We first tried to find the easiest way to make these patterns on the ottomans and trunks, and decided that using pure wood and wood staining them to the according colors would help us create the effect we wanted the most. We began graphing the images on to the ottomans and trunks, and begin wood staining them slowly but surely, in order to ensure the finished product looked smooth and well done. It took a total of about 3 weeks to paint all of the ottomans and trunks, with about 3 people working on them daily.

The scenic design was part of a whole student production of a professor written show. We used indications of whee the show would be set and began from there. But the set decoration began after we had a base idea of where it was set. They are a contrast of each other. One is more homey and of human presence. The other is of a left behind garden scene that has been victim to overgrowth.

We had to make a 22 foot pounce for all of the curves, then we drew them out with sharpie by bending Masonite as a guide. Then we did a grey color variation on the yellow marble. We then went in and glazed the yellow, and scum led two reds. Last three steps: veining, lining, and sealer.

Carved foam shield, with added texture and aging. Foam was carved then coated with white tough prime. Then a base coat of sandstone tan was added. A dripped age effect of a few different browns was then layered on.

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.

Simple wood grain for the scene design class.

This statue was carved roughly out of styrofoam with hot wires and other carving tools. then it was sealed and built up with Rosco FoamCoat. I added details (facial features, hat brim, hands, etc) with clay and continued layering with FoamCoat, sanding each layer down smooth. Two layers of CrystalGel were applied to seal cracks, smooth the surface, etc. After a base color, highlights, shadows, and rust detail, I sponged the entire sculpture with Rosco antique gold paint.

Made glazes from Rosco and oil based and then lined with regular paint and then blocked out

I used roscoe paint for all the set pieces as well as most of the prop work. There was often the need to glaze object and you'll notice in the picture that we have a marbling effect in use as well.

The paint was used as a top scumble in conjunction with a black matte on our platforms. Using the blue and black together along the side of the water gave an expansive look to the pool.