Scenic Artist, Angelique Powers, shares several techniques on how to create faux patina effects for scenery and props using Rosco Scenic Paint products.

The stone part of the scenery was a sheet of masonite so I had to layer multiple shades starting from the darkest in order to create texture on such a smooth surface. I blended some areas more than others and scumbled the rest to avoid any patterns. For the foliage I based it with a mixture of Orange and Raw Umber, once dried I scumbled on yellow ochre, lemon yellow, bright red, and more of the base colors to give it texture without looking uniformed.

The grass and dirt were created by spraying tinted Jaxsan over carved foam then adhering on tinted sawdust with Flexbond and Crystal Gel. From there we used more Crystel Gel to secure bits of craft moss and tinted cork. The grass had to be able to be walked upon as well as travel to another theatre after our run.

The exterior walls were created by using a wash of Raw Umber to dirty the wood planks initially and then using a layer Elmer's glue underneath scenic paint to create the cracks. The whole unit was then distressed with "dirt" washes.

This was the show drop, and it was painted with Rosco Iddings Paint. The finished drop needed to match the look of the printed proscenium set pieces, so the final layer was to spatter the drop to make it look a little pixelated. The designer did not want the lettering to pixelate, so the lettering was added after the spattering. The designer was G.W. Mercier, Charge Artist Mary Novodvorsky.

For Polovtsian Dances, designer Joe Tilford rendered a digitally distorted impasto painting on scrim with a range of hues including fluorescent red. After a sampling everything I could think of, I found that to get this specific vibrancy of red on scrim I had to use Supersat Brilliant Red, with dye layered on the peaks. The rest is all Supersats and Iddings. A header also appeared during the piece with primitive ink drawings of symbols and figures that echoed the choreography.

Scenic Design for "MADAMA BUTTERFLY" for the Chicago Lyric Opera. Scenery and Projections by Clarke Dunham. Lighting by Ken Billington. Costumes by Florence Klotz. Directed by Hal Prince. Setting represents Butterfly's "Little House On the Hill" and can be viewed from all angles as the revolve unit moves to its different positions, pulled by Kabuki "Koken" (stagehands). Prince, Dunham and Billington then portray the entire passing of hours during the Humming Chorus through many changes of turntable, projections and lighting.

We did Proof in a black box theatre set up in the round, we gave the audience the ability to encircle the entire backyard setting. we made a deck, and laid down turf it was an exceptional experience we then added a rusted/ aged effect to several of the pieces on the set including, chairs, swing, deck and railings, ect.

At Wright State University, Our set for Oklahoma! was a barn, every panel made of luan and 3/4" plywood. Overtop of the regular barn, our set designer wanted advertisements and bits of sky in various parts, to add detail/interest to the set. We started with the plain wood, and then covered it in a grey mixture of joint compound, flex glue and Rosco paint. (Will hence forth be called Goop.) After gooping the wood, we then dragged through it while it was still wet with wallpaper brushes, creating a large grain.

Layers of glazes creating four types of realistic marble floor on an MDF substrate. Each layer of color is separated by a layer of clear flat.