Part 2

The amateur artist who sets out to paint a piece of scenery for the first time in his life will probably be far too painstaking in his work, or rather he will take the wrong kind of trouble over it. He must remember that all his work is to be viewed at a distance and under very peculiar conditions. There is a blaze of light from the ground upward and from the sky downward, and frequently from both sides of the stage. Therefore it is useless for the amateur scenic artist to work as though he were painting a picture. He must always bear in mind what his work will look like when it is lit up on the stage. He is strongly advised to begin at first with broad effects and to watch, if possible, to see what effect his first work has when it is lit up on a stage, before he goes on to anything more ambitious.

[Illustration: Nº 4 PROCESS]

A simple plan for an amateur who is working in the dark, so to speak, is to proceed in this way. Let him get hold of an old scrap of scenery and copy it as though he were drawing a picture of it. Then let him put in the lights and shades, and he will soon see for himself how to procure the effects demanded in stage scenery. His chief fault will probably lie in a failure to appreciate the effect of what he is painting when it is presented in stage light: he will probably think that there is too great a contrast in his lights and shadows, but he must remember that the stage lights have a softening effect on such contrasts, and therefore in a stage picture they must be over-emphasised. The amateur actor is usually just as nervous about overdoing his make-up, because he does not take into consideration the effect that the stage lights have on a face that is not made up. The most unbecoming little shadows are cast upon the face, and one of the secrets of making-up well is to ‘allow’ for these by means of grease paints applied in such a way that the complexion seems to be entirely natural.

The scenic artist must therefore remember that his work is going to be judged under circumstances very different from those under which it is done, and he must make allowances for that fact, otherwise his scenery will be grotesque. After all, very few scenes, especially out-of-door scenes, in theatres, are really life-like. They suggest the open-air scene rather than depict it.

[Illustration: Nº. 5 PROCESS]

TO ENLARGE A SKETCH

[Illustration:

_Portion of Canvas Showing how to enlarge Sketch to scale._ ]

The best method is to sketch on to the canvas, then rule up the design into a number of equal squares or rectangles, then using a chalk line divide the canvas into precisely the same number of spaces.

The rest is easy; it is only necessary to follow the original design, square by square, and map it out on the canvas.

The sketch should, of course, be in absolute proportion to the cloth. If it is square, any square is right. If, for instance, the cloth were 30 feet by 20 feet, the sketch should be 30 inches by 20 inches, or 15 inches by 10 inches, as most convenient.

PERSPECTIVE

If the reader is familiar with even elementary perspective, this chapter will not aid him, for it is not within the scope of this work to instruct in a science which is adequately covered by literature especially devoted to the subject.

The object of this chapter is to give the amateur an opportunity of producing by the simplest methods an interior or exterior back cloth which will be reasonably convincing in its perspective lines.

For this reason, the orthodox means of obtaining accuracy in fixing the vanishing point, scale, and all other technical explanations have been omitted as being useless unless the reader has the assistance of a qualified student to help him in deciphering the diagrams.

It must not be assumed, however, that the result of following these few instructions will be a something that is not perspective. With intelligence a very respectable interior, for instance, can be set out, which will satisfy most people, if not the professors.

If, on the other hand, an attempt is made to draw out a scene without some method of perspective, the result will be in all probability ludicrous, and ‘Chinese’ in its lines, producing an irritating effect on an audience of discernment.

Perspective is the view of objects flat or perpendicular, as they appear to the eye, and not as they really are. The farther an object is from the eye, the smaller does it appear to be, until at last it seems to vanish at the limit of vision, that which we call the vanishing point. If we look through a long straight tunnel we see ground, sides, and roof all converge to a point of light—the other end. If the tunnel is lit by lamps at the sides, they will be seen to get smaller and smaller and closer and closer together as they approach the outlet. They do this in strictly decreasing proportion, and no two spaces are alike. To attempt to draw these spaces correctly without a method would be futile.

Now all straight lines, whatever they are, rails, bricks, lamp-frames, etc., that have their ends to the mouth of the tunnel, get closer and closer together as they recede, until they appear to nearly meet at the point of light, and this fact is the germ of perspective drawing. The horizontal lines, however, such as sleepers and the sides of the lamp, although they decrease in width and length, remain quite parallel to the very end of the tunnel.

Therefore we have two leading facts, (1) that all lines going away from us tend to meet, and (2) all lines across our path remain parallel. If our tunnel is a square one, and we chop it up into a number of sections, what have we but a series of rooms end on end. Consequently, keeping the principle of the tunnel in his mind’s eye, the reader should have little difficulty in setting up a correct interior. Of course doors, windows, columns, pictures, etc., have their widths to be determined, and these must be laid out on the same principle as the tunnel lamps.

