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Monday, March 05, 2018
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4 comments:
Patinas always struck me as one of the hardest things to paint - rather than woodgrain or brick or some other wear and tear, the patina of something has to be a lot more subtle and can be wildly different on different materials. I've tried to paint them before, and I've never been able to get them quite right. The sheer amount of colors used in this tutorial is astonishing - the different tones and hues in even one copper patina is mind boggling when you think that most people will just register it as 'minty green' when they see it on stage. The technique of sponging the paint OFF the metal rather than on was actually fascinating and had a really cool look that I would never have thought to try otherwise. I would love to see how doing this effect in other colors would look - how would a gold patina on copper appear, or a purple one? It may not be realistic, but I think it would be a fun effect for fantasy or science fiction environments, or just to play around with.
These railings are absolutely gorgeous. It’s great that Rosco is showing different ways and techniques to use their paint. However, because they are advertising their most expensive line of paint, these tips are probably not going to the people who need it. Besides students, most people who are using the Super Sat are probably painters who work for bigger companies with more money. Since the painters are working for bigger companies, they are most likely more experienced painters. I’m glad that they show an example with their cheaper paint, the Off-Broadway. I also wonder how easy this technique is to apply. The article makes it seem easy and user friendly but I’m sure it requires a lot of skill. A lot of the technique seems to be looking at it and playing with it until it looks like what you want, which will require practice. Nevertheless, the images in the article are beautiful and I’m excited want to see this technique in person.
Patinas are so amazing. They are always one of those things that I see on set or in designs that really makes it real to me. It just looks like something that you wouldn't be able to recreate with paint and effects. Rosco and what scenic painters and designer do with their paints amaze me. The technique and the skill needed to create these effects are. I have tried to paint different things that and create these effects in the past for a scenic painting class that I had but I was never able to get the proper effect with the tone and value that I wanted. When executed properly on stage though this effect can give audiences a true feeling of time and place that is special for the way that it is created. I really wonder how easy the paint is to create and how cost efficient it is as it seems to be a time and labor intensive process as well as one that may require a lot of different types of paint.
Patinas are a piece that can really complete a show given the right circumstances. That being said, I always operated under the assumption that only highly skilled painters could address. The detail present in attempting to emanate a natural process with only paint. As far as the article itself goes, the process photos are truly beautiful, and exhibit this challenging process being done extremely well. In terms of the proposed process, one thing that I learned from Beth during the paints mini is the effective process of removing paint with sponges to create texture and gradient. This technique is really interesting and obviously effective, something that I do wonder is how much time and patience it takes to get it all right. Meaning, how many treatments in how many varying colors will need to take place for each individual show’s needs to be addressed. This is definitely a labor intensive and time consuming process, but, in the right case, it is absolutely the right decision.
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