PHOTOS: SEAN O’SKEA

Creating three dimensions out of two with shading and shadows

BY SEAN O’SKEA in the basic scene-painting and brick close) means “fool the eye” and is illusion. By adding the cast shadow project articles featured in the fall present in any kind of two-dimensional and the highlight to the rectangles of and winter issues of Teaching The- painting suggesting three-dimensional orange paint, we were able to suggest atre, I introduced several fundamental space. It became popular during the the “bricks” had actual dimension. With techniques. The trompe l’oeil project Renaissance when the techniques of attention to light and shadow, all sorts I’m going to explain here assumes foreshortening, forced perspective, and of low-relief ornament can be convinc- you have read the previous articles or highlight and shadow became common ingly suggested. Master the basic tech- have some basic scenic art experience. in art. Today it typically refers to any niques, and trompe l’oeil can make the This project looks very impressive and kind of painting on a flat surface that moldings on your sets appear to be far complicated, but I’ve always had stun- attempts to make viewers believe they more elaborate than they are. You can ning results, even with novice students. are looking at an actual 3D object. suggest wainscoting, tile, flagstones, By following these steps and choosing Trompe l’oeil is very valuable in the- bookshelves, and all sorts of textural the right source material, both you and atre as we can use paint to make flat finishes you might otherwise have to your students can achieve illusions like surfaces of muslin or plywood appear build. There are plenty of ways to cre- those pictured here. to be richer and more detailed than ate dimensional bricks, for instance, Trompe l’oeil (it’s a tricky French they actually are. The brick project of- but most involve gluing something to pronunciation but “tromp loy” is pretty fered a simple example of that visual your flats. All that extra material still

TEACHING THEATRE 17 has to be painted, and once you’ve to use yellow-ocher sandstone (figure Now you have a clear cartoon stuck something to your stock flats A). I then spattered on a fine spray of you’re ready to paint. you’ll have to scrape it all off. With dark brown and light gray dots to sug- First, you need to decide what trompe l’oeil effects, after you add a gest the surface has a little grittiness. direction the light is coming from, so quick basecoat, you’re ready to create This base coat needs to dry completely you can figure out how to highlight the next set piece. before moving on to the next step. If your image. For beginners, I highly your students mix their own colors for recommend simply matching the light Step 1: Find the images use in the basecoat, make sure they direction in your original image. Mark While faux wainscot and molding will save a little as it could come in handy the direction of the light with an ar- probably be more useful in the long later to touch up mistakes. row in the corner of your flat to help run, it’s nowhere near as fun and re- you remember. If there isn’t a strong warding as painting a bas-relief lion’s Step 3: Cartoon your image light direction, forty-five degrees head, green man, or gargoyle. For our There are a number of ways of getting above and to the side is usually the purposes, I’m using the lion. But you your image onto your flat. A pounce easiest. can easily find something else for stu- wheel and paper were used by Renais- The trick here is to think in 3D. dents to choose from on websites like sance fresco artists, and these remain Picture a ball sitting on your flat and a flickr.com. Search with terms like “bas- tools used by professional scenic artists desk light pointing at it in the direc- relief” and “architectural ornament”; today. But a pounce may be a bit more tion of the light in your image. The even something as specific as “carved complicated than you might want for parts of the ball that are facing the stone green man” will net hundreds of a class project. Pounced patterns are light will be brighter (highlighted) as results. I usually have a few quatrefoils especially useful if you are going to the surface curves away from the light or fleur-de-lis for students who might be repeat the image in several places on it will move into mid-tones, and as it overwhelmed by more detailed images. the set or if the image is strongly sym- starts to curve toward the side oppo- Typically, organic shapes are more for- metrical. For now, use an overhead site the light it becomes shaded. Fi- giving. Art-deco style motifs might look projector. If you’re set up to use a digi- nally the ball itself will cast a shadow simpler, but all that geometry has to be tal projector attached to your laptop, onto the flat directly opposite the just right. Similarly, avoid perfect little great, but old-fashioned transparency direction of the light. marble angels and Greek goddesses projectors work just as well. for all but the most advanced students. Photocopy your image onto over- Step 5: Add shade and shadow The quirky, crude carvings of medieval head film and tape it to the projector I encourage students to start with ornament (green men, gryphons, and plate to prevent it from sliding around shade as it is a bit easier to visualize gargoyles, oh my!) tend to be the most while you work. Adjust the projector than highlights. Following along your successful subjects for beginners. so the image fills the flat. Use chalk or cartoon, paint in the shade. Shade is charcoal (depending on the color of the “dark side” of objects. Shadows Step 2: Basecoat the canvas your basecoat) to trace out the im- are in areas that aren’t receiving any You can paint on any material com- age (Figure B). It’s tempting to use a direct light. For example, in figure D, monly found in your scene shop. sharpie, but the ink will bleed through notice how the lion’s lip gets shade (a Masonite is inexpensive and its smooth several layers of paint. Don’t put in too thin wash of dark tone) as it curves surface makes it easy to paint on, much detail or the cartoon can get con- away from the light (coming from the but I tend to have my students work fusing. Have the original image in your upper-right), but black shadows fill on muslin so they can cut it off the hand as you work so you don’t get lost the mouth, nostrils and deep val- frame and take it home with them in the enlarged projection. Turn off the leys in the mane that are completely when done. A three-foot by three-foot projector and make sure you haven’t blocking the light. Areas that are flat flat, give or take a foot, is about right missed any areas (Figure C). (parallel to your wall) can be left for this project. You might ask your alone. These are mid-tone areas that students to think about what kind of Step 4: Prepare your cartoon for are halfway between highlight and material their sculpture is carved from. painting shadow. Hard edges of shadow will A simple beige limestone is easy, but Set the flat onto a worktable and clean indicate a sharp corner on the object. they might consider terracotta, vari- up any ill-defined or confusing parts Soft, gradual shadows will indicate a ous colors of granite, sandstone, even of your cartoon. It’s important you un- smooth curve. Notice how quickly the bronze or marble for more ambitious derstand what you’re looking at before tones shift from mid-tone (no shade) students. Have them do a little research you start applying paint. Of course you to shadow on the nose or on the and they may come up with some can add or simplify any elements you architecture. This is indicating a sharp interesting choices. wish. “Flog” your flat before moving change of angle, unlike the long, soft Once the primer is dry, scumble col- on, using a rag to swat the surface of transitions on the cheeks, suggest- ors appropriate for the choice of mate- the flat to knock off excess charcoal. ing a more rounded shape. For these rial you are suggesting. Here I decided Careful not to wipe or you’ll smear. gentle shades, use a clean, wet brush

