Guide To Scenic Finishes
Contents
1. Scenic Finisnes VOL 1 about this book This booklet offers guidelines and suggested formulas for producing some of the most widely used scenic finishes In many cases we have not listed detailed formulas because scenic artistry depends so much on individual tastes and the nature of the project In all cases your own creativity and innovation can greatly enhance the finished product While we don t specify formulas for glazing with Supersaturated Roscopaint most artists recommend one part Supersaturated Roscopaint to two parts Clear Flat Acrylic Glaze or Clear Gloss Acrylic Glaze and two parts water Rosco s Off Broadway can and often is used straight out of the container But many artists prefer to dilute the paint slightly with water in order to achieve a consistency comfortable for them D Marble comes in many colors and textures It is very lal e helpful to work from a sample or photo when painting marble Because water and pressure are the major forces in its formation puddling and spattering with water during the marble painting process will achieve results that look quite natural STEP 1 LAY IN BASE COAT Using a wet blend technique lay in the base colors Blend White or a mixed Light Grey over dark base to add grain pattern This sponge coat may be sprayed lightly with water to soften if desired Allow to dry Apply warm glaze selectively over the surface to vary color of sponged areas Allo2. looks Apply the glaze over your dry brick base notice how the various colors affect the color below Do not apply glazes to every brick allow some original base color to show through for more variety in the surface STEP 4 HIGHLIGHT AND SHADOW The addition of highlight and shadow to individual bricks will pop your painting and add depth Mix highlight color using Off Broadway White thinned to the consistency of whole milk Cut shadow color can be mixed using Burnt Umber and Black As a final touch you may want to add a cast shadow Mix a cast shadow color as a glaze using Raw Umber Ultramarine Blue and Clear Flat A cast shadow should be placed below the cut shadow PAINT USED e Off Broadway Yellow Ochre e Off Broadway Fire Red e Off Broadway Burnt Umber e Off Broadway White e Supersaturated Raw Umber e Supersaturated Burnt Sienna e Supersaturated Deep Red TECHNIQUES USED e Scumble e Stenciling e Glazing YAT TIN E T a a WOOd gral a Rough grained barn board to fine grained mahogany paneling is accomplished through similar techniques Wood grain techniques offer a broad range of finishing options from exterior prairie homes to posh interior libraries STEP 1 LAY IN BASE COLORS OF INDIVIDUAL BOARDS Do a wet blend of Off Broadway Yellow Ochre Raw Sienna and White on the primed surface Maintain straight strokes over the paint surface and vary colors to simulate indivi
3. This technique uses a stenciled pattern over a painted base coat Stencils are an easy but precise way PAINT USED to accomplish a pattern over a e Off Broadway White large area e Off Broadway Pthalo Green e Off Broadway Magenta TECHNIQUES USED STEP 1 LAY IN BASE COLOR e Rag Roll OF WALLPAPER sehen Using a scumble technique lay in a two color base coat over entire surface Assure a smooth e Spatter blend between color fields Using muslin or plas e Stipple with stencil tic wrap apply light rag roll over the base scum ble Dip muslin into paint squeeze out excess and roll gently over entire surface When base coat has dried spatter entire surface with two colors to achieve an even tone across the surface STEP 3 STIPPLE WALLPAPER PATTERN USING STENCILS It may be helpful to snap strategically placed light charcoal lines on the surface to help with stencil registration Place stencils in appropriate location and stipple with a brush or sponge Tip It will look more natural if holidays are left while stippling If additional detail or highlight and shadow is STEP 2 LAY OUT AND CUT STENCILS desired it may be applied at this time using a Wallpaper patterns may require more than one oruot PPRS ie l Distress wallpaper as is appropriate pictured stencil in this process two stencils were used Determine how many are needed and lay out is the final piece with a light spray of Paynes Grey desire
4. diluted with water and applied as an overcoat to a painted surface Learn how to paint more scenic surfaces by going to the Rosco web site Www rosco com click on Technotes Scenic Products Some of the many techniques you can learn e Handmade glazed natural tiles e Painted wrought iron e Rusticated limstone process e Stained glass effect Tree bark And more resco 52 Harbor View Avenue Stamford CT 06902 203 708 8900 1 800 ROSCO NY Fax 203 708 8919 1120 N Citrus Avenue Hollywood CA 90038 323 462 2233 1 800 ROSCO LA Fax 323 462 3338 1241 Denison St 44 Markham Ontario Canada L3R 4B4 905 475 1400 1 888 ROSCO TO Fax 905 475 3351 L15 PANO1 0402
