SOFT GOODS

 

FLOWER SURROUND

THE FANTASTICKS

DIRECTOR: SUSANNA GELLERT

SCENIC/LIGHTING DESIGNER : SCOTT ZIELINSKI

SCENIC CHARGE ARTIST: RACHEL LANGLEY

ASST. SCENIC CHARGE ARTIST: CHRISTINA MCCORMICK

SCENIC ART INTERNS: JESS NOTARIUS, CHRISTINA COZAD

PROCESS: 

1- Sized muslin on frame

2- x 2 layers of white on front and back to prevent light leak

3- base coat dark grey

4- cartooned basic outlines

5- based in basic shapes

6- cartooned more detail

7- added details

8- highlight and shaddow

9- large sections of wash to create dimensionality

LARGE SCALED BOOKS- LIGHT BOXES
 

DIRECTOR: PIPER GOODEVE

SCENIC DESIGN: BRIAN DUDKIEWICZ

SCENIC CHARGE ARTIST: RACHEL LANGLEY

ASST. SCENIC CHARGE ARTIST: CHRISTINA MCCORMICK

SCENIC ART INTERNS: JESS NOTARIUS, CHRISTINA COZAD

PROCESS: Spines + pages lit up to simulate marquee lights, and various parts of titles lit up.

-Created pounces for all covers and spines. 

-Painted all spines and pages as tranclucencies on muslin.

-wrapped on Sono tube to get curve- pounces used to create light boxes. 

-Covers skim coated, primed, based

-used cut rollers for texture w/ glazes

-used pounces, details hand painted

-sealed x2 w/ flat

-pages were muslin wrapped on luan (some with cut outs)

-used wash w/ cut chip brush (basically graining) for pages

 

TRANSLUCENT DROPS

GUYS AND DOLLS

DIRECTOR: MALCOM EWEN

SCENIC DESIGNER : HOWARD JONES

SCENIC CHARGE ARTIST: BRIAN CHARLES THOMAS

ASST. SCENIC CHARGE ARTIST: SAMUEL VAWTER

SCENIC ART INTERN: RACHEL LANGLEY

PROCESS: 

Sewer Drop: starch, string grid, cartooning, ink in lines with FEV using splines, base purple areas, base pipes etc., texture with cut rollers, highlight and shade with washes, washes for yellow highlights in translucent area, cut roller for texture, purple wash for shadow.

City-scape Drop: starch, lay out building outlines and windows, yellow translucent windows, flip mask translucent windows, spray translucent sky, base buildings, remove masking, hatch from ultramarine blue (offstage) to teal (onstage), shade windows. When we checked the translucency of the windows we discovered that paint had bled through, to fix this problem we cut out the windows and duchmaned new muslin over the holes.

 

TRANSLUCENT SHADOW DROP

WEST SIDE STORY

DIRECTOR: TIM FORT

SCENIC DESIGNER : RUSSELL PARKMAN

SCENIC CHARGE ARTIST: RACHEL LANGLEY

ASST. SCENIC CHARGE ARTIST: BECCA NIPPER

SCENIC ART INTERN: BROOKE STURDIVANT

PROCESS: 

1- Laid and starched drop

2- Measured and snapped lines

3- Filled in lines. Used large brushes and a heavy wash, applied with quick but purposeful strokes. Lines wanted to be rough and sketchy and to emphasize the feeling that they were each one long brush stroke. 

4- Applied another coat to the lines to opaque, but didn't bring this coat all the way to the edge (to help soften edges)

5- Lightly sprayed blue over whole drop

6- laid out sawdust masking

7- paynes spray over whole drop, with movement

8- pulled sawdust and did one more light pass of paynes to tone all together

 

LATTICE CUT ROLL DROP 

MAMMA MIA

DIRECTOR: TIM FORT

SCENIC DESIGNER : HOWARD JONES

SCENIC CHARGE ARTIST: CHRISTINA McCORMICK

ASST. SCENIC CHARGE ARTIST: REBECCA BEAUDOIN-LEMMER

SCENIC ART APPRENTICE: RACHEL LANGLEY

SCENIC SWING INTERN: SAMANTHA MYERS

PROCESS: 

1- Laid and starched drop

2- Measured and snapped lines

3- Filled in lines. Used large brushes and a heavy wash, applied with quick but purposeful strokes. Lines wanted to be rough and sketchy and to emphasize the feeling that they were each one long brush stroke. 

4- Applied another coat to the lines to opaque, but didn't bring this coat all the way to the edge (to help soften edges)

5- Lightly sprayed blue over whole drop

6- laid out sawdust masking

7- paynes spray over whole drop, with movement

8- pulled sawdust and did one more light pass of paynes to tone all together

 

ROAD SCENE

PUMP BOYS & DINETTES

DIRECTOR: TIM FORT

SCENIC DESIGNER : RUSSELL PARKMAN

SCENIC CHARGE ARTIST: BRIAN CHARLES THOMAS

ASST. SCENIC CHARGE ARTIST: SAMUEL VAWTER

SCENIC ART INTERN: RACHEL LANGLEY

PROCESS: 

1- Laid and starched drop

2- cartooned

3- sprays for sky

4- painted in road and buildings

5- foliage

6- details and shadows

 
 

TEXT HEAVY SOFT GOODS

PUMP BOYS & DINETTES

PETER AND THE STARCATCHER

SCENIC CHARGE ARTIST: BRIAN CHARLES THOMAS

ASST. SCENIC CHARGE ARTIST: SAMUEL VAWTER

SCENIC ART INTERN: RACHEL LANGLEY

 

OLD CHURCH DROP

INFERNO: A HALLOWEEN MASQUERADE

SCENIC CHARGE ARTIST: CHARLOTTE VOSSELER

SCENIC ARTIST: RACHEL LANGLEY

PROCESS: 

*due to constraints of the space we had to paint this in two sections

1- Laid and starched drop 

2- measured and snapped grid

3- masked translucent areas

4- cartooned architecture

5- based general shapes

6- added shading and texture (multiple layers)

7- sprayed green

8- removed masking laid in window architecture + shading

9- yellowing in windows

10- moved drop and repeated steps to finish the bottom, making sure to blend and match above

FOLIAGE FLATS

ANNE OF GREEN GABLES

DIRECTOR: TIM FORT

SCENIC DESIGNER : CHARLIE CORCORAN

SCENIC CHARGE ARTIST: RACHEL LANGLEY

ASST. SCENIC CHARGE ARTIST: BECCA NIPPER

SCENIC ART INTERN: BROOKE STURDIVANT

SCENIC SWING INTERN: AMANDA DELORE

PROCESS: 

1- size with base coat (yellowy green)

2- rough in basic structure

3- fill in detail

4- applied to hard flat with cut out top edge

Scenic Designer & Scenic Artist

South Western, Virginia

rachellangleyw@gmail.com

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