[Illustration: _Fig I_]

Fig. 1 of the illustrations shows a simple interior including ceiling, floor, back wall and two side walls. It will be seen that from corner to corner of the canvas are diagonal dotted lines, and where they cross in the centre is a point marked V.P. which is the vanishing point or ‘end of the tunnel.’ As we do not require an endless room we cut off several miles of it and put a back in. This can be done by dividing each of the diagonal lines into four parts, and drawing up to the four points (F) to make the back of the room.

We now have something like a square room, with four equal sides, on the back wall we put what decoration we like without troubling the vanishing point except that no object that is equal to a similar one on the side walls must exceed it in height, although it may in apparent width. To set out the columns on the right-hand wall, draw a line (B) from the left-hand front corner through the right-hand back corner of the floor, and continue it on until it cuts across a horizontal line (C) drawn in through the vanishing point, thus forming another point marked A. Now as we have considered this a square room, of course our base line D is really the same length as the side walls, so we mark our columns on D in their proper places. Then we draw lines from each of such marks to the point A, and from where they cut the floor line of the wall we draw perpendicular lines up the walls to give us the elevation of the columns in perspective spacing and width.

The left-hand walls and the ceiling show a simpler method, when merely a single central feature is wanted. Simply draw diagonal lines corner to corner, and then a vertical or horizontal one, and the exact centre is found; then mark out the feature, seeing that all the going-away lines tend towards the V.P. The position of the V.P. as shown is not a fixed rule, but merely for simplicity of instruction: it may be above or below the centre of the back wall, or to right or left, giving a different aspect of the room; the general rules described still apply.

Fig. 2 shows a method of setting out a parti-coloured paved floor. Divide the front line into a number of equal spaces, draw lines to the V.P., then A to A, then horizontal line B, through the centre cut, which allows C to C to be drawn. Then draw the other horizontal lines, cut vanishing lines, and the floor will represent a draught board in perspective, cross each square with diagonal lines, and the pattern can be made diamond-wise. With this basis to work on, many geometrical patterns can be set out in perspective, and of course a ceiling decoration would be painted on similar lines.

[Illustration: _Fig II_ _Fig III_]

Fig. 3 is a street scene in perspective, it is very much on the lines of Fig. 1 except that the spacings are irregular, but they are arrived at by the same methods. We have only shown the right-hand side of the street, as the other side can be set out by reversing the procedure. Assuming the street to be 60 feet wide and the four houses together say 80 feet, the base line must be extended to show this roughly to scale. Then from the V.P. draw the horizontal line C, and from the left-hand end of the base the line B, then cut at A, and that is the point to which all the lines of the vertical features of the houses must be drawn. Then proceed as described for Fig. 1. We have not included the Church, as it means too considerable an extension of the base line for reproduction.

Treat the left-hand side of the street similarly, but vary the detail to fancy.

The heights of the various buildings are immaterial so long as every roof and cornice line runs to the V.P.

All the foregoing instructions have been for parallel perspective, where but one vanishing point is required. Fig. 4 illustrates an instance of angular perspective, where two sides of a building recede from the eye.

For first efforts at scene painting, angular perspective can be ignored by the simple evasion of not including buildings on the angle. But, strictly speaking, angular perspective is the more exact of the two, and when the reader has grasped the central idea of the vanishing lines, he should essay the angular in his scenes to obtain variety and freedom.

In Fig. 4 two vanishing points are required, but they must both be on the same horizontal line, lines to right and left of the building are drawn out to their respective V. points. The base lines for spacings can be utilised as in Fig. 3, but one for each side of the building must be set down.

[Illustration: _Fig IV_]

Perspective drawings should be made to scale on paper. After finishing rub out guiding lines, and square up paper as described in another part of this book, and so transfer sketch to the canvas. Never place the vanishing points above the centre unless the scene is to be viewed as from a hill.

In the small space at my command much has been omitted from this chapter, and the ambitious amateur would do well to obtain standard books on perspective, and study the science fully, but satisfactory results can be obtained by following these simple instructions carefully without further tuition.

