Hello cmls~
Your daughter has taken on an exciting and creative project. It?s a
lot of work, too, but I?m sure she?ll learn a lot through the
experience.
Below, I?ve culled information from 23+ years of experience in the
theatre, plus miscellaneous guidebooks for stage craft. It?s an
extensive subject, but here are the basics:
?Drawing the set:? The only drawing of the set is done by the set
designer, who, with the help of the director, envisions what the set
will look like, and sketches it on paper. The steps involved in
?drawing the set? include the following:
THE SCRIPT: The first step is always to read the script.
STAGE MEASUREMENTS: It?s vital to know how wide and long the stage is,
in addition to how high sets can be taken.
THE DIRECTOR AND PRODUCER: It?s also vital that the set designer
consult extensively with the director; the producer may become
involved, too, as the cost of set design can be quite large.
The set designer should find out, right away, if there?s anything in
particular the director has in mind for the set, and whether any of
the blocking or choreography will require certain things from the set.
Also, they should discuss what the director has in mind for lighting,
as this will dramatically affect the colors used in the set. (For
example, if the director wants bright lighting, a yellow set would be
obnoxious and difficult to look at for the audience. On the other
hand, if the lighting will be quite dim, a yellow wall might work.)
The set designer should also find out from the director and/or
producer how many scene changes will be needed. Some shows require
only one set, others require many different settings. Discuss with the
director and/or producer *how* those scene changes will be made; cost
should be considered, as it?s much more expensive to build a revolve,
for example, than it is to use a ?black box.? Some possible ways to
make scene changes include:
* A revolve. This is expensive to build, but some theatres already
have them. Typically, the revolve is divided in half, so it can depict
at least two different locations. Sometimes it?s possible to change
the backside of the revolve while the front side is in use. In
addition, it?s possible to break a revolve down into three?possibly
even four?sections.
* Wagons. These are small platforms on wheels. They may be pushed in
and out, according to what scene is playing. They require special
stops for safety (or else they might roll off the stage).
* A black box. In a ?black box,? the stage bare, except for a plain
backdrop or curtain, and a few pieces of furniture or ornaments, which
*may* be brought on and off stage to simulate a setting.
* Flys. Backdrops that are flown in from above, usually painted to
depict a scene. Some are nothing more than cloth (with a pipe sewn
into the bottom, so they hang straight), others are flat frames,
constructed of muslin and lumber.
* Flats. These are flat frames (made of muslin and lumber), pieced
together to create a set. They are effective for exteriors (example:
depicting a portion of town) or interiors (example: a living room).
RESEARCH: The next step is to do some research. If the play is set in
a time other than the present, the set designer needs to find out what
locations were like in that time. If the play is set in the present
day, he or she may need to research certain locations (example: New
York City, or luxury hotels). Much of this research may be done
online.
ON PAPER: Next, the set designer puts his or her ideas onto paper.
Most designers start with a draft?or several drafts?and if it helps to
get proportions right and make sure everything that they want on the
stage will fit, they use graph paper with each square equaling a foot.
Once the designer has an idea of what they like the best from among
these sketches, they draw a more complete black and white or color
depiction of the set.
There is no right or wrong way to draw a set design. Whatever
materials the designer prefers are fine. Ideas include: pencil and
drawing paper; charcoal, watercolors, and latex paint on canvas. The
most important thing is to convey the *feeling* of the place, as well
as give an accurate rendition that the head of construction can use.
The set designer will then need to take the drawing(s) to the director
and/or producer for approval. If changes are needed, the set designer
goes back to the drawing board (literally!).
Once the designer has an approved design, they work up a color
rendition, based on their discussions with the director. When that is
complete, they once again take it to the director for approval.
Here are some resources that may help with the design phase:
* The International Theatre Design Archive; a list of productions and
designers, with photos of set designs:
http://www.siue.edu/ITDA/indexes/scentitl.html
* Set Design & Decor; a how-to article with great tips on designing
and ?dressing? sets:
http://www.communitytheater.org/articles/setdesign.htm
* Flats; basic directions on how to build them:
http://www.hstech.org/howto/carpentr/flats/flats.htm
~~~~~~
?Painting.? Once the set is constructed, it may be painted. (If you
are using backdrops, you may paint them flat on the ground, if there
is room, or already hung.) Here are some things to consider:
CONSULTING: The set designer and painter should always consult with
the lighting designer, to ensure that the chosen colors will go well
with the lighting being used.
