The paint work that I did on the set of "Tartuffe" included the floor, the columns (which had different colors of paint on each side), the cornice, and various pieces of furniture.

I was responsible to finding, altering, and making almost all the props.  Most of what we used were items that I found in UCSB's prop storage collection, but I always sent pictures of what I found to the designer for final approval before making any decisions.  The tray, metal bowl, knife, and smaller bread tray were all very dull and rusted when I found them.  I used "Nevr-Dull" to shine everything until it looked new.  The knife had a brown wooden handle which the designer wanted to be black.  I painted the handle with acrylic paint and coated it with a sealer so it could be washed safely.

I took this photo immediately after painting the floor with Abby Hogan of PCPA.  The material at the bottom of the columns is tarp that we placed there as a cautionary measure.  We used chalk lines and tape to mark  the checker-and-line pattern based on a ground plan provided by the designer.

This table cloth was very important because quite a bit of action occurred on the table and underneath it.  The tablecloth had to be long enough to hide someone under the table, and it couldn't slide around when someone stood on it.  The tablecloth was also lifted several times, and it was necessary to hide any unsightly materials like padding or the table itself.  I cut and attached a piece of black cloth (that matched the long black underskirt) to the top of the table, making sure that it also tucked under the tabletop.  Then I stapled the black underskirt and the white overskirt to the table to prevent any movement.

I spray painted this bench to achieve that glossy black color.

The curtains in this photo, as well as all the curtains that were on the set for the actual run of the show, were sewn by me.  The curtains on stage left and stage right consisted of two fixed panels with the upstage panels puddling on the floor.  I assisted the designer in draping the curtains, and when they were in her desired position, I stitched them into place so they would not move.  This was important because the actors often would smack aside the curtains emphatically when they entered or exited.  The black and gold chords on the curtains were draped and stitched into place by me as well.  The center curtain was a single panel that was longer than the others.

Nayna Ramey, the designer, mentioned quite early on that she wanted chandeliers to be a part of the set.  One of my assignments was to research chandeliers that were in our budget and that fit the artistic concept of the production.  This is one of the chandeliers that I showed to Ms. Ramey and she selected it.  When it arrived, I attached all the crystals after the associate lighting designer installed it.  I also helped spray paint the candles a different cream color from what appears in this photo.  

The needle point that Mariane (played by Christine Buccelli) is holding is one of the props that I am most pleased with.  In storage, I found a small pillowcase with a tiny piece of embroidery on it, that matched the colors of her costume perfectly.  I used a seam ripper and scissors to essentially repurpose the pillowcase into a lovely piece of material to put into a needle-point hoop.  I then added pink thread to an oversized prop needle and sewed it into the embroidery so that it would be there permanently, while still allowing for the actress to use the needle in a believable way.