Alexandrian, Sarane. 1970. Surrealist Art. Thames and Hudson: London
Baugh, Christopher. 2005. Theatre, Performance and Technology : The Development of Scenography in the Twentieth Century. Palgrave Macmillian: UK
Carol Ann Duffy and Tim Supple. 2003. Collected Grimm Tales. Faber and Faber Ltd: London.
Clapham, Walter C. 1974. Western Movies. Octopus Books: London
Clarens, Carlos. 1997. An Illustrated History of Horror and Science-fiction Films. Da Capo Press: New York
Cleave, Andrew. 1995. Big Cats – A Portrait of the World. Todtri Productions Ltd: New York
Davis, Tony. 2001. Stage Design. RotoVision : Switzerland
Grunenburg, Christoph. 1997. Gothic. The MIT Press: Cambridge
Humble, Richard. 1994. English Castles. Artus Book: London
Levitt, Annette Shandler. 1999. The Genres and Genders of Surrealism. Macmillan Press Ltd: Hampshire.
Martin, Syliva. 2005. Futurism. Taschen: London
Oggins, Robin S. 1994. Castles and Fortresses. Friedman Group: New York
Orton, Keith. 2004. Model Making for the Stage: A Practical Guide. The Crowood Press: Wiltshire.
Rulon, Bart. 2002. Artist’s Photo Reference : Water and Skies. North Light Books: Ohio
Thorne, Gary. 1999. Stage Design: A Practical Guide. The Crowood Press: Wiltshire.
Williams, Gilda. 2007. The Gothic. The MIT Press: Cambridge
Winslow, Colin. 2008. The Handbook of Model-making for Set Designers. The Crowood Press: Wiltshire.
Winslow, Colin. 2010. The Handbook of Techniques for Theatre Designers. The Crowood Press: Wiltshire.
Thursday 20 January 2011
Conclusion
On reviewing this project the scenographic model played an important role in translating my design through one visual record. The development of the design concept can be seen through the additional photographic storyboard - breaking down the transition.
The concept of Narrative and Genre led me to understand and pin point factors within a certain genre to be able to successfully execute a design for the stage. The main scenic element of the Castle within the narrative of the Lady and the Lion ultimately changed to a giant tepee. My initial ideas held tightly onto the concept of it having to be a castle, but when developing my ideas I realised it could be something other than what it was supposed to be. My research and development led me to realise it could still be delivered as successfully if given familiar and similar qualities. Take for example the castle was grand and powerful, by making the tepee grand and powerful I was able to translate the same effect upon the audience. I enjoyed changing the elements within the narrative to something other. I feel it added to the fun of fairytale, where anything is possible - so by having gigantic Cacti was pleasantly acceptable.
Through text analysis, research, design, technical engagement and process application a set for the stage was able to be produced, communicated through a strong genre. Not only was the genre concept interesting to consider, the scale factor and sightlines in relation to the performance space added an extra dynamic to consider.
To be critical my engagement between the original technical drawings and model box production could have been more focused to iron out any imperfections within the production stage. Although my technical understanding of using Auto CAD seemed engaging and enlightening for me, a few errors did arise when producing the model box (e.g. the stage depth being to short and not including the wing space on the foam board plan). Despite this I took it upon myself to alter and adapt my model box accordingly as I felt this was down to not checking plans against my work when I should have.
Personally I felt this unit enabled me to grasp the concept of self motivation. By being my own boss in a way (with the input from others at certain points) gave me the opportunity to make vital decisions of design and development. This journey gave me the confidence to act on my instinct and experiment even if things didn't work out as hoped!
If this project was developed further the essence of the realisation of production could have been realised and developed by producing this in full scale. Although when considering this concept, it may be a somewhat daunting task to behold. Working alongside skilled craftsmen and women, directors and technicians would make me have to consider other things such as costing and budgeting - if the money doesn't stretch the design could be worthless. In my eyes designing is just the beginning, realising is believing in the real thing.
The concept of Narrative and Genre led me to understand and pin point factors within a certain genre to be able to successfully execute a design for the stage. The main scenic element of the Castle within the narrative of the Lady and the Lion ultimately changed to a giant tepee. My initial ideas held tightly onto the concept of it having to be a castle, but when developing my ideas I realised it could be something other than what it was supposed to be. My research and development led me to realise it could still be delivered as successfully if given familiar and similar qualities. Take for example the castle was grand and powerful, by making the tepee grand and powerful I was able to translate the same effect upon the audience. I enjoyed changing the elements within the narrative to something other. I feel it added to the fun of fairytale, where anything is possible - so by having gigantic Cacti was pleasantly acceptable.
Through text analysis, research, design, technical engagement and process application a set for the stage was able to be produced, communicated through a strong genre. Not only was the genre concept interesting to consider, the scale factor and sightlines in relation to the performance space added an extra dynamic to consider.
To be critical my engagement between the original technical drawings and model box production could have been more focused to iron out any imperfections within the production stage. Although my technical understanding of using Auto CAD seemed engaging and enlightening for me, a few errors did arise when producing the model box (e.g. the stage depth being to short and not including the wing space on the foam board plan). Despite this I took it upon myself to alter and adapt my model box accordingly as I felt this was down to not checking plans against my work when I should have.
Personally I felt this unit enabled me to grasp the concept of self motivation. By being my own boss in a way (with the input from others at certain points) gave me the opportunity to make vital decisions of design and development. This journey gave me the confidence to act on my instinct and experiment even if things didn't work out as hoped!
If this project was developed further the essence of the realisation of production could have been realised and developed by producing this in full scale. Although when considering this concept, it may be a somewhat daunting task to behold. Working alongside skilled craftsmen and women, directors and technicians would make me have to consider other things such as costing and budgeting - if the money doesn't stretch the design could be worthless. In my eyes designing is just the beginning, realising is believing in the real thing.
Wednesday 19 January 2011
Lighting
When referring back to the script analysis, lines 18 to 19 describe the seasons which the scene is set within - "Half of it was in bright summer time and the other half in gloomy winter". Since changing the traditional genre I could discard this factor, but as there are two contrasting seasons within this scene I have decided to contemplate its effect through the art of lighting.
