Painted scenery using rabbit glue and canvas
Aims
Through the construction and painting of the set design the student will learn:
- how to translate a design from a drawing to full size
- methods to achieve three-dimensional visual impact on a flat surface
- the use of traditional painting techniques with natural colours and rabbit glue
- self-organisation and group work.
Key Information
| Number of learners | 4-10 |
| Number of staff | 1 teacher |
| ECTS Credits (if applicable) | Not applicable |
Learning process
| Lecture/seminar | Lecture, presentation, discussion (face-to-face or online) | |
| X | Making project | Making a model, mock-up, plan or design (physical or digital) |
| Performance project | Making a performance or demonstration (live or mediated) | |
| Records and Archives | Interviews, photographs and videos of artefacts, annotating archives, creating learning materials (physical or digital) | |
| Independent study | Reading, researching, analysing and evaluating learning materials (physical or digital) in groups or alone |
Type of learner
| X | Student of technical theatre |
| X | Student of theatre design, architecture |
| Student of theatre arts | |
| Professional | |
| X | Researcher |
| General public |
What You Will Need
Duration and schedule
Preparation by the teacher: 6 hours to prepare the teaching materials, groups and work plan.
Preparation by the students: no preparation is required, provided students are familiar with workshop tools, and have a knowledge of perspective, colour theory and drawing.
The workshop is best done as a single, continuous process. Depending on the complexity of the chosen scene and the number of students, allow 3-5 days as a minimum.
Room or type of space
A space large enough to lay out the largest piece of scenery you want to make, with a wooden floor you can nail into. The room should be well lit. You will need access to a sink and water.
Equipment
- long-handled bristle brushes
- long-handled charcoal holders
- a cooker for preparing the colours and glue
- brushes of various sizes
- rulers and squares
- paint buckets
- a large board to use as a palette
- chalk line, or a long length of string
- reciprocating and table saw
- A-ladder or platform, so the canvas can be seen from above when laid on the floor
Most of the work is done standing up. Long-handled brushes and charcoal holders reduce the amount of bending needed when working with the canvas on the floor.
Materials (consumables)
natural-coloured cotton canvas pigment paints, in powder form rabbit glue. Alternatively, use traditional size sticks of drawing charcoal large-headed tacks or nails
Learning resources (books, websites)
Canon stories:
- E.04 Fit for a King: Baroque Court Theatres
- F.04 The Architectural Scene: The work of the Galli Bibiena family
Canonbase articles:
Other resources:
Mello Bruno: Trattato di Scenotecnica. De Agostini, Novara 2009
C. Ossicini and P. Bignami. L’album di Scenotecnica di Koki Fregni. Clueb, Bologna 2008
Susan Crabtree and Peter Beudert. Scenic Art for the Theatre: History, Tools and Techniques. Focal Press 2012
Theatrical chandlers, such as Flints (www.flints.co.uk) sell the materials needed, and their websites also offer advice on how to use them.
Process
Preparation
The learning activity
Assessment and feedback
Our Experience
Tips
Additional information and resources
Credits
| This learning method was made by: | XXX |
| Institution: | XXX |
| Thanks to: | XXX |