#u73c3

David and I were both assigned the Mombi's head-case to be painted. We both worked together, talking to the designer and costume, to find out how to paint it. As there wasn't a model made of it, we had to ask the designer how they envisioned what it would look like, whilst talking to the costume department to find out what colours were on Mombi's costume, so we could match them, making it all feel more coherent.

The majority of the large scenic element was made of wood. This meant that we could use water based emulsion on it, and it would adhere properly. However, around the windows, it was made of a moulded plastic. For the paint to stick to this, we had to include an adhesive to the paint. This, however, still caused us a few problems. As we were painting it, instead of it staying as one even coat, the paint would pool and separate. This meant that the plastic behind could be seen in quite a lot of places, and as it was clear plastic, you could see all the way through. This was bad, but remedied easily. We applied many layers to these sections, which meant all the gaps were closed up and we had an even coat. The light still was coming from behind and making the paint translucent. I came up with the idea to paint the behind of it, to stop even more light coming through, and it worked amazingly.

As a group we went through painting techniques and ways of completing the techniques.

Base painting flat colour  Stipple -stabbing motion with brush Ragging off- paint on flat then remove with rag Rag on - paint on cloth then paint flat Rag rolling - paint on rag then roll Dry brush - paint take most paint off should get streaks Wood grain tool - rubber rocker after flat painted Splattering - hit the brush on hand Forced blending- choose colours and wash into each other Natural blending- loose paint blend naturally do not tamper with Troop lòeul - giving the effect of depth False finish- false effect' floor board,marble Glaze- top finish, matt or gloss finish Spraying Stencilling. Would would use the techniques above by using one of the ways of painting below. Over head projection Scale/gridding By eye Any way as long as it meets the designers brief

Paints

Emulsion /household /base/prime - water evaporates leaves the colour Oil basses/ oil evaporates but takes a long time Solvent (gloss) volatile/organic/compound  Pigment- rosco-water down as its neat vinyl acrylic

Today we started at half twelve, and had a long meeting about the previous shows notes, theatre etiquette, our responsibilities and pretty much everything in between.

We then worked on act two, me and Ben now have more cues: We now have to go on through the conservatory after the first scene to move a table and take off three chairs, we then immediately go in through the stage right audience entry door and after the second scene has finished we have to take off the table and another three chairs. In a later transition we have to go on and move the ramp further stage left, as well as these we still have our original cues of the blower and train dis-assembly in the first act and train assembly, gauze lifting and train pushing at the end.

When the actors had gone on dinner we had to repaint parts of the floor because the paint had worn off of the gaffer tape that had already been on the floorboards, we mixed some grey to base it with and then a greenish shade of brown to spray over the parts that needed touching up and blend them in.

Today we were called in at three o’clock to make a list of what we needed to do, the actors left the space at six and we went in.

Me and Luke started off by dry-brushing the detail of the wood grain onto the pier. After that I based the top and front edge of one of the side platforms with white emulsion l, then helped finish the underneath, we are basing it all white then we are going to spray on the colour.

I also de-greased the ramp so that it could be primed and help paint the ramps woodwork with emulsion. The techniques we used were stippling and forced blending.

Today I was left in charge whilst Alan was working in his office. Harry was working with Mig in the LX Store, Evie, Luke and the Fermor's weren't in so it was just Me, Ben and Tom.

They Sprayed the black on the cloths whilst I mixed up some paint for the woodwork the same colour as yesterday, I managed to get it exactly the same:

I then painted the final walkway with it.

While we were doing this Will arrived to help so I gave him some of my paint and he did the top of the pier. I repainted half of the bridge as Dean had missed some bits and hadn't done the sides of the planks.

This is a photo of the whole bridge so you can see that my colour matching was a success.

As I finished doing that Will left and the Fermor's arrived, so Jess and Georgia painted the underneath of one upper walkway and me and Tom (Who had finished spraying) did the other one.

At one o'clock we stopped so that it all had time to dry before the actors came in at two.

Today we helped the construction team move the side platforms into the auditorium so that we could make sure they were placed correctly. Then whilst the construction team were bracing them and making them safe, I went up to design to help dan smith fix the model boxes for “Night before Christmas”, “Stalingrad” and “The Ubu plays” as he is taking them somewhere tomorrow to try and promote the miskin.