Scene zero. This scene happens first, for 10 seconds before any music or dancing begins. It is so unimportant that they didn’t even drill with it. Nate painted that creek. I love it.
This scene came together so well…
It’s supposed to have a hollow stump that leads to another world, but that didn’t happen. So the story is kind of confusing from the get go.
Scene 1. Mushrooms everywhere. Slipper wanted so much painting that we had to simplify things. They wanted mushrooms. Lots of good versus evil mushrooms.. and trees. Mushrooms and trees don’t have the same scale and it was uncomfortable designing this world. So we used a different color scheme for good and evil. We also needed a way to make mushrooms look evil. So they got thorns..and they lost their thorns when they turned good again.
It’s fine, I’m confused too.
Notice how I am saying nothing about those mushroom props sitting in the front blocking everything. (there were 4 giant props missing too)
Here’s where all the props get taken off and you can see all the glitter that was glued to our painting. The glitter actually looks pretty great in some places. Some of these dancing girls were the glitteratti who made it so.
Scene 2. Evil mushrooms and trees.
They never drilled with this scene, so it is also without mummers in front of it.
It took 3 hours on christmas eve and 5 hours on january 28 (one guy). This is the clutch scene that is supposed to sell the transformation from evil to good, and it got handed to us christmas eve. This scene gave me the most anxiety and i had the least amount of time to complete it…. then it was mounted wrong (2 feet too low thereby cropping a bunch of work and revealing a black bar over the top that was never meant to be seen) and never fixed.
But it looks pretty good, the top 12 gets pulled down after “evil is defeated” and another glorious scene is revealed:
Crap, evil isn’t defeated yet in this photo, but you can see the appropriate scene in the distance, scene 3.
Loads of glitter. This year I began liking the glitter..
From the category archives:
Here’s the “big bad” for Satin Slipper’s fancy time celebration. This is Joe’s (they call him Pukey because he has a nervous stomach, especially for the first show) first foray into foam town, he did quite well.. We then had to paint it.
1 day to paint.
Just before leaving the garage.
And thats how it looks “done”.
Every year there are new problems to solve; some are solved in sketches but most are solved with paint directly on the scene. This is a process post explaining an example of the latter.
(nate’s in the way there)
This 11 foot tall piece of crap showed up in the garage one day and we were told it would be the center prop for scene 1. They couldn’t build the prop because the ceilings were too low (a common problem) so they just build a bunch of flats with tons of luan sticking out for later trimming.
This is the treatment I typically give to a thing I need to make up.. a dark messy color everywhere.
Trying to solve the drawing while Drew tells me my colors suck.
Drew managed to get some red in the studio (he wouldn’t let me use it otherwise) and I remembered the wacky tattoos on folks around the pacific islands. That’s when I knew what it should look like and I wanted to repaint all the previous heads.. no time tho.
He started to look a little like Mumra.. But so what, it was getting fun. Junior, (the client’s son) and I got to chatting about the bottom part of the prop and I mentioned sideways how cool it would be if there was a giant tongue. Somebody said “that’d be great”.
That’s enough encouragement for me.
There it is. Someone clearly left something on the steps but you get the idea.
Scene 3 started with a night time sort of thing; I had just come back from Providence and Barnaby Evans’ Water Fire was still stuck in my head.
The client decided he didn’t want teepees or a fire in Scene 3.
In an effort to save time in painting I tried to keep the painting as simple as possible. The Finnigan “Sketch” they gave me for ideas was basically just rocks, so I figured that was what the client wanted.
I went a little deeper, trying to figure out what color things could be.
The client didn’t like the monolith in the middle. Drew erased it and plopped something he stole from the internet in the middle.
After I finished cleaning up my vomit, I gave in, but Drew had found something slightly better.
I quickly cut out his transparency, cut out the monolith and taped in the new image.
Then we projected.
It took a little while for us to realize we had projected backwards, oh well.
These are quite a bit after projecting. The projection is just to get the basic forms and I prefer to work from a drawn black line projected image before painting.
We were able to work the whole top half nearly together, but it would seem 5 feet panels were plopped on either side just to make the scene bigger.
That’s me again probably not thinking about the extra 10′x20′ I have to make up.
…I tried to find the pictures of us painting rocks, but it is clear that I did not want to remember therefor I will have to spare you the irritance(that has to be a word) of seeing grown men painting what appears to be nothing but rocks… so.. to the connected image at the convention center.
And a close up.
Sketch from my baby sketchbook for waterfall scene (130mm x60mm)
Scene one started as a sketch/doodle then colored (above).
Fitz wanted a buffalo in the mountains so he got 2. He also wanted a ten foot wide water fall, so things were adjusted to accommodate a straight down water fall 10′ wide.
He also got a rainbow (it got cut)
Then we projected my sketch in 10′x20′ sections:
Right after projection.
scene one, top right a little after “projection”.
top parts “finished”
bottom part. The water fall was painted separately and “connected” at the convention center:
That’s a nasty glare, but you can see everything is connected.
All of scene 1 with the props.
And go to PHL17.com for the video.