CHOICE OF SUBJECT AND TREATMENT

The earnest beginner will no doubt desire to adapt his designs to the play to be represented, but he will usually find very little guidance in the author’s directions. Such directions are scant and laconic, except where the position of a door, window, or fireplace is concerned. This reticence of authors is a blessing rather than a restriction, for such directions as ‘Interior of a cottage,’ ‘A drawing-room,’ ‘A stile by a cornfield,’ ‘A woodland stream,’ give the scene painter a free hand in depicting that which his fancy may dictate. A number of the illustrations in this book will be found useful as suggestions for exteriors and interiors suitable for a goodly collection of domestic plays dealing with home life, but where, as in many of Shakespeare’s plays, the scenario lies in Italy and other parts of Europe, or as in _The Only Way_ and _The Scarlet Pimpernel_, Paris of the Revolution is dealt with, some attempt must be made to get local colour or the effect will be ludicrous. There are occasions where one need not be too particular. For instance, a Baronial Hall covers a long period of English History; it can even be made quite modern when the play deals with personages of ancient lineage, but the amateurs we saw who depicted a stirring incident in the Soudan war _inside_ a Dickensian cottage, required too elastic an imagination from the audience. Where local colour must be got, the scene painter should look up some private prints or illustrations of the period, or, where possible, good pictures of the actual incidents in the play, an easy matter in the case of Shakespeare.

Having obtained these, rough sketches should be made from them with all the portions knocked out which are not practicable for stage purposes, but still retaining the essence of the designs. To be truly conscientious the amateur should mount the sketches on cardboard and make them up into models which will give him a good idea of the finished effect.

[Illustration: [Sketches]]

The chapter on perspective gives a method of squaring up, by which these rough sketches can be enlarged to the size required.

[Illustration:

SHAKESPEARE SITTING UNDER HIS FAVOURITE MULBERRY TREE IN THE GARDEN OF NEW PLACE. ]

Landscape will more easily pass muster with the majority of onlookers, but intelligence in designing outdoor scenery is keenly appreciated by those who know, and a landscape that coincides with the locality of the play stamps the painter as an artist rather than an amateur. English landscape can take care of itself, pictures by Birket Foster, B. W. Leader, Alfred East and others provide excellent material. Scotch scenery should be wilder and more rugged, with masses of rock and heath instead of grass, while Irish landscapes should be depicted as somewhat unkempt in appearance, with small stumpy trees. It should be noted also that the character of the fencing changes, hedges to stone walls, stone walls to banks and ditches, and so forth. Where foreign environment is concerned, photographs must be studied, but Italian gardens, which are very popular as back cloths, can be seen copied in many English county mansion domains. With their dark masses of trees, many of the poplar order standing in relief against the sky, suggestions of statuary, fountains, and balustraded terraces, they have a decidedly foreign appearance and are undeniably effective.

Now a few words as to treatment, or what artists would call ‘handling,’ of the subject chosen will be useful, because many amateurs in their desire to be painstaking overdo their work and produce a stiff and angular effect.

Of landscape we can say little, except to urge trying for the broad effect, as pointed out in Chapter I. Do not get trees ‘leggy,’ or with all the foliage on top, like the Noah’s Ark variety.

In the case of buildings and interiors, however, there is considerable difference in treatment. In painting cottage interiors, Elizabethan or Tudor streets, old stone halls, old inns, etc., nice straight lines and square corners are all wrong. The main vertical lines of the buildings must not fall over too much, but the half timbering roofs, sashes, etc., can leave the straight road with reasonable impunity. The colouring must be broken up so that no space of wall or roof presents an even toned surface. Buildings at a distance can be quite sketchy with most of the detail left out. There is no need to paint in the tiles of a roof half a mile away, it is a labour that undoes the effect desired.

[Illustration: [Tiles]]

[Illustration:

THE BROOK ]

[Illustration:

STREET SCENE. MOONLIGHT ]

[Illustration:

MAUVE SHADOWS. COBALT SKY. FLAT. ]

When it comes to painting marble halls and French eighteenth century drawing-rooms, the foregoing advice must not be followed, for columns and friezes ‘flopping’ over, would suggest indulgence in strong drink on the part of the artist.

[Illustration: Gothic Interior. Stenciled Walls]

[Illustration:

ITALIAN PALACE ]

[Illustration:

COUNTRY KITCHEN ]

Although requiring accuracy these latter scenes are not really so difficult as the other buildings, for the artistic sense is not so much required as a mechanical exactitude in drawing out the various features of construction. All the straight lines should first be charcoaled and painted in as neatly as possible before any of the decoration is inserted, for it will then not be found a difficult matter to fill in the various spaces by means of stencils, that is, pieces of thin card with the pattern cut out in open work, so that by painting over the outside surface of the card, an impression of the pattern is left on the canvas beneath. Illustrations of these stencil patterns are shown here, but it is not such an easy matter to design and cut them, for unless every portion of the cut-out ornament is connected with tie pieces of card, some parts will drop out. The ‘ties’ however can be put in, even if not wanted as part of the ornament. It is a simple matter to paint them out of the canvas afterwards.

[Illustration:

COMEDY. SCHOOL SCENE ]

[Illustration:

A VILLAGE INN ]

[Illustration: Johnsonian Tavern]

When the whole of a formal interior is set up in line and shadow, the artistic part of the work comes in, in the tinting and colouring, and imitating of gold work, for however well drawn out such a scene may be, the finishing work can be delicately beautiful or crudely coarse, according to the painter’s idea of colour.

