The Lieutenant of Inishmore - Scenic Artist - Berkeley Rep - Designer Antje Ellerman
All of the set had to be 'blood proof' because of the 12 or so gallons of stage blood used in each performance. Photo by Lisa Lazar
The Designer's model. Photo by Lisa Lazar
The set partway through load-in. Photo by Sheri Earnhart
An aerial shot of the walls for the warehouse torture scene laid out on the shop floor. Our plastic-sheet protected foam carving area can be seen in the back. Phot by Sheri Earnhart
We used a pneumatic texture gun to shoot paint into all the crevices of our newly carved stone, building from dark to light. Photo by Lisa Lazar
The entire crew teamed up for two weeks of carving the stone walls out of bead foam. Photo by Lisa Lazar
City of Angels - Scenic Artist - Goodspeed Opera House - Designer David P. Gordon
Done mostly as a black-and-white movie, I painted this faux wood in grayscale on a muslin-covered piece of scenery.
Stone's Office faux wood piece, after toning.
Paint on black duvetyne, to become cutout flats for Solarium set.
Once painted, the duvetyne was cut to match the luan structure built to support the fabric, on a mesh backing, to then become rolling scenic flats.
One of three solarium flats, after cutting is complete before being mounted onto its frame.
Kate Hawley's Cinderella - Charge Painter - Peninsula Youth Theater - Des. Kim A. Tolman
The designer and I stretched, primed, and painted this drop in under three days using Artist's Choice paint. Photo by Kim A. Tolman
Captors - Scenic Artist - Huntington Theatre Company - Designer Beowulf Borritt
The drop for this production was translucent and backlit in the light spots and opaqued in the darker ones.
Dreamworks Holiday Installation at Gaylord National Hotel - Touch-Up Artist - Entertainment Design Group
Photo taken by Craig Belfield
Radium Girls - Assistant Scenic Charge - Boston University Theatre - Des. Paul DePoo
Floor Process Shot. Photo by Paul DePoo
The six columns laid out in the shop, which were a combination of vacuformed brick and faux concrete made from blue foam. Photo by Paul DePoo
The designer's rendering of the raked floor. Photo by Paul DePoo
Heartbreak House - Scenic Artist - Berkeley Repertory Theatre - Designer Annie Smart
The set of Heartbreak House loaded into the Roda Stage. Photo by Lisa Lazar
The set in the process of load-in, affording a good view of the blue walls' textured paint treatment. Photo by Lisa Lazar
A fellow Scenic Artist and I applying Skimstone, a tinted concrete, to the floor of the set with trowels. Photo by Lisa Lazar
The blue textured wall treatment was done by rollering on a mixture of paint and light molding paste, smoothing it with cheesecloth, and burnishing it with brushes. Photo by Lisa Lazar
Crime and Punishment - Scenic Artist - Berkeley Repertory - Designer Christopher Barreca
The set during load-in. Photo by Lisa Lazar
The shop filled up with all the doors in varying stages of completion. Photo by Lisa Lazar
The set called for 44 Doors, so we gave them each a unique combination of several paint and texture treatments. Photo by Lisa Lazar
How I Learned to Drive - Charge Artist - Boston University Theater - Designer Cait Fergus
The floor was painted with Black Colorcoat and then sealed with Future Floor Wax to allow for maximum light play
Cosi Fan Tutte - Scenic Artist - Boston University Theater/ The Opera Institute - Des. Stephen Meyer
Some of the features of the set were huge, stacked TV Guides, a
Detail of the wallpaper featured in the kitchen scenes