This is a section of the groundcloth for our touring show, "The Little Mermaid" Designed by Jerome Wills. The project is a trapezoid, roughly measuring 16'x18'x20'. Much of the textures were achieved by masking and spraying, as well as a texture roller for the shell itself.
Groundcloth rendering for "The Little Mermaid" designed by Jerome Wills
This map is the backdrop for the same tour of, "Mermaid". It is 9'x16'. Much of what I am proud of is the attention to detail and the worn look the texture creates.
Backdrop rendering for "The Little Mermaid". Through conversations regarding time and maintaining design integrity, the designer and I decided to simplify the final backdrop by reducing the amount of lettering.
This is the backdrop for, "Holes" Designed by Carolyn Voss. The drop is 17'x48'. This is my most successful photo-realistic landscape example. I also enjoyed experimenting with atmospheric perspective.
Backdrop research for "Holes" designed by Carolyn Voss
This is a process shot from the desert drop, the drop was painted from top to bottom. After the sky was painted it was folded down to make room for construction to continue.
The stage left butte in its beginning stages of texturing.
This is the set in front of the backdrop. I conceived and implemented the process for the cracked earth floor and all of the platforms.
Floor rendering for "Holes"
More of the floor, we had plywood directly on the floor to give the illusion that the set was snaking out into the space.
All of the platforms for "Holes" were a version of cracked earth. This was all mostly achieved by a general sponge roller texture along with brush work for the cracks.
"Best Christmas Pageant Ever" Designed by Jerome Wills. 4 of the drops featured are translucencies including the stained glass panels center stage. They are muslin panels painted with Dharma Dye pigments and supersaturated paint.
The mountain backdrop transluces in the orangey yellow areas.
Close up shot of the bottom platforms. Much of the texture was painted with mop tendrils and the platforms were originally painted bright orange and yellow, to give a glow from 'below' the paint.
Even closer photo of the platforms.
"Go Dog, Go" Designed by Jerome Wills, some of the challenges were a 3 point perspective diamond floor, and over 2,000 hand-painted rivets.
Flat luan painted set piece for the cake scene. Notice the lattice work on the cake.
Red Dog's car, stylized hot rod flames.
During the show, there is a bit where a scale model of the set is used to 'play' on for the dogs. I did the majority of the painting of the model. Yes, all the rivets have their highlights!
There were over 2,000 hand painted rivets in this show, I supervised the painting and taught a crew of 5 inexperienced painters about shade, shadow, highlight, and bounce light.