Merry Wives of Windsor

So my next disaster was wallpapering the Second Angled wall. I had another challenge to face because there was two walls it meant my wall paper had to match up with the first wall. Once again I had to use maths and it took for ages. However, once Rosé and I did all the problem solving the wall papering went really quick and the overall finish to the walls ended up looking fab.

The Gauze

Well I have to admit that I have been very lazy for not blogging all through the production of Merry Wives of Windsor which is the summer Opera for this year. Cordelia Chisholm is the designer again, I love her designs they are so beautiful and elegant (she is also from Motley!) So I'm going to make up for it now!

Carrousel

Carrousel has to be one of the most stress free productions I have ever worked on. So hats of to my friend and head scenic artist of this production, Rosé Sims!

Realism in Theatre and Opera

Realism in theatre was a general movement during the 19^th century, which aimed to show ordinary life on sage through text and performances. It was similar to the ‘naturalism’ movement and focused on everyday drama, normal speech, and mundane settings.

The Origins of Realism

Before realism, many art schools such as the Royal Academy believed that Art should be informative, morally uplifting, sophisticated and beautiful, all inspired by the Classical tradition. However, during the 19^th century, the world was changing at a fast pace, countries throughout Europe where wanting a revolution, the Industrial revolution had already sparked a modern era with lighting, technology, food and transportation. Artists and sculptors no longer wanted to make Art praising the Classical era or biblical stories, instead they wanted to create art which related to the present, their own perceptions in life and their contemporary environment. A new artistic movement was born, Realism, lead by Gustave Courbet who believed if he could not see something, he would not paint it and instead his art would have a social consciousness which would portray the real world, in with no fabrications or longing for the past.

Biblical Art - Leonardo da Vinci, The Last Super 1495-1498

Bonjour, Monsieur Courbet 1854

Sources:
http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm
 

http://www.nationalgallery.org.uk/paintings/glossary/realist-movement

Realism

In a nutshell Realism was the mid 19th century European art and Literature movement that was stems from the 1848 French Revolution. The movement was a reaction against Romantic and Classical idealisation, and favoured them of everyday life and ordinary social settings.



 Jean Francois Millet Sheperdess with her Flock

 

Source:

 

http://www.nga.gov/collection/sfp/noflash/realism/1941_6_1.htm

Art History and Period Styles

I originally thought I would research into the Impressionism as this if by far my favourite Art Movement, however after some delibiration I thought why should I research into something I already know lots about! So I have decided to research into Realism. Not going to lie, the only artists I know about in this movement in Coubert and Daumier. So hopefully by the end of this module I will have a great understanding and love for Realism.

Source:

http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm

Gustave Courbet - Un enterrement å Ornans



Carousel and Painting

It has been a funny old week to say the least - it went awfully quick! There hasn't been much to do this week for the Musical Theatre Production - Carousel.  We spent some time making things look a bit more distressed, like the huts, and carried on with the textured floor. As there wasn't much to do we were able to get on with our personal project and wahoo I finished the painting for Andrea.

Man, on Friday it was a bit hectic, I had asked construction last week if they would make me a frame and they were like sure, i asked again if they were on it and they were like yup, and then on Friday I was getting rather worried that I wouldn't have a frame on time so I was like I'll make if you want - but everyone knows i'm not very good with the machines. However, thankfully I got a frame at 12. I originally glazed my painting in matt, however it really didn't do anything, so I glazed it using gloss - but that didn't do much either! So I had to use the mega gloss (it's really expensive) Then Gary wasn't sure about the white things at the top, so we had to dull them down a bit - tbh I think it looked better with the white bits there!

Bridge Week

I could have been lazy, stayed at home and have nice long lie ins, go out with my friends at night and not need to worry about getting up at 7 to go into uni everyday this week. However, the reality is that I finish uni in 12 weeks. 12 WEEKS! So despite my lazy self wanting to have a nice relaxing week, I know I have bigger fish to fry and that is to get my portfolio up to scratch!

I was fortunate to be chosen to do a painting of Patty Pravo album cover 'Occulte Persuasion'  for Gary's friend. So during my bridge week I thought I would tackle the painting.

My brief for the painting was to make the pink less vibrant and the yellow less acidic, and the writing to say 'giura, solo un po'. On Monday I went in feeling good about starting the painting despite being a bit jet lagged. However, I really don't think I was in the right frame of mind. I really don't know what was up with me on Monday and Tuesday - I just wasn't thinking straight and I was definitely not painting straight either. Gary even said my first attempt at the painting was a 'dogs dinner' which is probably very true! I think because Jude was stressing out, the fact that there is 12 weeks left of term I just went crazy and got really nervous that I wasn't good at painting!

