I was charged with building the Book of Life for our production of Angels in America Part 1. For this project I primarily used Rosco Crystal Gel to adhere the materials to the surrounding frame and to create a flame retardant barrier between the head source and the material. the entirety of each section was them cover in Chrystal Gell to ensure stab-ability and create the clear sheen we wanted.

This project is the floor for the Williamstown Theatre Festival 2014 production of The Visit. Designed by Scott Pask, Scenic Charge-Keeley Dorwart

After the scenic shop gave me the railing pieces, we outlined where the face on the figures goes with pencil. After that I painted the whole thing a base golden yellow color. Then I went in and coated the golden parts in metallic gold paint. After that I base coated the silver portions with a charcoal gray and went in and covered those in silver metallic paint. After that was the red and blue bits. The entire process took the better portion of a workday because of the intricacy of the colors and the lack of a stencil for some of the parts.

I wanted to create an island that was practical and not loose the magic in the script. I went with layers of the pure colors on a white base and then rag-rolled two greys on top to create a rock-like appearance to everything. I then went back and added a few patches of the bright colors on top and put some florescent in a few spots so when the UV filter passed over it gave some of the units the appearance of movement and added some visual interest.

Mixed Paint to match a photo specified by the designer.

Finished with a clear coat mixed with slight metallic power solution.

We wanted to create a slightly textured resist to create raised, lighter grain on the wood for our boardwalk platforms, painted on masonite. We primed the masonite with backpaint, and then based the boards with a three color wet blend of Rosco Off Broadway colors mixed with white. To create the resist, we used Rosco Flat Acrylic right out of the can. We applied the Flat thickly with a brush, and used a cut squeege and a wood rocking tool to create the raised grain.

For our production of Grease we could not use a real car for Greased Lightnin' so we built our own.
1. we built a 3'x7' platform and placed casters on the bottom.
2. we constructed the sides of the car with 3/4"plywood and attached to the platform.
3. We covered the top of the car and constructed the engine block out of 1/4" ply.
4. We attached 2 12v headlights to the front of the car.
5. We placed a woodbench inside of the car and cut out a door on the passenger side.

This production required a dead black swan that was to be dragged through the house and onto the stage by its neck. I started by carving the head from pink insulation foam. For strength, I covered the beak with gauze soaked with Off-Broadway paint. The neck was made from a piece of aircraft cable wrapped in pipe insulation and then packing foam, all adhered with FlexBond and tape. The entire neck and head was then coated with Foamcoat and then the beak was sanded and painted with Off-Broadway paint. I carved out eye sockets and inserted black marbles for eyes.

On a 3000 square foot CNC routed walkway, we sculpted rough and cracked stones from a mixture of sand, powdered joint compound, elastomeric, and FlexBond. At our shop in New Jersey, we painted the sculpted stones with glazes of Off Broadway and shellac. At the Park Avenue Armory, our team placed sculpted wire forms and patches of pre-painted grass onto a carpeted 20,000 square foot area, and sprayed it all down in one overnight call with a custom-colored cellulose spray insulation material called K13.

I built a coffin to transport the characters on after the ship sank at the end of the show. Nice dark brown with texturing