Now the two smaller scenic elements of the campfire and flag stand act as a focus and contrast for the two 'seasons' to be depicted upon. As their usual positions are on opposite sides of the stage (flag stand SR and campfire SL) I thought these could be the perfect marking points for the translation of the different seasons. My initial thoughts are telling me the campfire (blazing and hot) instantly represents the bright summer side of the garden (in this case camp). And the flag stand (powerful and reflecting the lion's presence) could come across as gloomy like the gloomy winter within this scene as the lion could be dark and menacing creating a gloomy atmosphere upon the scene. The stand could be lit with dull, blue, cold lighting to reflect this feeling.
By setting up a makeshift photography studio I was able to experiment with this lighting idea and add these images to my research.
Lighting shot translating the two seasons
To achieve this I had two lamps directing light from either side of the model box (see previous photograph for layout). One with a blue filter, the other masked in an orange gel - these enabled me to split the set between the two seasons. Dull gels were used to damp the colours, as at first the orange gel seemed more powerful than the blue gel and therefore distracting the eye from the blue. Therefore to make the blue seem more powerful, the orange lighting was made softer. As the tribal flag was a symbolic piece in this scene I decided I wanted to spot light this from the front, covering it in a blue gel to still enhance the overall look of the scene. Each light and gel took a bit of time carefully positioning them and achieving the tone that I desired.
To translate the forest setting blue and green lighting was directed from either side of the model box.
Cacti Forest
In reality these photographs would be shown to the lightning managers and directors in a production meeting and discussed for consideration for the actual show.
Now the two smaller scenic elements of the campfire and flag stand act as a focus and contrast for the two 'seasons' to be depicted upon. As their usual positions are on opposite sides of the stage (flag stand SR and campfire SL) I thought these could be the perfect marking points for the translation of the different seasons. My initial thoughts are telling me the campfire (blazing and hot) instantly represents the bright summer side of the garden (in this case camp). And the flag stand (powerful and reflecting the lion's presence) could come across as gloomy like the gloomy winter within this scene as the lion could be dark and menacing creating a gloomy atmosphere upon the scene. The stand could be lit with dull, blue, cold lighting to reflect this feeling.
By setting up a makeshift photography studio I was able to experiment with this lighting idea and add these images to my research.
Lighting shot translating the two seasons
To achieve this I had two lamps directing light from either side of the model box (see previous photograph for layout). One with a blue filter, the other masked in an orange gel - these enabled me to split the set between the two seasons. Dull gels were used to damp the colours, as at first the orange gel seemed more powerful than the blue gel and therefore distracting the eye from the blue. Therefore to make the blue seem more powerful, the orange lighting was made softer. As the tribal flag was a symbolic piece in this scene I decided I wanted to spot light this from the front, covering it in a blue gel to still enhance the overall look of the scene. Each light and gel took a bit of time carefully positioning them and achieving the tone that I desired.
To translate the forest setting blue and green lighting was directed from either side of the model box.
Cacti Forest
In reality these photographs would be shown to the lightning managers and directors in a production meeting and discussed for consideration for the actual show.
Tuesday 18 January 2011
Sightlines
As a designer the consideration of sight lines play an important role in delivering an accurate design within the model box. Without this consideration some members of the audience may not have the view you think they have - take for example some structural element of the theatre itself may be blocking. In the original plans there are clear royal boxes jutting out from the front edge of the proscenium arch. I decided it was only right to include these in the model box. (I must admit the production of this element was harder than it looked on the plan.) After considering different ways of building these side boxes I decided to go with a supported tower-type structure - see photograph below for visual explanation.
The slats I produced to support the structure was very time consuming and tedious, none the less a couple of hours later all the slats were cut accordingly and complete. The next task was to cover these - easier said than done. As to the shape of these boxes, fitting a piece of card to it was not an easy feat. I tried various methods of measuring, cutting and bending the card to fit but I finally realised it wasn't going to look neat unless I produced these side panels in strips of card (well the curved section at least!).
Once this was successfully executed I could realise the stage from an audience member's view. See photograph below of view from the extreme seats.
From this I was able to consider my set design in a more technical way, taking in the consideration of blind spots. Also at this stage I began to realise how important the boarders (known as legs and teasers) of the stage perimeters are - they act as a barrier or boarder to stop the audience from seeing into the wings.
After the production of the scenographic model was complete my attention was drawn to that of the legs and teasers. These were constructed from black foam board - angled accordingly to prevent the audience from seeing into the wings. As I had gauzes in my design the teasers needed to not obstruct the positioning of these. The process of getting the angle and width of the legs and teasers was quite a lengthy process. This involved getting down to the audience's eye levels (in the centre and extreme seats) and taking note of what could be seen and altering the legs and teasers to prevent unwanted viewing. I attempted the technique of using a piece of string from the extreme seat position and stretching it out to the wing positions on the stage, although after I while I found this rather confusing so opted for the more conventional method of eyesight judgement!
As my set design was based on trucks I took into the consideration of the size of these trucks, in particular the moving cacti to enable the stage hands to move this piece of scenery on and off stage successfully - therefore I made sure the gap between the legs were sufficient to fit this piece of scenery through.
View from Stage Left Wing
View from extreme left seat
View from extreme right seat
The slats I produced to support the structure was very time consuming and tedious, none the less a couple of hours later all the slats were cut accordingly and complete. The next task was to cover these - easier said than done. As to the shape of these boxes, fitting a piece of card to it was not an easy feat. I tried various methods of measuring, cutting and bending the card to fit but I finally realised it wasn't going to look neat unless I produced these side panels in strips of card (well the curved section at least!).
Once this was successfully executed I could realise the stage from an audience member's view. See photograph below of view from the extreme seats.
From this I was able to consider my set design in a more technical way, taking in the consideration of blind spots. Also at this stage I began to realise how important the boarders (known as legs and teasers) of the stage perimeters are - they act as a barrier or boarder to stop the audience from seeing into the wings.
