Theatre Design & Technology - Summer 2007 - 70

book eliminates the difficulty of how to interpret shades of gray into color. Questions seem
to be answered before you have the chance to
ask them.
Another truly inspired addition is the color
sample page located in the beginning. This simple spreadsheet allows those who may not have
access to or budget for traditional scene paint to
cross reference a more common "household"
brand. I have used a number of the household
colors Sherwin mentions, and although the consistency and depth of color are certainly not
the same as in traditional scene paint, in many
cases the color itself is a close match and can be
used to a fine level of success.
Another of the book's helpful aspects is its
organization. It allows you to follow the projects chronologically, or, if more appropriate,
customize the way you approach individual
projects. In addition to the precise step-by-step
descriptions, Sherwin also smartly includes
NOTES throughout each project. These NOTES
(which are in easy to see shaded boxes on most
pages)include information ranging from brush
selection and care to the use of cafeteria trays as
palettes. This breadth and repetition of information and instruction let you buy the book along
with the necessary tools and materials and dive
right in with little or no additional instruction.
One project worth special mention is the
final one, number 19. This innovative project
focuses on the collaborative nature of scenic
art. Through the execution of this multi-person
project recreating, from a photo, a section of
the interior of Shakespeare's Globe in London,
Sherwin emphasizes the importance of communication and collaboration.
Published in a ring binder form with a
hard cover, this is the perfect text to take right
into the shop. It lies flat and can be used beside
the paints as you complete the projects. This
works much better than the traditional spine
that never seems to stay flat without destroying
the binding.
The way Sherwin organizes this book not
only embraces the art of scene painting but the
need for great preparation as well. He supports
the commendable idea that the process is as significant as the final product. The simplicity and

less intimidating quality of the projects are most
appropriate for those just starting out.
The one addition I would love to see is an
accompanying instructional DVD to allow the
reader to select each project and watch it come
to life from start to finish. You could see how
"real" paint techniques, paint consistencies,
and application techniques look, not just how
the book's computer-generated examples look.
Again, expensive, I know, but a wonderful tool
for this highly visual art form.
I highly recommend this book to anyone,
from a high school drama teacher charged with
putting up the school play to a first year graduate student who may not have had solid training
in scene painting. I give this book four out of
five scenic fitches!
Michael J. Riha is associate professor
of drama and director of design at the
University of Arkansas

Sculpting Space in
the Theatre

Conversations with the Top Set, Light
and Costume Designers

By Babak Ebrahimian; Burlington, MA: Focal
Press, 2006. 176 pp. Paper, $34.95.
Reviewed by Laurie Kincman
Sculpting Space in the Theatre is a collection of interviews with some of the most notable scenic, costume, and lighting designers
working in theatre and opera today: John Lee
Beatty, Howell Binkley, John Conklin, Beverly
Emmons, Susan Hilferty, Constance Hoffman,
Ming Cho Lee, Adrianne Lobel, Santo Loquasto, Jennifer Tipton, George Tsypin, and Robert
Wilson.
Babak Ebrahimian's conceit was to pose
the same questions to each artist, allowing us
to see the similarities and differences in their
training, approach, and process. The opening
questions were "What is your starting point for
your design?" and "What are the elements that
make for a good design?" The designers were
THEATRE
SUMMER

2007

DESIGN

TECHNOLOGY

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2007