_Value and Intensity._ What do these technical terms: “Color Value” and “Color Intensity” mean to you? There is a certain satisfaction in understanding their meanings and in being able to use them correctly. Value refers to the amount of light reflected by a color. Light red is lighter in value than dark red. A color is always made lighter in value by the addition of white. Intensity refers to the strength or brilliancy of a color. Pure red is intense. When a little yellow or blue is added to it, it becomes a grayish-red, and consequently is less intense. If white is added to pure red, its intensity is lessened. _Brushes._ For the painting of the scenery you will need several brushes of different sizes, varying in width from the small sable brush to the inch or inch and a half bristle brush. Use large brushes whenever possible. Work from left to right, using horizontal strokes or vertical downward strokes. Brushes are expensive, and should be given excellent care and thoroughly cleaned after using. Let us suppose that you are ready to paint the scenery for _Men of Iron_. Let us take Scene I: what is the time of year and what is the hour of the day? You answer, “It is a day of sunshine, in early spring.” Spring skies are clear and may be painted light blue; the trees may be painted yellow-green with splashes of pure yellow to give an effect of sunlight. The castle towers, wall, and armor shop, should be painted a warm neutral gray. An occasional touch of darker gray at the top of wall, windows, and tower suggests thickness and adds to the illusion you are creating. The distant castle tower on the back drop should be painted a lighter gray because it is far away. In the second scene, the time of year is midsummer, and the time of day is mid-afternoon. Therefore, the sky was painted a deeper blue than that of the first scene. The trees were painted a richer green; the flowers were painted in brilliant colors. The castle walls and towers were painted a yellowish-gray, while the vines that clambered over them were painted a rich green. In order to carry the imagination of the audience into the castle, a circling stairway was painted on the right wing. The audience caught a glimpse of this stairway at the right of the tower. In the third scene, which is laid in the great hall, the back drop, wings, and walls were painted a lighter gray than the outside walls. Sand and gesso were mixed with the gray paint in order to give the suggestion of rough stone. The great stone walls, as you know, made the old castles cold and colorless. This coldness was relieved by stained-glass windows, rich tapestries, hangings, and colorful costumes.