However, on Wednesday I pulled myself together and made a logical plan on how to go about painting this picture. Instead of painting in upright on the frame, I got a new canvas and painted the background on the floor using a water technique, and then after the background had dried I popped it back on the frame to tackle the face. Hopefully I will be finished by Monday!

Titan Props and Glasgow Graffiti

It's Bridge Week, so no students are actually scheduled in this week for production work - instead it's sort of a half-term (bridge) between semester 1 and 2.  During bridge week I have been painting a personal project for a commission and on Thursday I took some time off from painting to go on a mini trip with some people from the scenic department - Gary, Jude, Rosé and Rosie.

The five of us headed off to Titan (http://www.titanprops.co.uk/) props after lunch as Simon from construction had told us about their workshop/warehouse facilities. It was literally like walking into Aladdin cave, there was a studio space for photography as well as filming, a workshop for construction/prop making/scenic and thousands of props you could hire. Sadly lots of the props weren't actually there (they had been sent down to London for the Doctor Who set) but it was great to know it was there. In the middle of the warehouse, there was a great scenic set and the painting was really good. It was originally a set for a film, but the film company went bust! Titan props was really good to know about as if I ever need to hire space in the future I know it's there and they also have student, as well as recent graduate rates which is always a plus!

My final week at Juilliard

Sadface. It's all over. I had such an amazing and insightful experience at The Juilliard School. I have returned back to Glasgow equipped with new skills and a determined drive to succeed.

le don pasquale set on stage!

During my last week at Juilliard I spent a lot of time doing the jobs scenic artist dread doing, like washing endless buckets to an inch of their life, filling dodgy flats with plaster of paris and priming. However, I did not mind at all - I was just grateful I was there being to help in anyway I could.

Wahoo, part of metallic gold portal!

My final week was the week before Tech Rehearsal for Don Pasquale and therefore it was final touch up time! I painted the backs of the flats on stage in a dull grey colour so that there was no chance of raw wood being distracting. Even thought this seems like an unimportant it came evident to me that Juilliard have high attention detail. At RCS, we normally leave the backs of flat raw as we just presume they will never been seen, but at Juilliard they cover all their tracks, and this is something I will take back to Scotland with me. I also did a few other touch ups here and there for Don P. such as glazing the posters with Nick and Rachael, as well as painting some of the red wooden flats. It was interesting to see the process for the red flats, as at first glance it looks like they are paintined one shinny flat red colour, with a series of dark washes. However, the richness of the red flats are achieved by priming them in a dull red and glazing them with a very vibrant red - this was a technique I had never done before, and the results speak for themselves!

La Donne

The last few days I was there I was sent up to the third floor to help out in one of the studio theatres to work on the show La Donne. Along with Rachael and Hunter, I helped prep the walls for wall paper, which turned out to be quite laborious job. The large revolving walls where made up of several flats, but the seems weren't entirely flush so we had to use a lot filler and sometime time sanding down the surfaces to get a perfectly smooth surface for wall papering.

The team in action

On Friday I was gutted to be leaving. I wish I had opted for the longer secondment as I felt there was so much more I could learn in a professional environment and I even though I tried so much to to show my scenic talent, I felt I didn't get to show my skills off to their full potential.

Before I left Rachael and I bought One Direction, painting watches .... I  HEART 1D!

I feel very fortunate that I got this amazing opportunity to work at Juilliard. I have an ambition in my scenic art to career to always to try work with people better then me so that I can aspire to be like them and so I can push myself to work alongside them to the best of my ability. At Juilliard I was lucky to work with a bunch of extremely talented individuals, all who gave me helpful guidance and made me feel very welcomed during my time in New York.

Well it's back to reality for me tomorrow. I'll be walking down Great Western road instead of Broadway to my paint my first commissioned painting! Wahoo! It's going to look a bit like this:

The Juilliard School New York

Hello from New York! As part of my course I needed to find work experience for 2 weeks in a professional environment, so I contacted The Juilliard School in NYC. I've always thought of it as an amazing place, it's situated in the Lincoln Centre - surrounded by the heart of the Performing Arts of the city.  My first (very cold week -10!) has been amazing! Getting out here was a bit of a nightmare though ... I can't believe British aviation can't function in a flurry of snow ... not to mention everyone knew we where expecting snow last Friday! Anyways I arrived in New York a day late (yup I slept in Heathrow on a cold floor!) and had no luggage (yup BA managed to loose my luggage for 3days!)

On Monday, bright eyed and bushy tailed I made my way from Port Washington to the big City of New York. I was so nervous to say the least, I still couldn't/can't believe Im in New York helping to paint the sets for Juilliard!

Juilliard is massive! Their paint shop is similar to ours, but they don't have a frame, and not going to lie I feel the organisation in their department is second to none! There are two professional interns, David and Rachel, who are super nice. Then there is the Charge Scenic Artist Jenny, and her assistant Emily who both made me feel very welcomed! There where also some freelancers helping paint this week - Claire, Nick and Hunter, all who are very talented!

