Two paintings together 2nd one isn’t quite finished in this but near point :)
This is my scenic element I created by myself for the production of "The Beano".

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Two paintings together 2nd one isn’t quite finished in this but near point :)
This is my scenic element I created by myself for the production of "The Beano".

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Second painting that was a lot bigger than the 1st one, a further development of my blending techniques and ability to re-create paintings from other artists is shown.
This is the first painting I did for the beano but they gave me the wrong size canvas so they rejected it.. This took me 8 hours. The smaller canvas size meant that I had to scale down my re-creation of the painting, and therefore more time was taken, with my ability to include the details limited.
Set finished and painted after the overnight paint call. This shows that we have transferred our model box to full scale on the stage. The effect we used to do this was by eye, to get the design from the model box to full scale. We also Gridded up the floor to ensure the placement of everything was correct. We could have used an Overhead Projector to project the image onto the set to see what colours we needed, but we did not have enough time to set this up, due to the time constraints of the performance. Transferring the model by eye was the best method as although it can be inaccurate the team made sure to check all placements and colour blending, so we achieved the desired effect.
The painting of the stairs and the base of the back structure on the overnight paint call before we started on the side structures and floor.
These are the types of paint we could have used, the ones in bold are the ones we chose;
Emulsion paint: This is mainly used as a primary for base coating for items like scenery etc. that will be a solid colour. It does not water down very well as it compresses the particles in suspension. This means it cannot be easily used for Natural Blending and other scenic techniques. This what we used for a base coat on the metal parts of the set.
Pigment based paint: Eg. Rosco, Off Broadway or Super Saturated These are mostly used for scenery, but the paint has such a strong pigment that it must be watered down before use.
Solvent based paint: Used for glossing, as the set did not require any realistic architectural detail we did not use solvent based paint.
Glaze: Either matt or gloss glaze can be used as a base to create transparent layers, for textured effect, and for a shine e.g. marbling.
Latex Based Paints: More usually used in props as it is very flexible, we did not need to use this on our set.
Powder Paints: A powdered pigment, which is usually mixed with a base (i.e water). Not often used in theatre sets as it can be impractical.

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Process of moving the set in and once it was in then mething it down so then we could put primer paint on it. Here we helped as part of the design team, but also as part of the construction team, helping to bring the set into the space.
construction process
during the production of the set making itself the deign team helped out in the making of the set we had to make sure the set could have paint stuck to it so primed it and oiled the set, after that we did a grey base coat to the entire set and then once that was dry continued to paint on top of that the actual design colours on the model. Before the overnight paint call we managed to get most of the set painted and only had the floor, back structure and pier to paint. Me and luke worked on painting the whole back structure another grey/ darker grey, once that was completed I started to work on the adding of the brown to the set stairs I used the technique of stippling to create this effect like a worn down wood.
This was transferring our model box to the stage, as well as using the paint effects that we had decided on earlier.
These are the second two i did by myself I am very proud of them as they took me a long time but I got there in the end, I also had basically given up, thankyou Alan for helping me to achieve my work :D
Before we settled on the final design, we also did scene drawings to show the directors of how they could look. This is a planning of each scene, so that the director had a mental image of the sets potential, and also to use for staging. This is a few I did at that time.
This is the model getting painted we painted it the colours of green of the Yorkshire rolling hills and then the background is a blend of blues therefore seas and sky.

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Once the set had been checked and was right after being painted we gave it to construction and they took over making it, as this gets brought back next year technical drawing to scale would come in very handy, so Alan have us all one area each to tech draw. However I couldn’t get my head around tech drawing so Alan sat and helped me get it for a while, all of a sudden it clicked and I understood what I was meant to be doing. This is the first to scale drawing I did that Alan helped me do as I was really confused.
This is the model getting painted we painted it the colours of green of the Yorkshire rolling hills and then the background is a blend of blues therefore seas and sky.
Once we had decided on a final design, we created a model for it. The basic model, once completed was then painted. We decided on painting it using the following painting applications;
Brush- we applied a lot of paint using brush. Roller- generally this was used for emulsion paint and was used as a base coat on both the model and the set, Compressor/Spray- We used the small one for the model box and the big one for the back drop in the set.
Having successfully used these techniques on the model box, we will later use them on the set itself.
I used multiple pieces of wood to create the levels that the director had requested. I stuck the different pieces together with pins to create a more accurate model. Because everyone was working of individual models at this stage, this model is more of a plan for the design than anything. Other people in the team doing the same thing, trying to experiment and create ideas.
The design got past the big test with the directors and we then looked into colour theory and different ways of painting. We experimented with different materials and ways of painting and then did some colour mixing. My colour was purple, and I had to create this by mixing Red and Blue. There are lots of different techniques of painting to get effect in design.
The painting techniques I used here are:
Base- I created a base colour layer by evenly distributing the paint across a flat surface
Natural Blending- I added water to my paints to ensure that the blending would occur naturally and therefore look more realistic.
Splatter- I added a small amount of water to my paint to ensure that it was loose enough to splatter but not so watery it would run. I then hit the brush against the side of my hand to create a splatter effect.
Dry Brushing- I applied a small amount of paint to my brush and then dragged the brush heavily along the board, so that not only the colour I was painting in but the base colour I had previously created could be seen.
Stippling- I once again applied a small amount of paint onto my brush before using a stabbing motion to apply the paint to the board. This created a textured effect.
Sponging- I used a foam sponge to apply the paint to my board, so that the marks of distress on the sponge would create an uneven application of paint.
Rag-Roll- In order to create a textured effect on my board, I dipped a rag into my paint and rolled it across the surface to create and uneven, twisting effect.
Rag-On- I applied the paint using a rag, in order to create a different texture to that created by brushes, as in some instances this is more realistic.
Rag-Off- I first painted an area fully, and then got a damp rag and removed parts of the paint.
Graining with a tool- I painted a flat area and then used a graining tool, dragging it across the paint to create a wood effect.
Graining- Using a combination of Glazing and dry brushing to create a wooden effect (although I could not do this as there was no glazing available)
Marbling- I used a combination of stippling, layering, dry brushing, glazing and bending to create a marble effect.
All of these techniques are what is called a faux-finish, which is making a painting or set look like something it is not to trick the audiences' eyes.
Colours:
Primary: Red, Blue Yellow
Secondary: Pink, Orange, Green (created by mixing primary colours)
Some of these techniques will be used on the set as part of the design, although the scenic painter will decide which effects will be the most suitable.
Having completed our group models, we then collaborated to combine our designs, and selected the best aspects from each design. The finished model had varied height and levels. Now that the design was finished, and once the director had approved the design, we could then move on to painting and creating the set. The model was to an accurate scale and therefore highly representative of what the finished set may look like.

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After the directors changed their ideas for the set, we decided to change our approach to the set design. Initially, we all came up with basic ideas as separate designers. After refining our ideas, we then all worked and made the set models, including a lot more detail. We created 4 different models so that we had lots of different ideas for the director to look at.
This is the final design that I selected for use on set. I had to blow up the designs to roughly a 1:10 scale for construction I started to paint the whole design in with colours. Unfortunately, the set idea that we had been using was then changed, and we had to, as a team, think of an idea for the new set.