Theatre Design & Technology - Spring 2012 - 81

work space and preparing for the actual task of
painting. The first chapter is an outline of skills,
talents, and communication abilities required of
a professional scenic artist. The discussion includes the kinds of positions and work environments that one might encounter and outlines
training options for the aspiring scene painter.
The list of questions students should consider
before attending a particular school is a valuable
road map to help find a quality situation. Those
who have considered a career as a scenic artist
will appreciate the comprehensive explanation of
the responsibilities of scenic artists and charge
painters as well as the examination of the skills
needed for success in the field. The authors also
emphasize safety standards for the painter and
the collaborative process of working with both
other scenic artists and scenic designers.
One exciting addition is the new chapter
titled A Pathway of Student Projects. Those who
teach scene painting in the isolation of a small
department or who do not have extensive experience as scenic artists can gain insight into the
process professionals use for training students
and apprentices. Instead of simply offering stepby-step examples that students follow without
thought and, perhaps comprehension, the outlined exercises force students to think through
the entire drawing, prep, and painting process.
The compositions are interesting and offer an
increasing level of challenge. Excellent color
photographs document project samples. For
those considering the chapter as the basis for
teaching a scene painting class, sources for the
original material are included. As the authors
point out, it would probably be impossible to
complete the entire list of projects in a single
term. The segment can also be used as a selftaught tutorial. However, the lack of feedback
from an experienced pair of eyes would be a
limitation.
Readers should be cautioned to read all
of the preceding chapters instead of just diving
into the projects. With the exception of Designing and Painting for the Theatre by Lynn Pecktal, last printed in 1975, no other book offers as
comprehensive an overview and description of
the tools, materials, and processes involved in
scenic art. Since this is a current publication, it
also covers materials and processes that have
come into vogue in the last few years. In addition

to covering the basics of both the hand tools and
brushes used in painting, there is a discussion
of the chemistry and color science, as well as
types of paints and coatings. Even the appropriate paint viscosity and safety measures for dealing with specific products are covered.
General "rules of layout" are well documented and explained-a terrific tool for
anyone who has not had geometry since high
school. Rules of perspective drawing are in-

spring

2012

cluded along with specific illustrations and pictures that fully explain the principles involved.
The units on how to select material for drops
and prepare all kinds of scenic elements for
painting are equally well articulated.

Prep work
The paint application process is not the focus
until the middle of the book, and even that chapter begins with a discussion of the organization

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2012