[Illustration:

A COUNTRY SCENE ]

These few simple colour rules may be followed with advantage:—

_English Oaken Dining-rooms_:—Rich brown with creamy whites, silver and glass, and blue pottery.

_Italian Halls and Palaces_:—Marble, with gold decorations, black and white flooring, palms, heavy crimson drapery.

_Gothic Baronial Halls_:—Distempered walls, red and black patterns, with a little gold, white walls above frieze-rails, dark green hangings in doorways.

_French Drawing-rooms_:—White and gold only, or with pale green and rose-coloured panels.

_Cottages_:—Limewashed walls, black oak beams, doors, and other woodwork.

Modern interiors require no comment or directions.

HANDLING SCENERY

This is a side of play production that on no account should be treated as of little moment, or in the frame of mind that feels ‘it will be all right on the night,’ for apart from the possible danger to life and limb from incompetence, there is also that exceedingly irritating business, the long stage wait, which is such a common feature of amateur theatricals.

It is of course best, if possible, to enlist the services of regular scene-shifters to manage the various changes. If there is difficulty in obtaining professional help, volunteer assistance should be properly drilled and rehearsed, and provision must be made for the management and support of each set, or a grievous muddle will be the result.

[Illustration:

PROSCENIUM ]

[Illustration: [Curtain]]

If a hall is hired where stage plays are often presented, the various appliances and fittings will be found ready for use. Where a rough-and-ready platform is erected, the amateur must fix up his own.

The illustrations we give show how various parts of scenery are dealt with in the large theatres, and we leave the aspirant to play production to adapt them to the necessities of his smaller space.

BACK CLOTHS

On some of the great stages these are suspended one behind the other, cables run up through the grid over pulleys, and are lashed round adjoining cross-pieces or cleats (see illustration). Now there is a space above the cloth more than equal to the depth of the cloth itself, so that when it is drawn up (flat) it disappears out of sight and leaves the piece behind completely exposed.

This is not a possible method in a small production, so the various cloths should be attached to rollers and drawn up with ropes, like a simple window-blind, the disadvantage naturally being that, like a blind, the cloth will not always roll up straight.

FLATS

A simple method is here shown for joining two flats together: the cord permanently attached to the ring A, is thrown over the hook B, pulling the two edges of the frame tightly together, the end of the cord then being passed through the nearest fixed screw eye in the stage and slip knotted (see illustration, page 52).

[Illustration: [Stage]]

[Illustration:

ENGLISH OAKEN DINING ROOM. ]

[Illustration: [Curtains]]

[Illustration: [Scene]]

[Illustration:

CUT TRAY CLOTH ]

[Illustration:

A SIMPLE CLEAT FOR SCENERY

Screw eye A on one flat, then hook B on the other. Cord is simply thrown over and the flats drawn up together. ]

[Illustration:

THE LATEST EXTENSION BRACE (PATENTED)

The top end catches in a screw eye on to the scene. Bottom of brace is screwed to the floor by means of a thumb screw.

The centre slides up and down, and fixes with thumb screw into any length desired. ]

[Illustration: BACK OF WINGS Showing frame and bracing]

SUPPORTS FOR WINGS AND FLATS

These pieces should have eyes screwed in the backs for engaging hooked rods which are united to the stage and act as supports. One illustration shows the simple form of these braces, the other shows in working detail a patented extending brace which is designed to deal with any piece of scenery that may come to hand, for by loosening the thumb-screws at the joint the brace can be shortened or lengthened to enable the hooked top to catch in the fixed eye on the flat, etc., at any angle.

TO ERECT A PLATFORM

There are as many ways of building a platform as there are of building a house, but in both cases the great essential is that the finished structure shall not collapse, and at least shall stand fair usage.

The method shown in the diagrams may seem somewhat elaborate for a back drawing-room, but it is safe over a small or a large area, even using the same sections. Like the ‘book-case,’ it grows with your aspirations; you simply require more tressels and more platform sections, and you could extend your platform over an acre, if so desiring.

The tressels are rectangular frames of 2½ by 2 in. wood, with struts in the centre, 5 or 6 ft. long by 3 ft. to 3 ft. 6 in. high; the ties are long pieces of 3 by 2 in. wood, holed at intervals for bolt. The flooring is simply a number of planks nailed on a 4 by 2 in. wood frame, and having strengthening joists at intervals (see drawing). These floorings can be of the most convenient size for storing, as they only form sections of a whole.

[Illustration: How to put tressels together ready for platform Portion of Platform ready made up Sketch View of Platform erected or ready for stage]