I was so so so nervous, especially on my first two days, I was so scared of making mistakes that I painted so slow, and then as I was so worked up I kept on doing daft things like painting a straight line super wonky. Lets just say it wasn't my finest scenic art work. By the middle of the week I became much more confident and started to relax, I really started to push myself to speed up when painting and tried to strop thinking 'they are probably judging me!'

The Paint Shop

Currently at Juilliard they have been working on the opera 'Don Pasquale'.  It's been the first time I've seen a model box where the majority of the model pieces have been photoshoped, I've always been used to models that are hand-painted. The design is lovely though, and I have been working on the portals (they mask the wings), under direction from Hunter. We have been painted them look metallic and 3-D. It's been great learning new techniques such as using textured rollers in a new way and gold leaf (at RCS we don't tend to use gold leaf as it's rather expensive).

A section of the portals

On Friday I had bit of a change from the portals and got to work alongside Rachel and David on some black and white stripy flats. Working on this task I learnt a lot, as at RCS we usually paint straight onto the wooden flats, or if we have a larger budget we will paint on flats that have a framed canvas. However, at Juillard they paint on muslin which is primed with a 1:1 ratio of white latex and water, then sprayed with a starch solution which gives the flat a nicer and sharper finish. Anyways, I got the task of priming them, man I found it hard work and got two nasty blisters!

I've also learnt a lot of basic things that will come in handy when I'm back in the UK. Normally we just wash our brushes in water, but at Juilliard they wash them with Murphy's oil or soap. They never leave brushes in water over break as the water reacts with the binder in the ferrule. Housekeeping is done thoroughly, we usually just wash out buckets until they look good enough, but at Juilliard they wash them until they are pristine. I'm also getting to grips with the imperial system (hello inches). And finally maybe a Purdy brush shouldn't  always be my first brush of choice, at Juilliard they use a lot of Chip Brushes - we usually use those when using substances like using meths or glue!

Look at the organisation!

For improvement for myself as a Scenic Artist, I've realised that I really need to get quicker at painting. I feel I am good at drawing up model pieces, but I think I should start going to evening drawing classes to get even better, and seeing how much at Juilliard they paint on the floor, I now want to do a personal project of a landscape on the floor, painting with a fitch (a small sash brush) on a stick.

It's been a great first week, and I can't wait for next week to do it all again! I really want to move out here next year, I just have to keep working hard and hopefully I can create my own luck and make my dream into reality.

Hand Painted Furniture

Ahhh I'm going to New York tomorrow for work experience today! I can't believe I'm going to The Juilliard School - I am so excited!!!!!

So I have finished both my personal projects (yay) and I'm now on to another!

 As a scenic artist I am a bit scared about the future so as I back up I am painting furniture to a high standard so that I can potentially sell them! Right now I am working on a chair, originally I wanted to ombre it using a grey-scale palette, but after speaking to Gary it seems like a better idea to ombre it using the same colours as the cushion ... i.e blue. I am doing a Timorous besites pattern on the pillow so hopefully it will all go to plan!

Sanded Chair

Negotiated Project

Today was rather calm, there wasn't a lot of hustle and bustle going on so I cracked on with my negotiated projects.

This morning I looked at my perspective painting with disappointment, the figures looked rubbish, I hadn't captured all of the tones in the columns and the stairs to the right of the painting were wrong. So I decided to spend half the day fixing the problems I identified - i guess I'm feeling a bit happier with it but to be honest I still dislike it.

I'm still enjoying the painting of my brother, except I'm a bit scared of talking the nose and the chin! Fingers crossed tomorrow I will be finished with the painting!

Negotiated Projects

Well today has been very productive, and I am so happy that  I am much further on with both projects.

Not going to lie, I HATE the perspective painting - I really feel I have let myself down. I have spent so so so long on it and it's not my best work, additionally I also think it looks really amateur. On Friday when I was painting all I could think is that I don't even think I want it in my portfolio. As I was/am rather behind on my negotiated project I am just going to have to leave my painting as it is, and after I've handed it in and got it back, I am going to work at it while I'm back in my flat until I'm happy with it.

On the other hand, I am rather pleased how the painting of my brother is going. It has been fun being expressive compared to being a perfectionist. Painting in the style of Andrew Salgado has loosen me up and made me quicker, which I am very happy about as I am normally so slow!

 I had to stop painting around 8ish tonight, as I felt I was getting rather tired and I was scared I was going to make silly mistakes.

Not really to sure what I will be up to tomorrow, there is meant to be a paintcall down the road for Macbeth, but as we have several first years in and I guess they will be doing it to get some experience. So hopefully tomorrow I will get time to finish both my paintings!