After the production of the scenographic model was complete my attention was drawn to that of the legs and teasers. These were constructed from black foam board - angled accordingly to prevent the audience from seeing into the wings. As I had gauzes in my design the teasers needed to not obstruct the positioning of these. The process of getting the angle and width of the legs and teasers was quite a lengthy process. This involved getting down to the audience's eye levels (in the centre and extreme seats) and taking note of what could be seen and altering the legs and teasers to prevent unwanted viewing. I attempted the technique of using a piece of string from the extreme seat position and stretching it out to the wing positions on the stage, although after I while I found this rather confusing so opted for the more conventional method of eyesight judgement!
As my set design was based on trucks I took into the consideration of the size of these trucks, in particular the moving cacti to enable the stage hands to move this piece of scenery on and off stage successfully - therefore I made sure the gap between the legs were sufficient to fit this piece of scenery through.
View from Stage Left Wing
View from extreme left seat
View from extreme right seat
Monday 17 January 2011
Cacti Forest
Script analysis of chosen scene
As seen from the extract above the Father travels through a forest. This part of the narrative is depicted within my set design through the concept of 'Cacti Forest'. Throughout the design process the idea of having the character of the father actually travelling through the a forest on stage has always been stirring. Within my original idea I had a forest made of lion's tails to depict the Lion's presence through this set piece. Although since delving into genre's this concept of a moving forest has become quite a subjective piece. Now set in the Wild West my forest is made of Cacti (giant of course - to add to the fairytale spirit). Main idea is to have 3 cacti per truck.
For this moment on stage to work the performers and scenic pieces would be synchronised in movement. Take for example, the father begins the scene in front of the first gauze before slowly starting his journey up stage (through the 'Cacti Forest'). The first gauze disappears to where the two Cacti trucks form a pathway for him to follow, these part side ways allowing him to continue up stage, as he reaches the second gauze this disappears to reveal the grand tepee of the Lion Prince.
Producing the Cacti trucks
Surrounded by dimensions and reference material I set to making the cacti. First a skeleton was made from wire (strong, 20 gauge beading wire - good for baking!)
Next I covered the wire in Fimo - FIMO PUPPEN. This type of modelling clay is oven-hardening and is particularly rich in contours, very expressive and stable in shape. After the basic shape was established I indented lines into the clay to gain the cacti texture as seen in one of my research images. A small dress pin was an adequate size and easy to control to achieve this effect.
Once finished they were oven cooked for 30minutes at 110C.
A lick of paint and the forest was nearly complete!
I gave the cacti a base coat and then applied a buff white mixed with sap green colour detailing on top, lightly applying and then rubbing with paper towel to achieve the desired effect.
Grass was added to the bottom of the cacti to add to the natural forest like essence. These were anchored to the pre made trucks with super glue and added to the scenographic model.
In reality these cacti would be approximately 4.5meters tall. In comparison to the figure these would be huge! But this is exactly how I intended it to be in order to portray the grand, overpowering, fairytale like forest effect upon the audience.
As seen from the extract above the Father travels through a forest. This part of the narrative is depicted within my set design through the concept of 'Cacti Forest'. Throughout the design process the idea of having the character of the father actually travelling through the a forest on stage has always been stirring. Within my original idea I had a forest made of lion's tails to depict the Lion's presence through this set piece. Although since delving into genre's this concept of a moving forest has become quite a subjective piece. Now set in the Wild West my forest is made of Cacti (giant of course - to add to the fairytale spirit). Main idea is to have 3 cacti per truck.
For this moment on stage to work the performers and scenic pieces would be synchronised in movement. Take for example, the father begins the scene in front of the first gauze before slowly starting his journey up stage (through the 'Cacti Forest'). The first gauze disappears to where the two Cacti trucks form a pathway for him to follow, these part side ways allowing him to continue up stage, as he reaches the second gauze this disappears to reveal the grand tepee of the Lion Prince.
Producing the Cacti trucks
Surrounded by dimensions and reference material I set to making the cacti. First a skeleton was made from wire (strong, 20 gauge beading wire - good for baking!)
Next I covered the wire in Fimo - FIMO PUPPEN. This type of modelling clay is oven-hardening and is particularly rich in contours, very expressive and stable in shape. After the basic shape was established I indented lines into the clay to gain the cacti texture as seen in one of my research images. A small dress pin was an adequate size and easy to control to achieve this effect.
Once finished they were oven cooked for 30minutes at 110C.
A lick of paint and the forest was nearly complete!
I gave the cacti a base coat and then applied a buff white mixed with sap green colour detailing on top, lightly applying and then rubbing with paper towel to achieve the desired effect.
Grass was added to the bottom of the cacti to add to the natural forest like essence. These were anchored to the pre made trucks with super glue and added to the scenographic model.
In reality these cacti would be approximately 4.5meters tall. In comparison to the figure these would be huge! But this is exactly how I intended it to be in order to portray the grand, overpowering, fairytale like forest effect upon the audience.
Sunday 16 January 2011
Campfire
Within the narrative of the Lady and the Lion, there is a point in which the father goes on the hunt for a rose for his daughter. He travels through the forest and comes across a castle (the tepee) with a beautiful garden behind (the Indian camp), within this garden there is a beautiful rose bush in which he picks a flower from to take home for his daughter. Now when considering this concept in relation to the Wild Western/Native American genre I decided to change this rose bush to a campfire and to have the beautiful rose as a sacred ember from this fire.
Campfire in 1:25 scale form
Mounted onto circular truck measuring 800mm across (scaled to 32mm diameter)
Realising a blazing campfire for the stage
Before attempting to recreate a fire for the stage there are a number of things to consider. The main question being: what is the fire supposed to accomplish? Here I was reproducing a 'blazing' campfire which was not only eye catching but a key interactive element for the performers on stage. It would be there to also set the mood of the scene - reflecting the uneasy yet calming essence of the lion's lair. Another important aspect of design is whether I wanted visible flames or just an indirect flicking glow - as I was reproducing an open campfire I felt visible flames would be correct. For the consideration of colour, every fire is different and every colour has its own meaning. Did I want the colour of a warm glow or a cold heat. I opted for warm glow as after all the campfire I was translating was 'blazing'.
An interesting extract I found in a technical source guide on how to create fire for stage by Michael Powers (see research file for guide) gave me an insight into what the audience would depict from the colours I used.
