The drop was created through large strokes on white and blue blending together to create this vortex or motion. sprayers were used to blend the drop into the platforms and the stairs. The Stairs focused more on blue and brown bringing contrast and texture to the set.

The walls of the set were scumbled and distressed. The fireplace was carved out of foam and then painted.

Set for King Lear at The Arkansas Shakespeare Theatre. Designed by Regina Garcia.

Scumble with mixed rosco blues and flat white
Over spray of sky blue + white and feathered out
Heavy pthalo blue/ultra marine spray around doorway and edges of back wall, then feathered out
Van Dyke, Sienna, B. Umber mixed color scumble on stones/steps
Spatter of navy/van dyke mixed color on steps

Reproduction of Rosie the Riveter as a seating riser barrier for a production of "Anton in Show Business"

Midtown Arts Center. Fort Collins, CO
Scene Design by Marc Haniuk
Light Design by Phillip Richard
Costume Design by Jessica Pribble
Directed by Kurt Terrio

As the scenic artist for Shrek my favorite project was the castle walls. A base purple color mixed with Off Broadway Magenta and Sky Blue and a shadow of Ultramarine Blue. Yellow and Orange complimented the walls and the white base coat acted as the highlight when I sponged off the washes with a natural sea sponge. The same technique was featured on the rest of the stone in the show as well.

We first tried to find the easiest way to make these patterns on the ottomans and trunks, and decided that using pure wood and wood staining them to the according colors would help us create the effect we wanted the most. We began graphing the images on to the ottomans and trunks, and begin wood staining them slowly but surely, in order to ensure the finished product looked smooth and well done. It took a total of about 3 weeks to paint all of the ottomans and trunks, with about 3 people working on them daily.

The scenic design was part of a whole student production of a professor written show. We used indications of whee the show would be set and began from there. But the set decoration began after we had a base idea of where it was set. They are a contrast of each other. One is more homey and of human presence. The other is of a left behind garden scene that has been victim to overgrowth.

We had to make a 22 foot pounce for all of the curves, then we drew them out with sharpie by bending Masonite as a guide. Then we did a grey color variation on the yellow marble. We then went in and glazed the yellow, and scum led two reds. Last three steps: veining, lining, and sealer.

Carved foam shield, with added texture and aging. Foam was carved then coated with white tough prime. Then a base coat of sandstone tan was added. A dripped age effect of a few different browns was then layered on.

Layers of glazes creating four types of realistic marble floor on an MDF substrate. Each layer of color is separated by a layer of clear flat.