The Art Director’s Guild sponsored a book signing event at their gallery space in North Hollywood yesterday, with co-author Karen Maness on-hand to sign copies of the new book, The Art Of The Hollywood Backdrop.
The book is a cooperative project between the authors, Karen Maness and Richard Isackes and the Art Director’s Guild. With a focus on hand-painted rather than photographic backings, the book traces not only the history and development of backdrops through Hollywood films but the artists who have developed the techniques used and who have passed along that knowledge to successive generations of scenic artists.
The event was well attended by not only Guild members but by members of the Strang family and the Coakley family of J.C. Backings, the two families which have not only dominated the field in Hollywood but have been the biggest promoters and curators of the art form.
The Coakley family and fellow artists of J.C.Backings
Co-author Karen Maness graciously signed books all afternoon.
This is a big book, and I say that in every sense of the word. Larger than a quarto format at 11 x 14 inches, the hard-cover and cased edition is 352 pages long and weighs in at 13 pounds. Filled with crisp images of both black and white and full-color backings, the photos show the backings not only in a straight-on form but in the environment that they were meant for. It’s filled with stills from the original films as well as set stills showing them in relationship to the sound stages and the companion scenery.
This book will definitely appeal to film lovers who have very little understanding of film scenery and stagecraft as well as film professionals who have many films to their credit.
It is available for order through the publisher’s website and will soon make it’s way into bookstores. If you are still making that holiday gift list, this is definitely a book that will have huge appeal to anyone who loves movies. Read an excerpt here, and you can order the book here from Regan Arts.
“In 1903, Pathé (the first Pathé studio in Vincennes) had two cameramen [who were] paid 55 francs a week. The designers/painters, much better paid, began at 90 francs a week. A week then was 60 hours and payment was made every Saturday in gold.”
Gaston Dusmenil, Bulletin de l’ A.F.I.T.E.C., no. 16 (1967)
“The scenery [ in early 1900‘s France ] was painted flat, like stage scenery. The canvas (about 20 x 30 feet) was tacked to the floor, and after applying a coat of glue size and whiting, the designer drew the design in charcoal. For complicated architectural sets a small sketch was made and squared for enlargement. Since the size paint was used hot, a scale of grays running from black to white was prepared in advance in small flameproof buckets. The scene painter worked standing, walking on the canvas (in rope shoes or socks) and using very long-handles brushes: straight lines were drawn with the aid of a long flat ruler, similarly attached to a handle. To judge the whole, in order to accentuate effects if needed or to remove unnecessary details, the artist had to mount a ladder. The completed canvases were attached either to wooden frames to form flats, or else, to vertical poles so they could be rolled up.”
Léon Barsacq, Caligari’s Cabinet and Other Grand Illusions
Mèliés’ Montreuil Studio
Painted backings have been a staple of filmwork since the very beginning. Georges Méliès was the first to recognixe the possiblilites of incorporating painted backings in his films which he realized could be a vehicle for creating a dramatic narrative and not just for recording real-life as the first short films had.
Even today, with the current trend of green screens and digital effects, audiences are often unaware that the view outside the windows of a set are actually hand-painted backings. While photographic backings, basically photographic images greatly enlarged and printed on heavy mylar or polyester fabric, are the norm in backings these days, the painted backing still has not only a definite place but even distinct advantages over their photographic competitor.
J. C. Backings, who make their home in the historic Scenic Painting Building on the old MGM lot in Culver City (now Sony Studio) recently hosted a Historic Backings event along with the Art Directors Guild here in Los Angeles. They pulled a number of backings from their collection of over 5000 backings, along with several from the Warner Bros. collection and displayed them on the six paint frames where the backings were painted originally.
The storage racks for backings at J.C. Backings
Along with the backings were displayed a collection of smaller scale studies, paint notes, research photographs and examples of the backing design process as well as numerous photos of backings from their archives.
Usually only seen in partial focus and in the background, it’s wonderful how realistic most of these backings are even when seen up close and out of context.
The Scenic Painting Building on the Sony Lot (formerly MGM)
Backing from The Sound Of Music
Backing from South Pacific. Notice the inset close-up of the brush work
Sample of photo reference for a backing along with notes and a small preliminary paint study for the final backing
small painted comp for a backing for a corridor of the first Star Trek film in 1978
Paint rack with Hudson sprayers and roller mandles
Art Directors Guild’s Associate Executive Director John Moffit in front of one of the many backings he painted while Head of the Scenic Department at Warner Bros. Studio
Large backing in progress on the large paint frame
Still from a Life Magazine article of the same space when it was the MGM scenic shop in the 1950’s.
1950’s photo of a backing layout in progress.
And finally, here’s a time-lapse video of a street scene backing being painted by scenic Donald MacDonald at J.C. Backings. Note how the canvas is back-painted so that it can be rear lit for a night shot.