Projects and Shows

A collection of all the shows, projects and personal work I have done over the years

Starting off this show, I wanted to make sure I got the subtleties in colors that were present on the scenic elevations. I spent a decent amount of time comparing and making sure I got the colors that I wanted that would help achieve that concrete look that the designers were wanting. Once that was done I made a few sample boards in order to figure out the ratios of paint and the treatments that would be best suited for this production. I talked a lot with the designer throughout the entire process to make sure that it was perfect. We continuously talked throughout the entire build and paint process, up until the show had its first performance.

After the construction of the pieces, we attached muslin to them with a mix of glue, water, and our base tone. Then we base-painted it again in order to make sure the muslin was properly attached and wouldn't come up. Then we did a wet blend scumble with the base tone and a darker tone to add dimension to the walls. After that was dry, we did a fine splatter of three different tones. The final step was to add a very light grey wash over the walls, which we achieved with sponges and our spray bottles, to add aging and dimension to the pieces.

For the floors, we used the same paint colors but grabbed some Payne's grey to add some darker tones so It would show up better on stage. We did a simple base coat, and direction brush strokes using a chip brush. Using our lightest, darkest, and middle tones, we used the chip brush to create a brushed concrete look. Once the middle section was complete we went back over the edges and added a directional grain to border the floor pieces.

I was very excited to charge Life Sucks. During the entire process Javi Sanchez, the designer, and I continuously talked about what paint treatments and colors we would like to use to create the most effective version of the scenic elevations. We did many different paint treatments for the different sections of the house. For the Main floors, we did a very simple wood floor pattern on top of a wet splatter of colors. Making sure we followed the rendering of the floor was important to us, as it had a weathered location on the ground, in which the family would normally walk. We did not include the wood panels for those sections, and the paint was lighter in tone and hue. Leaning more into the yellow and orange families.

For the kitchen floor, the tile was enjoyable. A simple checkered board pattern was lauded on top of the base coat. Before we added the orange tiles, I used a mix of colors to add the distressed edges around the MDF pieces. Making sure to fade the colors the closer it got to the center. The orange/pink tone was then added to the tiles that were needed. For the distressed edges of the tile, I used a sponge technique to distress the edges and blend them into the sprayed tones. This was very fun and challenging in making sure I was painting the correct tile, and following ht elevations in how distressed each tile was.

For the garden area, we used the same techniques for the flooring as we did for the pergola. After the base coat, we did multiple dry brush dragging passes. One with a very muddy brown and then another with a blue-toned grey. This was to show the audience that this was outside and sunbleached. After the dry brushing, I went in with a wash to muddy the colors even more to match that sunbleached and weathered wood look. Then, we added the wood planks following the directional brush strokes that we had been using. The last step was to use the same colors sprayed on the kitchen floor, to the edges of the garden floor.