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.

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.

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.

We wanted to create the colors of light on a unit set that encompassed both interior (warm) and exterior (cool) locations. For the wood grained interior we primarily used Raw Sienna, Burnt Umber and Burnt Sienna. For the porch and pump we combined Paynes Grey, Navy and White to create a weathered effect. For the pump, we created a rusted effect using Burnt Sienna and Black with some areas glazed with Clear Gloss.

We wanted to create the colors of light on a unit set that encompassed both interior (warm) and exterior (cool) locations. For the wood grained interior we primarily used Raw Sienna, Burnt Umber and Burnt Sienna. For the porch and pump we combined Paynes Grey, Navy and White to create a weathered effect. For the pump, we created a rusted effect using Burnt Sienna and Black with some areas glazed with Clear Gloss.

This was the show drop, and it was painted with Rosco Iddings Paint. The finished drop needed to match the look of the printed proscenium set pieces, so the final layer was to spatter the drop to make it look a little pixelated. The designer did not want the lettering to pixelate, so the lettering was added after the spattering. The designer was G.W. Mercier, Charge Artist Mary Novodvorsky.

We did a basecoat then 3 or 4 layers of grain using brooms. After that we spattered and did a final coat of glaze. It took 6 class sessions of an hour 1/2.

Sprayed various colors in different concentrations with water and cat litter to blend. Then covered the whole floor with a warm and cool brown spray

cyc - storm