"The more you use reds, oranges and yellows in flame, the more it will seem hot, searing and arid. Colours in the amber, rose and burgundy range tend toward romantic. Flames that are white hot, blue-white and blue tend to give the audience a feeling of unease, of very intense heat, or strangely enough, of cold heat. Green flashes can give a softening effect to the red range and add an eerie, unworldly effect when used as the main colour or mixed with the white and blue-white flames."
I wanted the fire to seem hot and searing so I decided to stick to the reds, oranges and yellow colour palette. Further research lead me to highlighting these in the Rosco catalogue when looking for suitable colour gels.
These colours would provided the flicking flames within my campfire truck. But how was I going to make these colour come to life in a 'blazing' fire - the answer fans! Further research made me discover how to recreate moving flames for a fake fire.
The illustration above shows how I visualised building the mechanism to recreate moving flames. A small computer fan would be contained and hidden within the campfire logs and operated remotely (preferably having a power supply with the truck - if the set constructors and health and safety would allow it, if not a smaller battery operated fan would suffice.) The air created by the fan would hopefully enable the 'flame shape' colour gels to move. Alternatively having small light and with coloured gels shining upwards at flowing silk would probably be more aesthetically pleasing. (See image below)
Giant Flame Faux Fire Silk
To create the surrounding log structure it would be down to the prop department to create me some authentic looking logs to suit.
One more point, to add realism to the campfire some sort of speaker system could be hidden within the logs to play crackling fire sounds!
See A3 Bible Sheet for Production Realisation of Campfire
Campfire in 1:25 scale form
Mounted onto circular truck measuring 800mm across (scaled to 32mm diameter)
Realising a blazing campfire for the stage
Before attempting to recreate a fire for the stage there are a number of things to consider. The main question being: what is the fire supposed to accomplish? Here I was reproducing a 'blazing' campfire which was not only eye catching but a key interactive element for the performers on stage. It would be there to also set the mood of the scene - reflecting the uneasy yet calming essence of the lion's lair. Another important aspect of design is whether I wanted visible flames or just an indirect flicking glow - as I was reproducing an open campfire I felt visible flames would be correct. For the consideration of colour, every fire is different and every colour has its own meaning. Did I want the colour of a warm glow or a cold heat. I opted for warm glow as after all the campfire I was translating was 'blazing'.
An interesting extract I found in a technical source guide on how to create fire for stage by Michael Powers (see research file for guide) gave me an insight into what the audience would depict from the colours I used.
"The more you use reds, oranges and yellows in flame, the more it will seem hot, searing and arid. Colours in the amber, rose and burgundy range tend toward romantic. Flames that are white hot, blue-white and blue tend to give the audience a feeling of unease, of very intense heat, or strangely enough, of cold heat. Green flashes can give a softening effect to the red range and add an eerie, unworldly effect when used as the main colour or mixed with the white and blue-white flames."
I wanted the fire to seem hot and searing so I decided to stick to the reds, oranges and yellow colour palette. Further research lead me to highlighting these in the Rosco catalogue when looking for suitable colour gels.
These colours would provided the flicking flames within my campfire truck. But how was I going to make these colour come to life in a 'blazing' fire - the answer fans! Further research made me discover how to recreate moving flames for a fake fire.
The illustration above shows how I visualised building the mechanism to recreate moving flames. A small computer fan would be contained and hidden within the campfire logs and operated remotely (preferably having a power supply with the truck - if the set constructors and health and safety would allow it, if not a smaller battery operated fan would suffice.) The air created by the fan would hopefully enable the 'flame shape' colour gels to move. Alternatively having small light and with coloured gels shining upwards at flowing silk would probably be more aesthetically pleasing. (See image below)
Giant Flame Faux Fire Silk
To create the surrounding log structure it would be down to the prop department to create me some authentic looking logs to suit.
One more point, to add realism to the campfire some sort of speaker system could be hidden within the logs to play crackling fire sounds!
See A3 Bible Sheet for Production Realisation of Campfire
Thursday 13 January 2011
Haunted by AutoCAD error
So today was the day my model box was scrutinised...I thought I had nearly completed my replica of the Margate Theatre with only a few finishing edges to complete. After taking the model box out of the privacy of my room and into the studio, praying eyes were looming over it. A voice said, "Do you think that's right? -(pointing to my apron). And suggested, "You might want to check that on the original drawings". So with reluctance I did and compared my measurements of my model box / printed AutoCAD drawing against the original plans. The result of this to my horror was that I had measured from the wrong point on my apron! Instead of measuring from the proscenium arch line to the edge of the apron, I only measured to the footlights marking. This in turn resulted in my apron being 23mm out or 575mm in reality being half a meter! This fact I just couldn't ignore I had to extend the apron on the model to fit. After 2 failed attempts at re measuring, I finally figured out how to add this extra piece on successfully - at least I could sleep better at night now.
Although due to this corrected error the stage floor I had already produced was to the smaller measurements, no worries I could simply move this floor forward as the painted floor did not need to reach the back wall of the stage as I had a back drop hiding this gap. Actually in reality this gap would allow the people working on the stage to be able to travel from one side to the other without being seen behind the backcloth - see photograph below for visual explanation.
Although due to this corrected error the stage floor I had already produced was to the smaller measurements, no worries I could simply move this floor forward as the painted floor did not need to reach the back wall of the stage as I had a back drop hiding this gap. Actually in reality this gap would allow the people working on the stage to be able to travel from one side to the other without being seen behind the backcloth - see photograph below for visual explanation.
Wednesday 12 January 2011
Backdrop and Gauzes
A key element in transforming a blank stage into something believable takes a lot of imagination and supportive imagery to portray the intended concept to the audience successfully.
The background of the set plays a huge role - it transforms the stage into something real, sets the scene but in my case also adds depth.
The scene I was focusing on was set in the heart of the Wild Western desert land. When researching this genre I could not escape the fact of the vast surrounding landscape - distant mountains, open skies and weathered looking plants and wild life.
