CHAPTER 14 T H R E E - D I M E N S I O N A L T E X T U R E S THE TOOLS AND MATERIALS OF TEXTURING Texture is frequently the key to creating a surface with a realistic appearance. Texture should be the first consideration of the scenic artist's process, whether the texture is overt and noticeable or simply a smooth texture for all the paint treatments that are to ensue. The scenic artist must plan a texture thoroughly from a standpoint of function as well as visual effect. Textured scenery still must be handled and installed in a theatre. A flown unit covered with texture, for example, cannot exceed the weight limit of a batten, and a large unit will often rapidly increase in weight as texture is applied. The unit must still be gripped, and the weight of the texture cannot outstrip the strength of the work in full scale, the surface texture of the scenery has already been determined and dictated by the scenic designer. "Smooth as glass" is as much a texture as "rough tree bark." The texture of the scenic element must be a consideration from the very beginning of any project and creating a layer of texture or smoothing existing imperfections on scenery is usually the work of the scenic artist. A texture coat transforms the construction materials underneath into a unified surface resembling stone, plaster, wood, or simply a unified mass. A texture coat may fully conceal the materials underneath or enhance and unify the natural texture of the surface at hand. When a texture is part of an overall paint technique, it usually