Scenic Artist Tammy Honesty explains the process she used to paint a 3D-printed replica of Florence, Italy’s famous “Liberty of Poetry” statue for an exhibit at the Ellis Island National Immigration Museum.
Designer Heidi Hoffer conducted a foam carving workshop that discussed how to prime foam that included a section on how to prime foam scenery with Rosco FoamCoat and CrystalGel scenic coatings.
Scenic Artist Tim Parati used Rosco Invisible Blue Fluorescent Paint to create large, glowing scenery for a production of “Pete The Cat” at Children’s Theatre of Charlotte.
Scenic Artist, Rachael Claxton, describes three ingenious ways to put Rosco CrystalGel to work in your next scenic art project.
Scenic Artist, Jamie Clausius, shares her rediscovery of schlepitchka – and other inventive scenic art techniques – for a backdrop project she painted for Tobins Lake Studios.
Scenic Artist Tammy Honesty shares how she discovered Rosco’s Premiere Clear – and all of the advantages it has to offer – while searching out a high-gloss top coat for staircase set-piece she was painting.
Scenic Artist Mikah Berky explains how Rosco Supersaturated Scenic Paint enabled her paint crew at Oregon Shakespeare Festival to paint a large backdrop on China Silk for a production of “The Wiz.”
The set design company Ras Escenografías used Rosco Scenic Paints to create beautiful backdrops for the Carnival celebrations in Cádiz Spain.
Scenic Designer Tammy Honesty and her scenic painter Ely Mattson describe how they successfully used Rosco CrystalGel to prime some powder coated corrugated steel so they could paint it for a production of Andrew Lippa’s “Wild Party.”
Scenic Artist Donna Wymore describes how she turned a splotchy pink backdrop into a sugary candyscapy by attaching candy-shaped scenic pieces to the drop with Rosco CrystalGel.