senic arts

scenic art work shop 25

wood grain

preparing the bored

using white emulsion and a roller cover the bored in a even layer when dry sand with sand paper then apply a second base cote and repeat

the using a light base cote of oak apply using a small roller sand then add a layer of glassing which is half water solution

the base cote should be the lights tone that appears in the natural wood

mark out the pattern in which you what the individual pice of wood to appear then use masking tape to give straight lines and the effect of panels

mix different tones of wood colors with the glaze to form a smoother solution using a selection of different wood rollers and combs experiment with the different effect , such as wobbling the comb, scaring sections of the pattern and adding imperfection's

this is some of my finished experiment i fond the thickness of the paint and how long i let it dry made a grate difference to the level of detail and texture i feel i struggled with mixing believable wood colors as after this exercise i looked at other woods

workshop to documenting woods

painted wood ,cracked paint, raised paint on grins which light reflects, dirt court in the cracks where pieces of wood connect

sanded coved wood you can see the bend in the grin this image was taking indoor in a shaded area in the wood we see hints of green which gets darker towards the center of the grain the center of the not appears to be more brown

stool take in direct light under florescent lighting and ambient from window hear we can see wobbly age edges of the wood dirt trapped in the blistered grain which may have expand duet to water blistering

i also refereed to

Andy Wilson, making stage props a practical guide. page:160-164

susan Cabtree and peter beudert, Scenic art for the theater second addition pages 342

1. i feel i need to do more research in to different wood how they look and what there qualities and use are for as i feel this would be essential when working on historical and realistic pros and flats etc
2. investigate more technical effects
3. think about what my work will be used for so how durable it need to be
4. fined more wood samples to photograph