Measuring up for the backcloth
I found it difficult to define the correct size for this element when trying to measure up with a steel rule against the model box. To overcome this I decided to measure smaller dimensions on the model and resorted back to the proscenium arch plan on Auto CAD to draw a template for the backdrop. After printing the new plan I double checked that the dimensions were correct against the model before cutting out a mount board piece.
To enable this part of the set to become interactive in the model box a piece of dowel was glued to the top edge and used to enable the backdrop to be lifted in and out of the model box in a production meeting.
The Gauzes
My original idea for this design was to have a Forest of Cacti- the main purpose of this being to hide the Lion's castle (tepee) until the penultimate moment. I was planning to have two large trucks each consisting of a row of approximately 6 cacti. I thought this idea was excellent, a simple yet effective way of creating a 'fantasy forest' on stage...now this was before I actually began to realise my design on the stage I was working with. The Margate Theatre I must admit isn't the deepest stage in the world so when realising my prospective design I soon figured it wouldn't be as successful or impacting as I would have liked it to be. Due to the stage depth I was limited into how long my rows of cacti were.
So after some careful consideration I decided on just 3 cacti per truck, therefore not making the trucks as long. On the plus side, this limitation would in fact make the trucks more assessable and easier to move for its operators (i.e. stage hands or performers). On the other hand by minimising this scenic element to its bare minimum in turn discarded the fullness and depth factor I wanted to portray within the 'Cacti Forest'. No worries, the resolving answer was...the magic of the Theatrical Gauze!
Developing from this I came across a very useful website: http://www.iweiss.com/stage/fabric/scrim.html - it told me all I wanted to know about gauzes and how they are made and worked.
I decided to have more than one gauze to add more depth to the Forest.
Now the dilemma was how to portray this in a 1:25 scale model.
I experimented with drawing onto tracing paper but after experimenting in this the result wasn't that clear.
First attempt at 'Cacti Forest' gauze
The plan was to stagger the two 'gauzes' at a set distance within the model box. Although before getting to this stage I realised the tracing paper I had used was not translucent enough, so the effect I was trying to create wouldn't have worked as well. What I needed was a clear instant visual representation of a gauze.
Next I considered using acetate, now the question was how do I reproduce my original design onto this material. I went to seek guidance from the computer wizards in the IT department and to my delight this method was achievable. My original idea was to photocopy onto acetate but I was guided to scan the images in and manipulate the background in AdobePhotoshop to make sure a transparent background was achieved.
Once I had scanned my original designs for the gauze in, I decided the singular plants didn't really create the 'Cacti Forest' I had originally visualised in my head. My main idea was to create the gauzes in order to hide the tepee from the audience at the beginning of the performance. What I really needed was a fuller forest landscape. I could of spent time slaving away creating two newly painted designs which were fuller, but I was working to a deadline and with a week to go and plenty more scenic elements to create within the scenographic model I decided to scourer the world wide web and manipulate a photograph of a landscape.
Creating Gauze in Photoshop (removing the mountains)
Once happy with the image I scaled it to fit the model box and figured out the correct printing settings to produce it onto a sheet of A3 acetate for the model box. Before printing my seconded gauze I decided to see what it looked like against the background and tepee I had already created within the model box. From this it struck me that all I needed to do was flip the image horizontally in order to create the second gauze. Once I had the two gauzes produced I played around with these in the model box again and was able to see what depth the audience would visualise from these gauzes on the stage. When experimenting with this I realised the back gauze image needed to be higher in order to hide the tepee fully - otherwise the element of surprise would be ruined. So it was back to Photoshop to manipulate the image further (I heightened the image by 200mm and also made it slightly smaller than the image on the front gauze to help with the 'depth' concept.
Gauze against backcloth in scale form
Practical table experimentation of heightening the gauze's height in comparison to the backcloth before editing in Photoshop.
When manipulating the image for the second gauze in Photoshop I used guides to help me alter the height correctly and the clone stamp to repeat and blend my image accordingly.
Screenshot below of work process
Each gauze design was printed onto acetate and framed to fit the model box. The bottom of the 'model gauze' did not have a boarder. This was in order to suggest that the gauze when produced for the actual stage would be made to the whole height of the stage - touching the floor line.
Sizing the frames for the gauze using the Proscenium Arch plan
Two parts of frame sandwiching the acetate in place
After both gauzes were successfully encased in a frame with a piece of dowel running across the top, I could play around with positioning in the model box.
Front View
Plan View - Positioning in rig of gauzes and backdrop
By having the backcloth set at a distance up stage of these gauzes, the painted image on the gauze would appear with more spatial depth. The gauzes would be hung from the flight rig and 'dropped' in and out.
'Roller drops can operate by a single fixed roller that lowers the cloth in effect like a roller blind. The rollers fixed position above unrolls through a handline off-stage. Alternatively, the roller is attached to the base of the cloth. The roller extends a short distance beyond the edge of the cloth on either side. The cloth's top edge is fixed to a batten that is secured above the stage. The cloth is first rolled up to the raised position. Cables that run through pulleys attached to the top batten are attached to the roller ends. The unrolling motion of the cloth while it lowers causes the cable to wrap around the roller ends on either side. Drawing in the cable from off-stage causes the cable to unwind which causes the roller to roll-up the cloth'. (Thorne 1999:162)
By using this mechanism to fly my cloth in would result in the cloth unrolling itself in a downward direction, with the roller positioned on the upstage side of the cloth the painted image of the forest on the cloth would appear to unfold magically before the audience's eyes. This is opposed to a drop cloth being lowered in from above with the bottom appearing first - not as magical. Therefore the latter would be the preferred option for my design to be portrayed to its full potential.
Materials
A sharkstooth scrim (a more densely woven material mesh) would offer more scope when intending to make something appear and disappear magically. As the Father in the narrative travels through the Cacti forest, the forest would gradually disperse before the audience's eyes, take for example moving the trucks and fading the gauzes.
When lit only from in front and above, the cloth would appear solid making anything up stage invisible. Therefore at the beginning of the Father's journey I would intend for this effect to be produced upon the front gauze to translate a full forest in front of the Father.
