ABSTRACT
There are as many different labor divisions and work space confi gurations as there are companies producing theatre. Some theatres have separate paint shops and dedicated scenic artists while others have a single work space and a unifi ed crew that performs every production task. Other situations may make use of any available labor, experienced or not, for painting projects. This chapter is geared toward the less experienced scenic artist, but I hope it sparks ideas that allow the working professional scenic artist make the paint shop greener.
