This is the floor treatment for “The Neverending Story” Designed by Jerome Wills. This photo is my test ornament that is repeated many times throughout the entire floor.
Set rendering for "The Neverending Story" by Jerome Wills.
Rendering of "The Neverending Story" floor design by Jerome Wills
The beginning of the symbols on the floor. My original idea was to use a Preval sprayer to achieve the 'glowing' look, but then found that wet blending both sides of the lines did a fine enough job.
Much of the floor has black areas in it to be sort of the creeping 'nothing' in the show.
The Designer Jerome Wills and I are spraying the floor with its underlying texture.
Floor detail with full shade, shadow, and highlights and texture.
Detail of the symbols and their glow.
The final finish on the floor.
Close up on the bottom platform. All of the symbols on the outside had pounced drawings made so they could be transferred onto this platform as well as the one above it.
Close up on symbols.
Portal Rendering for "The Neverending Story"
Close up on the center of the portal. It measures 16'x40', and notice the rendering also included in the picture.
Stage left section of the portal.
Close up of the curlicues on the portal.
Backdrop rendering for "River Rat and Cat" Designed by Jerome Wills. The river in the show is created by a series of planks that move when the river needs to flood. The ladders are trees the character Beaver chops down continuously throughout the show.
Photo call shot for "River Rat and Cat", I painted the backdrop, and supervised the painting of everything else. Note how the plank river in the backdrop meshes with the actual planks representing the river on stage.
This is the Summer Family Musical, "Willy Wonka" Designed by Tony Hardin. Much of this show was an exercise in the process of masking, and geometric layout.
The middle of the floor was not painted because the platforms covered much of the center. The platforms were raised a foot or more, so the paint treatment was still seen at one point or another.
Floor rendering for "Willy Wonka" designed by Tony Hardin
This was the largest circular platform in the show. This photo shows the process of working up the lighter areas of color before masking them to spray or fill in the darker areas while protecting the lighter ones. Generally I worked with a crew of between 2 and 3 people.
Later on in the process of the same platform, we have masked the pentagon shapes and the center sunburst, to lay in the dark purple and turquoise colors.
Further on in our installation and paint process.
This platform I specifically worked on. There is a subtle variation in the dark purple behind the green circles, which I achieved by masking and spraying with a Preval.
Platform renderings from "Willy Wonka"
This picture was taken from our upper platforms seen earlier. This is the final paint treatment for the floor and the large platform.
The hexagon platform was achieved by my assistants with my close supervision.
The gradients on this platform were accomplished by laying out, painting and doing the general gradient of yellow to orange, and masking for the rest of the purple scumble.
Tour show design for "The Princess Who Lost Her Hair", set design by Jerome Wills.
Backdrop for "The Princess Who Lost Her Hair". The backdrop sky was changed between the rendering and the actual backdrop through conversations with the designer and concerns over the extreme contrast of the sky to the clouds.
Rendering for the "Princess" backdrop, as you can see the sky was changed drastically on purpose between the rendering and the actual backdrop. This change was made from the designer's request to have the sky not be so dark.
Magic trees from "Princess", they were painted on bi-fold flats which is why there is an odd perspective to them.
The rendering was combined together for the 'gold' tree and the 'silver' tree which you will see in the next picture.
Original 'silver' tree rendering for "Princess" before this and the 'gold' tree were combined to save space on the flats.
'Emerald' tree flat.
'Emerald' tree rendering. The implemented tree was different from this rendering because the designer decided to match the tree to a specific fabric that the costume designer had picked.