As the father makes his journey up stage through the forest the stage would be lit from the front as well as lighting the Cacti positioned between the gauzes as this would deliver the illusion of the painted Forest merging together with the Cacti trucks. In order for this effect to work the paint used on the scrim needs to be dye in order to not fill the mesh.
The background of the set plays a huge role - it transforms the stage into something real, sets the scene but in my case also adds depth.
The scene I was focusing on was set in the heart of the Wild Western desert land. When researching this genre I could not escape the fact of the vast surrounding landscape - distant mountains, open skies and weathered looking plants and wild life.
Measuring up for the backcloth
I found it difficult to define the correct size for this element when trying to measure up with a steel rule against the model box. To overcome this I decided to measure smaller dimensions on the model and resorted back to the proscenium arch plan on Auto CAD to draw a template for the backdrop. After printing the new plan I double checked that the dimensions were correct against the model before cutting out a mount board piece.
To enable this part of the set to become interactive in the model box a piece of dowel was glued to the top edge and used to enable the backdrop to be lifted in and out of the model box in a production meeting.
The Gauzes
My original idea for this design was to have a Forest of Cacti- the main purpose of this being to hide the Lion's castle (tepee) until the penultimate moment. I was planning to have two large trucks each consisting of a row of approximately 6 cacti. I thought this idea was excellent, a simple yet effective way of creating a 'fantasy forest' on stage...now this was before I actually began to realise my design on the stage I was working with. The Margate Theatre I must admit isn't the deepest stage in the world so when realising my prospective design I soon figured it wouldn't be as successful or impacting as I would have liked it to be. Due to the stage depth I was limited into how long my rows of cacti were.
So after some careful consideration I decided on just 3 cacti per truck, therefore not making the trucks as long. On the plus side, this limitation would in fact make the trucks more assessable and easier to move for its operators (i.e. stage hands or performers). On the other hand by minimising this scenic element to its bare minimum in turn discarded the fullness and depth factor I wanted to portray within the 'Cacti Forest'. No worries, the resolving answer was...the magic of the Theatrical Gauze!
Developing from this I came across a very useful website: http://www.iweiss.com/stage/fabric/scrim.html - it told me all I wanted to know about gauzes and how they are made and worked.
I decided to have more than one gauze to add more depth to the Forest.
Now the dilemma was how to portray this in a 1:25 scale model.
I experimented with drawing onto tracing paper but after experimenting in this the result wasn't that clear.
First attempt at 'Cacti Forest' gauze
The plan was to stagger the two 'gauzes' at a set distance within the model box. Although before getting to this stage I realised the tracing paper I had used was not translucent enough, so the effect I was trying to create wouldn't have worked as well. What I needed was a clear instant visual representation of a gauze.
Next I considered using acetate, now the question was how do I reproduce my original design onto this material. I went to seek guidance from the computer wizards in the IT department and to my delight this method was achievable. My original idea was to photocopy onto acetate but I was guided to scan the images in and manipulate the background in AdobePhotoshop to make sure a transparent background was achieved.
Once I had scanned my original designs for the gauze in, I decided the singular plants didn't really create the 'Cacti Forest' I had originally visualised in my head. My main idea was to create the gauzes in order to hide the tepee from the audience at the beginning of the performance. What I really needed was a fuller forest landscape. I could of spent time slaving away creating two newly painted designs which were fuller, but I was working to a deadline and with a week to go and plenty more scenic elements to create within the scenographic model I decided to scourer the world wide web and manipulate a photograph of a landscape.
Creating Gauze in Photoshop (removing the mountains)
Once happy with the image I scaled it to fit the model box and figured out the correct printing settings to produce it onto a sheet of A3 acetate for the model box. Before printing my seconded gauze I decided to see what it looked like against the background and tepee I had already created within the model box. From this it struck me that all I needed to do was flip the image horizontally in order to create the second gauze. Once I had the two gauzes produced I played around with these in the model box again and was able to see what depth the audience would visualise from these gauzes on the stage. When experimenting with this I realised the back gauze image needed to be higher in order to hide the tepee fully - otherwise the element of surprise would be ruined. So it was back to Photoshop to manipulate the image further (I heightened the image by 200mm and also made it slightly smaller than the image on the front gauze to help with the 'depth' concept.
Gauze against backcloth in scale form
Practical table experimentation of heightening the gauze's height in comparison to the backcloth before editing in Photoshop.
When manipulating the image for the second gauze in Photoshop I used guides to help me alter the height correctly and the clone stamp to repeat and blend my image accordingly.
Screenshot below of work process
Each gauze design was printed onto acetate and framed to fit the model box. The bottom of the 'model gauze' did not have a boarder. This was in order to suggest that the gauze when produced for the actual stage would be made to the whole height of the stage - touching the floor line.
Sizing the frames for the gauze using the Proscenium Arch plan
Two parts of frame sandwiching the acetate in place
After both gauzes were successfully encased in a frame with a piece of dowel running across the top, I could play around with positioning in the model box.
Front View
Plan View - Positioning in rig of gauzes and backdrop
By having the backcloth set at a distance up stage of these gauzes, the painted image on the gauze would appear with more spatial depth. The gauzes would be hung from the flight rig and 'dropped' in and out.
'Roller drops can operate by a single fixed roller that lowers the cloth in effect like a roller blind. The rollers fixed position above unrolls through a handline off-stage. Alternatively, the roller is attached to the base of the cloth. The roller extends a short distance beyond the edge of the cloth on either side. The cloth's top edge is fixed to a batten that is secured above the stage. The cloth is first rolled up to the raised position. Cables that run through pulleys attached to the top batten are attached to the roller ends. The unrolling motion of the cloth while it lowers causes the cable to wrap around the roller ends on either side. Drawing in the cable from off-stage causes the cable to unwind which causes the roller to roll-up the cloth'. (Thorne 1999:162)
By using this mechanism to fly my cloth in would result in the cloth unrolling itself in a downward direction, with the roller positioned on the upstage side of the cloth the painted image of the forest on the cloth would appear to unfold magically before the audience's eyes. This is opposed to a drop cloth being lowered in from above with the bottom appearing first - not as magical. Therefore the latter would be the preferred option for my design to be portrayed to its full potential.
