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.

Circus like creation for the play The Resistible Rise of Arturo Ui at Columbia College. The screens were projected and hand outlined then painted with watered down paint to create an opaque area that could also be back back lit.

Circus like creation for the play The Resistible Rise of Arturo Ui at Columbia College. The screens were projected and hand outlined then painted with watered down paint to create an opaque area that could also be back back lit.

My biggest solo project was the 10 foot translucent, backlit moon! First I worked in the basic textures with charcoal and water. Then I went back in with some very, VERY watered down greens and blues. For the moon to stay translucent, the paint could not be too layered or too thick. It was a careful process that required a lot of gentle layering and water, and in the end, the moon became one of the focal points of the show, providing a space for actors to be silhouetted, a sense of distance, and a sense of something supernatural taking place upon the island.

After painting a white base I went in to add 4x4 squares with a black marker. I then smudge around a watered down brown to make dirt and added white over it to make areas pop. After I added shadowing to the bottom and left of each tile and highlights to the top and the right. Last step was adding a glossy to give it a bathroom shine. This made bathroom tiles.

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.

Foot light Shells - Chicago
Detroit Country Day School
Vacuum formed shells were purchased and prepped for process.
Step 1. Shells are coated with a layer of crystal gel allowed to dry.
Step 2. Shells are base coated with Rosco Off Broadway Antique Gold
Step 3. Shells are then scumbled lightly with a mixture of Aztec Gold Mica powder and Crystal gel.
Step 4. Shadowing painted in shell scallops with Rosco super saturated purple toned down with velour black.
Step 5. Dusted with Krylon Black enamel spray paint.

Designer's 1/2 " scale renderings were gridded and the outlines transferred to gridded kraft paper with charcoal. The lines were pierced with ponce wheels and the paper taped to stretched muslin drops and ponced with powdered charcoal. The dotted lines were then inked with Sharpies and the painters used mainly 4" lay-in and 3" sash brushes to base paint and add glazes.

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.

40' X 12' Mountain carved at the Alley Theatre out of foam, coated in jaxsan and painted with Off Broadway paints. The interesting thing about this mountain is that it is only 18" deep at its widest and had to be broken into 10 pieces for loading in purposes. Carved with sawzall (I wanted to use a chainsaw but couldn't)