The left half of the paint elevations for the mountains, from this my assistant and I gathered colors and a sense of texture.

The left half of the paint elevations for the mountains, from this my assistant and I gathered colors and a sense of texture.

The right half of the paint elevation for the spa drop and the remaining grass and cobblestones.

The right half of the paint elevation for the spa drop and the remaining grass and cobblestones.

A painting that we were given as a reference to the flow of the colors and the inspiration that the set should look like a painting come to life.

A painting that we were given as a reference to the flow of the colors and the inspiration that the set should look like a painting come to life.

The first sample of the treatment for the mountains. Using water and saturated paint I was able to get an idea of how to make the blues and purples flow organically.

The first sample of the treatment for the mountains. Using water and saturated paint I was able to get an idea of how to make the blues and purples flow organically.

The first test that was done for the large grass section. I based the fabric with a light green and added swipes of blues and oranges to add texture and the feeling of a painting.

The first test that was done for the large grass section. I based the fabric with a light green and added swipes of blues and oranges to add texture and the feeling of a painting.

This is the base of the grass treatment, which was a mixed light green and was applied with garden sprayers.

This is the base of the grass treatment, which was a mixed light green and was applied with garden sprayers.

Here is the finished grass treatment. On top of the light green base accent colors such as purple, blue, orange and white were all added using a dry-brush technique to add texture to the final product.

Here is the finished grass treatment. On top of the light green base accent colors such as purple, blue, orange and white were all added using a dry-brush technique to add texture to the final product.

This is the layout I was given for the cobblestone section of the large drop. It was made in 1/8 scale by the designer and we determined each line from this drawing.

This is the layout I was given for the cobblestone section of the large drop. It was made in 1/8 scale by the designer and we determined each line from this drawing.

Here is the in-progress photo of the cobblestone. We outlined the grout in purple as per the drawing and scumbled two mixed brown colors to make a textured stone.

Here is the in-progress photo of the cobblestone. We outlined the grout in purple as per the drawing and scumbled two mixed brown colors to make a textured stone.

The final product!

The final product!

I walked in the Blackbox one day to find these giant mountains tied to the grid and ready to be painted!

I walked in the Blackbox one day to find these giant mountains tied to the grid and ready to be painted!

Each "mountain" was lowered so we could spray it with garden sprayers and water to achieve a flowing and artistic look.

Each "mountain" was lowered so we could spray it with garden sprayers and water to achieve a flowing and artistic look.

I was also tasked with crawling inside of the billowing fabric and staples to paint some of the mountains further back. Pictured here is also our director, Brian Gill assisting me.

I was also tasked with crawling inside of the billowing fabric and staples to paint some of the mountains further back. Pictured here is also our director, Brian Gill assisting me.

This entire process took me and my team about two days.

This entire process took me and my team about two days.

And here is the finished product! blending the mountains with the grass was one of the more challenging steps, but we were able to make the transition seamless and beautiful.

And here is the finished product! blending the mountains with the grass was one of the more challenging steps, but we were able to make the transition seamless and beautiful.

Here is the "spa" section of the large drop. The perspective was cartooned with help from our scenic designer, and the house grain was created in technique by me.

Here is the "spa" section of the large drop. The perspective was cartooned with help from our scenic designer, and the house grain was created in technique by me.

An in-progress photo of me painting the base of the spa. When working at Interlochen Center for the Arts I used a rolling floor dolley for some of the work I did and brought that to my job at Parkside with this rolling cart, making the process a litt

An in-progress photo of me painting the base of the spa. When working at Interlochen Center for the Arts I used a rolling floor dolley for some of the work I did and brought that to my job at Parkside with this rolling cart, making the process a little easier and faster.

Once we finished the house base we lined each of the windows and their reveals.

Once we finished the house base we lined each of the windows and their reveals.

Then we added blue sky in the windows with some sponging to show reflections. We then added the bushes near the bottom.

Then we added blue sky in the windows with some sponging to show reflections. We then added the bushes near the bottom.

And here is the final product! We used a dark blue wash to shade each side of the spa so that it would give the illusion of 3D.

And here is the final product! We used a dark blue wash to shade each side of the spa so that it would give the illusion of 3D.

With the addition of the cobblestones and the grass the whole section comes together!

With the addition of the cobblestones and the grass the whole section comes together!

One final piece I made near the end of the process, only taking around a day, was this small shack tucked into the mountains. I was given a painting to use as a reference as well.

One final piece I made near the end of the process, only taking around a day, was this small shack tucked into the mountains. I was given a painting to use as a reference as well.

This was done on a sheet of Luan and painted with spare stock paint.

This was done on a sheet of Luan and painted with spare stock paint.

And here is the final product! This was cut out and put in the corner of a mountain, and now lives in the paint shop at UW-Parkside!

And here is the final product! This was cut out and put in the corner of a mountain, and now lives in the paint shop at UW-Parkside!

When We Dead Awaken 

University of Wisconsin-Parkside

Director
Brian J. Gill

Assistant Director
Taylor Ireland

Scenic & Props Designer
Jody Sekas

Costume Designer
Kayln Diercks

Lighting Designer
Petr William

Sound Designer/Composer
Kevin Gray

Hair & Makeup Designer
Michelle Catalan

Stage Manager
Jenna Speer

Technical Director
Jody Sekas

Scenic Charge Artist
Maggie Jay

Intimacy Director
Rachael Swartz

Fight Choreographer
Brian J. Gill