Materials
A sharkstooth scrim (a more densely woven material mesh) would offer more scope when intending to make something appear and disappear magically. As the Father in the narrative travels through the Cacti forest, the forest would gradually disperse before the audience's eyes, take for example moving the trucks and fading the gauzes.
When lit only from in front and above, the cloth would appear solid making anything up stage invisible. Therefore at the beginning of the Father's journey I would intend for this effect to be produced upon the front gauze to translate a full forest in front of the Father.
As the father makes his journey up stage through the forest the stage would be lit from the front as well as lighting the Cacti positioned between the gauzes as this would deliver the illusion of the painted Forest merging together with the Cacti trucks. In order for this effect to work the paint used on the scrim needs to be dye in order to not fill the mesh.
Monday 10 January 2011
Stage Floor
I thought I'd better think about my stage floor before I went any further making the rest of the scenery. Originally I was going to produce my main design using a revolve floor. Since this original idea my main set ideas have developed to include more scenic elements i.e. a campfire, a tribal flag stand and gauze's to at depth to the overall setting of the 'Cacti Forest'. These additional elements made me consider the revolve idea again and once having thought about it I realised the same effect of the Lion's garden behind (well camp in this genre) would still be able to be revealed to the audience just in a slightly different way.
My original idea was to have the Lion's tepee and campfire on the revolve to later be turned around. My decision to change this application to each property being on a separate truck came about when I realised that in reality Native Indians sit around the front of their tepee with their campfires blazing. Therefore if I was to have the campfire hidden from the audience behind the tepee at the start, once the revolve turned around the tepee would have been facing backwards - resulting in the Native Indian scene being depicted entirely wrong. So my final decision was to have each scenic elements on trucks to be spun or brought in accordingly.
So now it was time to set to producing my stage floor...
It is important to think about the appearance of the floor in order for the other scenic elements of the design to fit. Take for example the painted floor of the movable trucks need to translate the same or similar effect to that of the main flooring as in my case the design wouldn't flow other wise - i.e. the floor of the trucks represents the same floor of the main stage. As I am in the Wild Western genre - full of cactus's and tepees I decided the floor should resemble a desert/sandy yet natural grassy earth ground texture.
Main inspiration image for floor design
This research image reflects the natural qualities in the tepee as well as the ground - just like my interpretation within my design.
I was going to produce my floor with texture but since having read up on 'how to translate your design through the scenographic model' I found that the texture is a vital part in the design translation. If I was to use textured materials such as sand grains or grass to create the stage floor, the set constructors and scenic painters would visualise this same texture in reality just larger. Because of this I realised the floor for the actual set needed to be flat in order for the trucks to move successfully across the stage floor. If I wanted a textured, more realistic natural ground to be reproduced I don't feel my truck design mechanism would have worked as well over the uneven ground.
Stage Floor Production
First I experimented on small pieces of black foam board to see which colour and style created the right looking effect. After deciding on the particular finish I started by painting the mount board black as then the colours used would hopefully behave the same as when the scenic artists realise my design on the actual stage floor - hence being a black start floor to start.
For a naturalistic tone I decided on a burnt umber undercoat.
Working alongside research images I was able to grasp my desired effect.
The stage floor was produced on mount board, therefore it can easily be taken in or out by the director in a production meeting.
My original idea was to have the Lion's tepee and campfire on the revolve to later be turned around. My decision to change this application to each property being on a separate truck came about when I realised that in reality Native Indians sit around the front of their tepee with their campfires blazing. Therefore if I was to have the campfire hidden from the audience behind the tepee at the start, once the revolve turned around the tepee would have been facing backwards - resulting in the Native Indian scene being depicted entirely wrong. So my final decision was to have each scenic elements on trucks to be spun or brought in accordingly.
So now it was time to set to producing my stage floor...
It is important to think about the appearance of the floor in order for the other scenic elements of the design to fit. Take for example the painted floor of the movable trucks need to translate the same or similar effect to that of the main flooring as in my case the design wouldn't flow other wise - i.e. the floor of the trucks represents the same floor of the main stage. As I am in the Wild Western genre - full of cactus's and tepees I decided the floor should resemble a desert/sandy yet natural grassy earth ground texture.
Main inspiration image for floor design
This research image reflects the natural qualities in the tepee as well as the ground - just like my interpretation within my design.
I was going to produce my floor with texture but since having read up on 'how to translate your design through the scenographic model' I found that the texture is a vital part in the design translation. If I was to use textured materials such as sand grains or grass to create the stage floor, the set constructors and scenic painters would visualise this same texture in reality just larger. Because of this I realised the floor for the actual set needed to be flat in order for the trucks to move successfully across the stage floor. If I wanted a textured, more realistic natural ground to be reproduced I don't feel my truck design mechanism would have worked as well over the uneven ground.
Stage Floor Production
First I experimented on small pieces of black foam board to see which colour and style created the right looking effect. After deciding on the particular finish I started by painting the mount board black as then the colours used would hopefully behave the same as when the scenic artists realise my design on the actual stage floor - hence being a black start floor to start.
For a naturalistic tone I decided on a burnt umber undercoat.
Working alongside research images I was able to grasp my desired effect.
The stage floor was produced on mount board, therefore it can easily be taken in or out by the director in a production meeting.
Thursday 6 January 2011
Tepee Production
After realising the actual shape for the model tepee it was down to the overall look and detailing. From the extract on Native American culture I read that the Indians used animal hide to cover the main structural frame (which were tree branches tied with rope). This material would be great to use for the stage but obviously real animal skin would be highly expensive so an alternative would have to be considered.
After going on the hunt for suitable fabrics I came across a selection of felts and fake short haired furs. But still I wasn't sure whether this would suit, so I opted for a medium calico - it has that rough, imperfect feel about it just like something the Indians would have used. For the actual stage I feel this material would be alot thicker, but obviously for the scale model a thinner material was needed to be used.
