That seemed incredibly watery to me and I wasn’t sure how the strength of the paint would work under the UV light, it seemed fine in small room tests, but I was apprehensive about it in the bigger space. I started by producing a mock woodgrain and then produced a letdown chart experimenting with different ratios of paint and water mixes. Paul's testing boards: (1.) initial wood grain (2.) with different Invisible Blue ratios (3.) Under UV light We didn’t have any UV lighting devices in our stock at ISU, so Jenny set me up with demo UV unit of Rosco’s Miro Cube UV365 LED fixture. We discussed how Rosco Fluorescent Scenic Paint functions and she sent me a can of Invisible Blue to experiment with. I immediately sent a message to Rosco’s Jenny Knott, who called me back to talk about how to implement this idea. I had seen other UV ideas in the past that seemed amateur and ineffective, which made me very unsure about this new concept. I had never even used fluorescent paint before. The trouble was, I didn’t know how to approach this. Then the solution hit me - why not overlay the scenery with fluorescent paint so that a very basic blueprint design would be revealed by UV light? I was in a hotel room one night after a dress rehearsal for another gig I was designing and really stretching my brain to figure out this challenge. Since we had already gone pretty far in the initial direction and most of the early design process was moving into the drafting phase, I had to think of a bold new way to accomplish Stefan’s request. A month later, however, he approached me and said he had started to think about how the father character and his business partner are architects, and that he wanted me to find a way to incorporate blueprints into the design. The Director, Stefan Espinosa, wanted to utilize the concept of a semi skeletal set as a way to reference the decay of time. When the Idaho State University Theatre Department decided to produce Three Days of Rain, by Richard Greenberg inside our small, flexible black box theater, we settled on concept, color palettes and a corner configuration relatively quickly. He reached out to me and we worked out a solution together. Flash forward a year later – Paul had encountered a theatrical challenge involving UV effects for a show at ISU. Paul had a strong background in both lighting and scenic design, and he had a lot of experience painting scenery - all of which led to some healthy conversations about color theory and paint vs. Paul Yeates is an Assistant Professor of Lighting & Scenic Design at Idaho State University who I first met during a Teachers Training For Scenic Painting course at Cobalt Studios.
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