C. The scenic art palette D. The elements of paint 1. Pigment 2. Vehicle 3. Binder E. Types of scenic paint 1. Dry pigment 2. Modern scenic paint 3. Dyes 4. Paint finishes and binders 5. Solvent-based paints 6. Stains VIII. Preparing for Painting and Texturing Scenery A. Working with soft goods B. The role of flame retardants 1. Backpainting as a flame retardant 2. Flame retardants 3. Pretreated fabrics C. Stretching and priming soft goods 1. Mounting soft goods for sizing and priming 2. Priming soft goods 3. Priming translucent drops 4. Priming scrims 5. Priming floorcloths 6. Preparing china silk 7. Priming monk`s cloth D. Preparing hard scenery 1. Working with flattage 2. Preparing floor coverings 3. Priming wood E. Preparing and priming other scenic materials 1. Preparing noncellulosic materials 2. Fabric skins, sculpture coatings, and other preparations F. The tools and materials of texturing 1. Texture tools 2. Texture mediums 3. Adhesives for texture mediums 4. Texturing additives 5. Paper and fabric texture 6. Texture stencils IX. The Techniques of Scenic Painting A. The tools of cartooning 1. Measuring tools 2. Drawing tools for cartooning 3. Mechanical drawing tools for the scenic artist B. Transferring a cartoon or repeating pattern 1. Using a pounce 2. The transfer screen 3. Templates, stencils, and stamps C. Preparing the scenery for cartooning 1. Preparing the design information 2. Preparing hard scenery for cartooning 3. Preparing soft scenery for cartooning D. Drawing the cartoon 1. Architectural layout 2. Using a grid for cartooning 3. Perspective 4. Using projectors for cartooning E. Using geometry for cartooning 1. The Pythagorean Theorem 2. Geometric construction 3. Drawing accurate architectural shapes F. Signs and lettering 1. The rules and methods of sign painting 2. The rules of lettering 3. Signage layout X. Two-Dimensional Scenic Painting Techniques A. Base painting techniques 1. Brush techniques 2. Wet blending 3. Scumbling 4. Washes and glazes 5. Base coat painting with rollers B. Texture painting techniques 1. Texturing with a roller 2. Dry brushing 3. Graining 4. Lining 5. Sponging 6. Rag rolling 7. Flogging and Schlepitchka 8. Spattering 9. Boarding 10. Stippling 11. Garden sprayers 12. Pneumatic sprayers 13. Paint stamps 14. Stencils and templates C. Trompe L`Oeil painting technique 1. The theory of practice of Trompe L`Oeil 2. Color theory and Trompe L`Oeil 3. Application techniques XI. Creating Aging, Decorative, and Faux Finishes Using Multiple Media A. The layering process: glazes and resists 1. Glazes with pigments or dye and finish mediums 2. Finishes 3. Resists B. Creating faux finishes 1. Wood 2. Marble 3. Metal 4. Imitating commercial decorative materials C. Painting on miscellaneous materials 1. Simulated glass and Plexiglas 2. Metal 3. Foam rubber 4. Carpeting 5. Upholstery 6. Dried plants D. Aging techniques and mediums 1. Peeling and cracked paint, block aging 2. Distressing 3. Other organic distressing 4. Metal patinas E. Wallpaper 1. Conventional wallpaper 2. Raised pattern paper 3. Laminate papers

MCCCD Governing Board Approval Date: 4/27/2004

All information published is subject to change without notice. Every effort has been made to ensure the accuracy of information presented, but based on the dynamic nature of the curricular process, course and program information is subject to change in order to reflect the most current information available.