Now I had the material but it didn't have the right tone to translate 'Lion skin' / forest, earthy habitat to the audience...so I grabbed the kettle and a container, an ample amount of tea bags and black food colouring and set to dying. This took a numerous of attempts to get right, the right colour when compared to my research images took a little time to achieve and the method took a few attempts to get right. On my first experiment I decided to empty the tea out of the bag into the boiling water...but I found this just marked the fabric in blotches with tea granules, how was I suppose to know they wouldn't dissolve! The way that worked best was leaving the tea bags to stew in the boiling water for 5 minutes, then adding the pre-washed calico in for about 30minutes to change colour.
The successful method stewing...
Dyed calico hanging to dry
I also tried dying some light coloured twine - the result turned out well, now I had a suitable material to suggest the Lion's mane on the tepee (smoke flaps covering).
Once dried the calico was pressed - removing nearly all the creases. I must admit I surprised myself with the effect the dye produced on the calico - kind of rich in colour yet patchy in places - just like the tonal factor on the skin of a lion - beautiful.
After pressing the fabric I worked with the template I made when realising my design. I drew the template with a half a centimeter edge all the way round to be able to produce a neat finish when gluing together.
Flat pattern of covering
Once the main part of the tepee was covered it was down to decorating to fit the design. After rummaging around various art shops and collections of bits and bobs I had horded over the year, I realised I didn't have quite the right material to use. What I needed was something to represent long grass, after some thought there was no other option but to dust off my anorak and head to the model railway shop! Well...I must admit I was actually in my element there, so many different textures and little bits to choose from. I came across 'woodland scenic' - a range of scenic materials for model making. After containing my 'excitement' I left with only one bag of grass!
WSFG174
Medium Green Field Grass
http://www.thesignalbox.co.uk/index_new.php?pg=3&p_cat_id=39&prod_id=3144
Flat Pattern of tepee adding scenic embellishments - grass and fur
Following my design and referring to images of actual tepees I realised I need to produce two outer supporting beams as well as the beams (tree branches) for inside the tepee.
For the model I first tried producing these tree branches with modelling clay but soon realised the clay I had was too cheap and was made of a fibrous material. This caused the clay not to be able to be manipulated without becoming wet. This in turn proved useless to create the texture I wanted without waiting hours to dry off.
Failed attempt at tree branches
So I quickly had a brainwave and thought...masking tape! I attempted wrapping around strips of this to the beading wire and to my amazement the effect didn't look that bad.
Make-shift model tree branch stand
Once painted I was happy with my tree branch production effort.
After piecing all the detailing in place with various combinations of glue (pritt stick, PVA, double sized and super glue) I realised the truck for this set piece required some attention from the scenic art department. To keep in tune with the Lion's habitat I decided the truck which the tepee would be mounted on should represent natural ground - so it was all hands to the woodland scenic grass!
I designed the truck a little wider than the tepee base in order to accommodate the stage crew who needs to maneuver this piece of scenery during the performance.
Final checks were made against the figure and scale rule before I was happy with this part of the model.
See additional Bible Sheet for realisation of this set piece.
After going on the hunt for suitable fabrics I came across a selection of felts and fake short haired furs. But still I wasn't sure whether this would suit, so I opted for a medium calico - it has that rough, imperfect feel about it just like something the Indians would have used. For the actual stage I feel this material would be alot thicker, but obviously for the scale model a thinner material was needed to be used.
Now I had the material but it didn't have the right tone to translate 'Lion skin' / forest, earthy habitat to the audience...so I grabbed the kettle and a container, an ample amount of tea bags and black food colouring and set to dying. This took a numerous of attempts to get right, the right colour when compared to my research images took a little time to achieve and the method took a few attempts to get right. On my first experiment I decided to empty the tea out of the bag into the boiling water...but I found this just marked the fabric in blotches with tea granules, how was I suppose to know they wouldn't dissolve! The way that worked best was leaving the tea bags to stew in the boiling water for 5 minutes, then adding the pre-washed calico in for about 30minutes to change colour.
The successful method stewing...
Dyed calico hanging to dry
I also tried dying some light coloured twine - the result turned out well, now I had a suitable material to suggest the Lion's mane on the tepee (smoke flaps covering).
Once dried the calico was pressed - removing nearly all the creases. I must admit I surprised myself with the effect the dye produced on the calico - kind of rich in colour yet patchy in places - just like the tonal factor on the skin of a lion - beautiful.
After pressing the fabric I worked with the template I made when realising my design. I drew the template with a half a centimeter edge all the way round to be able to produce a neat finish when gluing together.
Flat pattern of covering
Once the main part of the tepee was covered it was down to decorating to fit the design. After rummaging around various art shops and collections of bits and bobs I had horded over the year, I realised I didn't have quite the right material to use. What I needed was something to represent long grass, after some thought there was no other option but to dust off my anorak and head to the model railway shop! Well...I must admit I was actually in my element there, so many different textures and little bits to choose from. I came across 'woodland scenic' - a range of scenic materials for model making. After containing my 'excitement' I left with only one bag of grass!
WSFG174
Medium Green Field Grass
http://www.thesignalbox.co.uk/index_new.php?pg=3&p_cat_id=39&prod_id=3144
Flat Pattern of tepee adding scenic embellishments - grass and fur
Following my design and referring to images of actual tepees I realised I need to produce two outer supporting beams as well as the beams (tree branches) for inside the tepee.
For the model I first tried producing these tree branches with modelling clay but soon realised the clay I had was too cheap and was made of a fibrous material. This caused the clay not to be able to be manipulated without becoming wet. This in turn proved useless to create the texture I wanted without waiting hours to dry off.
Failed attempt at tree branches
So I quickly had a brainwave and thought...masking tape! I attempted wrapping around strips of this to the beading wire and to my amazement the effect didn't look that bad.
Make-shift model tree branch stand
Once painted I was happy with my tree branch production effort.
After piecing all the detailing in place with various combinations of glue (pritt stick, PVA, double sized and super glue) I realised the truck for this set piece required some attention from the scenic art department. To keep in tune with the Lion's habitat I decided the truck which the tepee would be mounted on should represent natural ground - so it was all hands to the woodland scenic grass!
I designed the truck a little wider than the tepee base in order to accommodate the stage crew who needs to maneuver this piece of scenery during the performance.
Final checks were made against the figure and scale rule before I was happy with this part of the model.
See additional Bible Sheet for realisation of this set piece.
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