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	WPI Technical Theatre Handbook: Applying Paint
	Applying Paint Many tools are used to apply paint to surfaces. The most common and familiar is the paint brush. Other common tools are the paint roller, the sponge, and various types of sprayers. Each tool is suited to a particular purpose, but often can be used for others. Some tools offer interesting effects that can be easily taken advantage of in a theatre setting. Below is a list of some common painting tools and their uses: Brushes are often thought of as the workhorse of painting, as they can be used for almost any job. Large brushes work well for covering large areas in a short time, while small brushes are suited to fine detail work. Rollers are suited to covering large areas in a very short period of time for simple coverage, or for special texturing effects. Excellent for floors, walls, etc. Sprayers can be used to cover large areas in a very short period of time. Their nature makes them suited for painting strangely shaped objects as well as blending colors. Sponges can be used for adding textural effects as well as blending applied paint. A set is generally painted in a series of steps, starting with a base coat of paint called the primer. The purpose of priming is to make the materials used on the set appear more uniform. This is important, as often a mix of new and old materials are used. Next, a base coat of paint is applied. Several methods of applying the base coat exist, ranging from using a single color uniformly to blending many colors together. This base coat is the final color on some of the set in areas that have no additional layers painted on top of them. However, many areas will call for additional texturing and detail work, to make a set look dirty, old, etc. Many textural effects are illusory rather than realistic. The illusions are accomplished through the use of paint color and appropriate application of the paint. Rock, brick, and wooden panels can all be simulated using textural tricks. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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