PAINTS: In theatre, generally whatever materials are available are
what the set painters use. Latex paints are preferable to oils,
because they dry more quickly and are less of a hassle to clean up.
Because many square feet will be painted, house paint is generally the
cheapest option. (Interior paint is just fine.)
Since cost is usually an important consideration, some painters use
only basic colors, and mix them to create the colors they ultimately
desire. Some hardware stores also sell ?left over? paint?that is, when
customers buy more paint than they need, they may return unopened cans
and get some of their money back. In return, the store sells these
cans cheaply to other customers. In some communities, recycled paint
(mostly in shades of white) may also be purchased at a good price.
It isn?t usually necessary to worry about paint quality because
theatrical sets are usually short-lived and don?t need to look good
upon close inspection.
BRUSHES: A variety of brushes may be used, and if the theatre doesn?t
already have what the painters need, they can buy anything that they
prefer. The cheapest brushes are usually a poor investment, as they
fall apart rapidly. In addition to brushes, set painters might use
sponges, rollers (especially those on long sticks), faux finishing
rollers, and stamps. (Some stamps can easily be made from sponges. For
example, if the look of brick is needed, cut a sponge to the desired
shape and use it as a stamp.) Very small brushes are not typically
necessary. Remember that the audience is relatively far back from the
set. Therefore, small details won?t show up; in many theatres, the
painting should be larger than life. For this reason, it?s helpful to
take frequent breaks to stand in the middle of the audience and view
the progress.
PRIMER & VARNISH?: It?s always a good idea to begin the painting of
any previously-used materials with a latex primer. Certain new
materials may require primer, also?like fresh plywood. Varnish is not
necessary (or even desirable) unless you want a special, shiny effect.
CARTOONING: In many cases, painters draw a ?cartoon? on the flats or
flys before they begin painting. A cartoon is a line drawing that
represents the visible edges in the design. For example, if the
designer wanted an image of a New York City skyline, the painter would
first draw lines, representing the buildings. Cartooning may be done
with pencil on some materials, but a line of paint (done with a
smaller brush) often works better.
If the cartoon is complicated, painters usually draw the cartoon in
paper, in scale. Then they use an overhead projector to cast it onto
the wall or muslin, then trace the image.
PAINTING: Once the cartooning is done, they may begin painting. In
most cases, it?s helpful to have more than one painter, even if the
head painter only assigns others simple jobs (like priming, painting
large areas with one color, etc.).
It?s important to bear in mind the time it takes the paint to dry.
Nobody wants want actors or other techies messing up the paint, so the
head painter should arrange to paint when others aren?t likely to
accidentally bump into the set.
Here is an article that may help with the painting phase:
* Scene Painting Techniques; a short article offering painting tips:
http://ohoh.essortment.com/theatersetdesi_myy.htm
~~~~~~~~
The area of set design and painting is vast. The information given
here, however, should give your daughter a good start. Unfortunately,
there?s very little information about these crafts on the Internet,
but I have two excellent books to recommend:
* ?Scenic Art for the Theatre? by Susan Crabtree & Peter Beudert
(Amazon listing: http://www.amazon.com/exec/obidos/tg/detail/-/0240801873/qid=1096223779/sr=8-1/ref=sr_8_xs_ap_i1_xgl14/002-1087552-8566428?v=glance&s=books&n=507846
)
* ?The Stage Craft Handbook? by Daniel A. Ionazzi (Amazon listing:
http://www.amazon.com/exec/obidos/tg/detail/-/1558704043/ref=pd_bxgy_text_1/002-1087552-8566428?v=glance&s=books&st=*
)
Break a leg!
Kriswrite
KEYWORDS USED:
"set design"
"stage craft"
stagecraft
"how to" flats theatre
?how to? paint* theatre
?how to? painting sets theatre |
,
0 Comments
)