Faux Marble (on Right) with Real Marble Tile as reference (on Left)
Process shot of 3' x 3' Drapery Copy Project shown with reference material.
Drapery Copy Project 3'x3', Rosco Off-Broadway on Muslin
Gold Cartouche, 4' x 6', Rosco Off-Broadway on Muslin
Tiffany's Stained Glass Copy, done on Muslin with tinted Crystal Gel, 3' x 3' (shown backlit)
Copy of Edward Hopper, 3' x 4', Rosco Off-Broadway Paint on muslin.
'No Brush' Landscape, 4' x 6', Rosco Off-Broadway and Super Saturated on muslin.
Pencil Drawn Portrait with Reference Picture in Corner
Copy of 'Thomas E. McKellare' by John Singer Sargent, 2.5'x3.5', Artist's Choice and Acrylic on muslin.
Copy of 'Cycles Perfecta' by Mucha, 2.5' x 3', Rosco Off-Broadway Paint on muslin.
A Lichtenstein Copy, featured in Cosi Fan Tutte 6' x 8'
A painted copy of a photograph of Ceramic Moulding, 6' x 4'
Painted Drapery, 6' x 6.5'
Productions
Hedda Gabler - Scenic Charge - Boston University Theatre - Designer Cait Fergus (now Cait Chiou)
This slick design was executed using a combination of Metallic Artists' Choice Paint and Gold Leaf over glossy black. The treatment extended to a full stage backdrop, at which time we used a stamper to apply the Gold Sizing in order to apply the Gold Leaf in a seemingly random formation creating an Ombre effect.
Hansel and Gretel - Lead Painter - Nashville Opera - Designer Erica Edmonson, painted at 615Scenic
The Designer's Elevations for the Legs.
Designer's Elevation for the 40'x 30' Drop.
Painted at 615Scenic in Nashville, TN; I was the primary painter for all of the soft goods needed for the Nashville Opera's Hansel and Gretel.
The backdrop, legs, and two of the five cut borders, loaded into the smaller of the two spaces in which the Opera was performed.
Private Lives - Lead Painter - Huntington Theatre Company - Designer Alan Moyer
One of two full-stage scrims painted from Raoul Dufy's paintings.
Process Shot of Eiffel Tower Scrim
Process Shot of Eiffel Tower Scrim
Original Painting Used as a Reference
The other full-stage scrim based on Dufy's paintings.
Alternate Shot of Boat Scrim
Original Painting Used as Reference
Ryan Landry's "M" - Scenic Artist - Huntington Theatre Company - Designer Jon Savage
I was Lead Painter over up to four other Scenics on this scenic element for the production.
La Clemenzia di Tito - Lead Painter - Huntington Theatre Company - Des. Martin Gjoni
The stage floor, four columns, and a large full-stage wall were done in this faux-marble treatment.
After basing masonite panels in their bright base colors, we used the "swiss cheese" fabric method to apply the black marble veining.
After deepening the black and adding some colored sprays, we applied high gloss sealer to complete the marble look.
The Postman Always Rings Twice - Charge Painter - Boston University/ Opera Institute - Des. John Traub
Produced by The Opera institute and Boston University, this set consisted of tracking and stationary walls ranging from 24-30 feet high, composed of about 7,000 square feet of painted muslin stretched on steel frames.
One of the many interchangeable looks afforded by the different configurations of the twelve different tracking walls.
Joe Turner's Come and Gone - Scenic Artist - Berkeley Repertory - Designer Scott Bradley
Joe Turner, on Berkeley Rep's Roda Stage. Photo by Lisa Lazar
Process shot of theatrical faux wood and tile. Photo by Sheri Earnhart
A process shot of layout for the building flats. All flats were hardcovered in muslin and painted in the style of watercolors. Photo by Sheri Earnhart
Wishful Drinking - Scenic Artist - Berkeley Repertory Theatre - Des. Alexander V. Nichols
Carrie Fisher's Wishful Drinking onstage at Bekeley Rep's Roda Theater. Photo by Lisa Lazar
The Floor treatment was troweled on in several layers of Skimstone, a tinted concrete. The wood was stained oak. Photo by Sheri Earnhart
A process shot of the lettering done on the borders of the set. Photo by Lisa Lazar
Photo by Sheri Earnhart
Photo by Lisa Lazar
The Pillowman - Scenic Artist - Berkeley Repertory - Dir. Les Waters, Des. Antje Ellerman
Antje Ellerman's model of The Pillowman. Photo by Lisa Lazar
The set of Pillowman, shortly after load-in, in Berkeley Rep's Thrust space. Photo by Lisa Lazar
A fellow scenic artist and I (right) using a process of tinted joint compound, lightweight molding paste, and bogus paper attached with white glue to texture the walls of The Pillowman set. Photo by Lisa Lazar
The 'Little Jesus' scene, nicely highlighting the texture treatment on the walls to each side. Photo by Lisa Lazar