18 TEACHING THEATRE A B

C D

E F or sponge to soften the edges of your brushstrokes. It’s very important to thin the paint considerably, almost to a watercolor consistency. The paint should flow off your brush like ink from a fountain pen. Thick paint right out of the can DIRECTION OF LIGHT leads to a smeary frustrating mess for new painters. Keep clean water and CAST SHADOW HIGHLIGHTS a clean brush nearby to soften any heavy brush marks before the paint dries. It’s much better to have just three tones of paint: a thin shade wash, SHADE MID TONES black for deep shadows, and a thin (background) highlight color. Use multiple coats of shade tone to gently darken areas (not unlike watercolor), instead of a paint- SHADOW by-numbers approach with many dif- BLACK FOR ferent pots of paint. DEEP SHADOWS Refer to your original frequently so you don’t “get lost” as you paint. Step back and check your work often. Keep a clean, damp rag or sponge nearby to quickly wipe up drips or mistakes. With the paint so thin, if you catch a Highlights go on areas facing the light. Shade and shadow go on areas opposite the light. mistake right away, it will usually just wipe off. might otherwise be mid-tones or even Occasionally I’ll have a student Step 6: Add highlights highlight. Look at the shadow just to struggle with a trompe l’oeil project, Tint a little white with your primary the left of the lion’s mane in Figure F. overwork the paint, and end up with basecoat color and use it to add high- That area is actually flat but because a dark blurry mess. I always encour- light. Here I’ve used the same creamy- the lion is projecting off the surface age the student to start over. It’s just grey I used in my spatter. Highlights of the wall, it’s casting a shadow onto paint. Usually, in a second attempt, a are just like shade but on the oppo- the keystone. Now look at where the student pressed for time will lay in the site side of the object. Remember to arch molding meets the keystone in tones in a hurry and be stunned by think in 3D. The parts of the object the lower left. Notice how the top of how much better the work looks. In that are directly facing the light will the trim appears to be almost flush my experience, working quickly and get highlights. For example, the side with the face of the keystone, so the using the largest brush you can pro- of the lion’s nose getting highlights cast shadow is very thin. But look duces the best work. I painted most in Figure E is facing the light coming how the shadow gets bigger as the of my lion with a 1 ½” sash brush from above-right. Usually, unless you trim steps back further down. The (Figure D). With a good brush, if your are suggesting a very glossy material, size of cast shadows depends on cartoon is clear and your paint is thin, you can go easy on the highlights. I how far off the surface the object is you or your advanced students should typically have to encourage students projecting. When you’re done don’t be able to lay in the shadows of a to darken their shade and shadows. forget to step away. This kind of fairly involved image in an hour or Too much highlighting can make your painting is meant to be seen from a so. A beginning student might take six object look dusty or covered in snow. distance. or seven hours to create a piece like Notice in figure F how little high- This lion seems to be a complicated this, but if you have the class time just light there is compared to shade and image, but as I said at the outset, creat- imagine the self-confidence a project shadow. ing it is easier than it looks. Figure G like this can instill in your students. points out the image’s shadowing and Step 7: Add cast shadows shading. If you look closely, except for Sean O’Skea is an associate professor of If you haven’t already, add cast shad- the eyes, nose and mouth, everything design in Southern Oregon University’s ows. These are areas where project- in the image is either a straight line, Department of Theatre. For more tips ing objects are blocking the light and or vague wavy lines like those in the and project ideas, visit his website: casting a shadow onto areas that mane. http://oskea.com/Downloads.html.

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