5. busy Experiment with different glazing techniques to discover what level is best for your project PAINT USED e Off Broadway Yellow Ochre e Off Broadway Raw Sienna e Off Broadway White e Supersaturated Van Dyke Brown e Supersaturated Burnt Umber e Supersaturated Burnt Sienna e Clear Acrylic Glaze Flat and Gloss TECHNIQUES USED e Wet Blend e Dry Brush e Glazing STEP 4 APPLY THE FINISH COAT Your finish coat can be flat glossy or somewhere in between Mix one part Clear Acrylic in desired finish to one part water Apply finish in several thin coats allowing to dry thoroughly between coats Tip Many painters mix a small amount of paint in this case either Burnt Sienna or Burnt Umber in the sealer coat this layer of translu cent color brings it all together for many painters l mae Te ee ee T 4 x F eels meee ge DE a cae ne PL E Bnd soo gee E ae lt el fe oe eek 7 bi i e ma Ei rie i 5 i a eed ee eT z i T m p e SE O Or an m od at T a se n i TEL alge eee e 7 z am esa ee a De en T T rr F aR a ee el m a m i T mpka a a T a dma qa ee as i k T m i ba im ici oa fa b a eee ied i op ru Sr 1 z i mn mz F TS el an P ru Rust is a common aging technique on faux iron surfaces This technique is fast easy and very convincing It wo
6. d pattern on cardboard or heavy drafting eis URINE amane aaa a a a film Registration marks on your stencil will and Crear ACTIE rac eee ATRAS assure good matching over a large area Cut stencil and attach to a wooden frame if desired Tip A stencil that is larger than 4 x4 is difficult for one person to use alone NOTE This pattern can also be done using just one stencil and carefully painting individual elements rOSCO prod ucts for the scene nop OFF BROADWAY A complete range of theatrical colors that allows anyone to paint drops and sets with true scenic paint no matter how limited the budget This versatile vinyl acrylic paint may be used on a variety of surfaces It is ready for use right out of the bucket or diluted to stretch your paint budget SUPERSATURATED Brilliant dye like colors formulated to be diluted with substantial quantities of water while retaining binder strength Works on most scenic surfaces including muslin plastic and metal Dries to a completely matte non reflective finish DEEP COLORS This casein fresco paint system offers a wide range of rich theatrical colors Manufactured with substantial amounts of pigments Deep Colors is designed to be diluted with large quantities of water making it highly economical CLEAR GLOSS amp FLAT ACRYLIC GLAZES These clear acrylic mediums can be mixed with the paints for additional binder strength to create glazes and are designed to be
7. dual boards Tip Look at real wood grain notice the variations in color even within one board STEP 2 GRAINING THE SURFACE DELINEATING INDIVIDUAL BOARDS Mix the graining color using Supersaturated Van Dyke Brown Clear Acrylic and water Do not make the glaze too transparent Use a graining brush with most of the paint wiped off dry brush Drag the brush along the surface leaving a combed look Make sure you have enough paint on your brush to do the entire length of the board Vary the amount and type of graining used on each board Drag a dry brush over the grain to soften if desired Using the same color and a thin fitch paint lines between boards to delineate one from another Vary the line thickness slightly for added realism If desired do a light spatter on the surface this will add depth to the final finish Tip Notice that some wood grains have a very short grain pattern it is easy to do a light spatter and drag with a dry brush to achieve a short grain look STEP 3 GLAZING INDIVIDUAL BOARDS Mix glazing colors using one part Supersaturated paint 4 parts clear glaze 4 parts water You may use one or two glazing colors as you prefer You may use Off Broadway paint for mixing glazes although they may not be as clean as Supersaturated glazes Apply glazes selectively over grained surface Glazes allow for variations in color and give depth to a paint finish but they can make the surface too
8. e surface with your base coat colors assuring variety throughout the surface MORTAR COLORS Iii Mix spatter colors Remember to vary the consis tency of your paint to achieve a variety of dot size in your spatter When the base coat has dried spatter entire surface Using a variety of spatter colors and dot size will lend a realistic look SPATTER COLORS ow Bricks come in many sizes and colors some very old and worn while others look brand new The STEP 2 STENCIL BRICK PATTERN ON SURFACE Prepare your stencil Lay out and cut desired sizes from heavy paper oak tag or drafting film Remember to put registration marks on the edges of your stencil so your repeats are consistent Mix your brick base color using Off Broadway Fire Red and Burnt Umber mix two different colors if desired Line up your brick pattern stencil and stipple the brick base color onto the surface using a sea sponge or stiff brush Tip Do not be too consistent from brick to brick leaving holidays adds realism STEP 3 ADDING CHARACTER TO YOUR BRICKS WITH SPATTER AND GLAZES When looking closely at many types of brick one may notice small holes in the surface The use of a fine spatter over the entire surface will replicate this effect convincingly Mix two to three glaze colors Raw Umber Yellow Ochre and Burnt Sienna in the Supersaturated Roscopaint range can all be used Experiment with different colors for different
