Sustainable Practices from Historical Traditions
Research Funded by a USITT Fellowship and a Youngstown State University Research Grant
I explored the techniques and materials used in the creation of historical paint crafts in hopes of finding more sustainable practices for contemporary scenic artists. Traditional techniques use natural paints made from minimally processed ingredients and do not contain petrochemical or synthetic ingredients, including lime- and clay-based paints colored with natural pigments created from ochre and minerals.
The FlorenceArts is an Italian decorative arts studio specializing in the renovation of historic paintwork and the original work painting objects and surfaces using these traditional techniques. The studio allows a limited number of outside artists to engage in experiential learning opportunities guided by working practitioners. I had anticipated all my discoveries would center on the natural materials. I was surprised to find that the techniques and methodology offered sustainable options are easily applied to my contemporary work. Re-engineering process for greater efficiency and less waste ia a move toward greener scene painting.
The FlorenceArts is an Italian decorative arts studio specializing in the renovation of historic paintwork and the original work painting objects and surfaces using these traditional techniques. The studio allows a limited number of outside artists to engage in experiential learning opportunities guided by working practitioners. I had anticipated all my discoveries would center on the natural materials. I was surprised to find that the techniques and methodology offered sustainable options are easily applied to my contemporary work. Re-engineering process for greater efficiency and less waste ia a move toward greener scene painting.
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Greener Color Mixing Process
At Florenceart, paint color was sampled by applying wet paint to a wet metal trowel with each color touching. For related colors, the evaluation was based on the number of value steps between the samples. With different hues, the evaluation determined whether the level of harmony or contrast was appropriate. Only 1 color was evaluated and altered in each step, although there might be any number of colors on the trowel. Once any need for change was identified, the trowel was rinsed in a bucket of water, and the process repeated with altered paint samples. I found the technique very effective for comparing the balance of colors in any application whether comparing values of the hue or contrasting colors.
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Creating 3 D Images Without Transparent Cast Shadows
Chiaroscuro or “Light-Dark”: The manipulation of light and dark values creates volume and 3-dimensionality in painted objects and figures. The Renaissance process for Chiaroscuro uses a precise formula to mix and paint the shadow and highlight colors that create volume on a 2-dimensional painting. Tinta locale is the neutral base color, which defines the material of an object without highlight or shadow.
Shape is defined by multiple opaque shadow and highlight colors. The maximum dark color describes overall form. Subsequent shadow colors fall in even steps of value between the value of the darkest shadow color and the tinta locale. The cast shadow is a frayed dry-brushed edge, instead of being created with a transparent wash with a feathered edge. The final cut line color or fitta is 2 steps darker in value than the maximum shadow color and has a tonality and saturation shift to make the cut line pop. It may be transparent or opaque. No additional lining other than the fitta is required to clean up edges or to read the transitions in plane. Two highlight colors are used to show where light strikes the object and are mixed in equal steps up in value from the base color. The brightest highlight is the cato bello, which is also opaque. |