9. ne requires a series of spatters in appropriate colors over a scumble base coat STEP 1 LAY IN BASECOAT Apply a scumble base coat using Off Broadway White and one or two mixed colors This will provide an excellent base for subsequent spatters STEP 2 MIX SPATTER COLORS CORAL SALMON GREY WHITE AND BLACK You can create these colors by mixing Off Broadway Fire Red Orange and White in different proportions The consistency of your paint will determine the texture of each layer of splatter Experiment with each color to determine proper consistency STEP 3 BEGIN LAYERING SPATTER COLORS Begin with Coral Salmon and White Establish a good base using a combination of colors This is a very coarse spatter that covers a majority of the sur face Allow the first coats to dry somewhat Apply the Grey and Black more sparingly over the pinks Tip Color can be added at any time if too much is lost in the layering process PAINT USED e Off Broadway Fire Red e Off Broadway Orange e Off Broadway White e Supersaturated Velour Black TECHNIQUES USED e Splatter STEP 4 FINAL GLAZE A final glaze coat over the entire surface will pull together the various layers in your stone Mix a light glaze using 1 part Clear Gloss Acrylic and 1 part water you can add a small amount of color if desired and brush over surface W ol a eC Wallpaper can D D be accomplished in a number of ways
10. rks well on both 3 dimensional and painted detail STEP 1 DELINEATE RUSTED AREAS Begin laying in basic rusty areas using Off Broadway Burnt Sienna Basic areas should be small and irregularly shaped often concentrated around joints in iron work Tip This step can be done using a sea sponge Lay color on surface and Stipple with a wet brush leaving an irregularly thick paint film STEP 2 BUILDING RUST THICKNESS On top of areas treated with Burnt Sienna begin Stippling small areas of Orange and Chrome Yellow with a very dry brush use Supersaturated Chrome Yellow Sparingly Experiment with plain water stippled over areas of Orange and Yellow while still wet This will give a more natural look to the rust thickness STEP 3 DISTRESS Once sufficient rust level has been reached apply a layer of distress or dirt to your finish Mix and apply a white glaze Supersaturated White Clear Acrylic and water on surface allowing the glaze to flow into deep places on surface Blot wipe away any excess assuring the distress is not too even across the surface PAINT USED e Off Broadway Orange e Off Broadway Burnt Sienna e Supersaturated Chrome Yellow e Clear Flat Acrylic TECHNIQUES USED e Stipple sponge and brush or an it Although there are many varieties of granite the technique for painting them does not vary significantly Painting granite and many other types of sto
11. w to dry i STEP 2 ESTABLISH GRAIN OF MARBLE Lay in major vein areas in light color these will be glazed later for a more natural look Assure that no pattern emerges in this process Marble is very random Lay in minor veins You may want to wet the surface before laying in the veins to soften as they are applied You may also apply vein and then spray with water to soften IE VEIN COLORS PAINT USED e Supersaturated Velour Black e Supersaturated White e Supersaturated Red e Supersaturated Moly Orange e Clear Gloss Acrylic TECHNIQUES USED e Wet Blend e Glazing e Puddling e Veining e Sponging STEP 2A GLAZING Apply 2 3 glaze colors as appropriate A dark glaze applied to the dark basecoat areas will make them appear deep and richer STEP 3 VEINING AND FINAL GLAZE Apply additional veining detail as needed using a variety of colors if appropriate Wetting the sur face lightly will enhance your results Apply glazes on select veins to add interest Allow to dry thoroughly Apply a final coat of Clear Acrylic Gloss to the entire surface for added depth brick wal following technique is a basic guide for a common brick wall that can be adapted to suit many types of brick STEP 1 PAINTING MORTAR Mix base coat mortar colors to the consistency of light cream Your mortar colors should be light in value with some gray brown components Using a scumble technique cover the entir
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