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  • 071-106 - Cap - 4 Design

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    Jorge Ivan Suarez
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    Sobre diseño y composición

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    071-106_Cap_4 Design

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    20 vistas36 páginas

    071-106 - Cap - 4 Design

    Cargado por

    Jorge Ivan Suarez
    Sobre diseño y composición

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    © All Rights Reserved
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    de 36
    DTS Ce Ta rt PLANNING - MODELS -WORKING DRAWINGS - TYPES OF DESIGN Cena ert eee Coe a aly sete ae R CO ar A B ero ote os The working drawings (including useful symbols) . 79 Bee CJ CCR eee 2 Seen Ec) rE CE 86 PU Rar eros Ca ee Cy Cy 4 cf aus ted SOME NOTES ON DESIGN The planning and work required for any production depend on the time, energy and facilities available. Ideas may be simplified to meet a tight schedule. On the other hand, a very elaborate design is not necessarily more demanding (or rewarding) than a very simple one. The empty space that will become the acting area must always be considered in relation to good proportion within that space. tis useful to consider a few approaches to the matter of design: a If we think about the empty space, we begin to think in three dimensions, so that the setting and all the parts that go to make the setting will be conceived in 3D. b Balance must be achieved between the main planes (surfaces) and lines, the texture of the materials and the colour of paint and costumes. ¢ The placing of the parts and properties must always be related to the acting area and allow for the free movement of the actors. It is important to stress the word ‘balance’ because this characteristic of good design can be overlooked if too much attention is given to detail or the less important parts of the setting. Always work from the whole concept = the large spatial areas and masses - and then develop the smaller details: the textural effects and colour within this framework. Es = - U | | pana SRLS A th NY 2 3 Balance should not be confused with symmetry, which is an exact correspondence of parts on either side of a centre line or axis ~ see 1 below. Ina simple setting with three walls, a floor and a ceiling (a box set) a completely symmetrical arrangement can be very dull and uninteresting. A slight shift of emphasis from the central kind of balance can be achieved by moving the flats slightly, introducing a niche or chimney breast, for example, using quite narrow flats like x in 2 and 3. This kind of balance offers much more variety to the eye. The sketch. model on page 77 and perspective view on page 8 illustrate the point more clearly. But symmetry does have a valuable part to play in many design ideas, especially in more elaborate, decorative settings, Provided that a wide variety of shape, pattern and tonal contrast are included, more or less symmetrical design can be quite satisfactory ~ see the setting on pages 84 and 85. Some design terms Certain terms used in design are introduced in this section: Decorative design is related primarily to the painted scenery of backcloths, wings and borders; also to pattern and ornament within the setting. Textural ideas relate to an interest in the surface appear- ance or ‘fee!’ of the surfaces ~ often without the colour associated with more decorative designs. The term tonal refers to the lightness or darkness of an. area or surface, of whatever colour or texture, and is important when aiming for contrast or similarity between, the parts of a setting. The terms decorative, textural and tonal are usually related to the two-dimensional effects of painted canvas or the broken surfaces of paint. When a design is more three-dimensional in concept, the term structural is used. This term expresses well the use of surfaces that suggest volume and solidity and where structures are erected and then covered with various ‘materials. Settings of this kind can often employ new ‘materials such as expanded polystyrene sheet and block, all kinds of metal foils and plasters. One major advantage of this type of scenery over the traditional painted scene is the range of possibilities it offers for imaginative lighting. When oblique lighting strikes across a built-up textural surface a much stronger sense of depth is achieved. ‘These terms apply equally to the section on painting (see pages 118-123 for surface painting, 128-131 for 3-D effects). Reading, discussion and research ‘The design for a setting depends on a number of factors. It must meet the requirements of the text, the play- wright’s directions and the director's concept of the play. ‘To meet the demands of the text requires careful reading of the play and the stage directions, both at the beginning of each scene and throughout the text, so that the basic theme and the mood can be absorbed from scene to scene, The designer has then to develop and expand his own concept with the director. Sometimes, when a playwright gives a detailed descrip- tion of the setting, it can be more inhibiting than a simple word or phrase that describes only the location ~ ‘the blasted heath’, for example. Remember that your own concept, whilst being true to the playwright’s needs, must not be submerged by too detailed a description. Always try to develop your own ideas round the main theme and location of the play. Whatever the play, its location, time and period, it will always be necessary to do some research. Delve into ‘background material from any source. You can use your local reference library, the museum, paintings, archi- tectural features, costume books and personal recol- lections. The director's understanding of the text must be discussed in detail and a common approach to all problems agreed. As the first sketches and notes are considered and discussed between director and designer, certain differences will become apparent ~ especially if the visual imagination of the two is not in accord. A design scheme has then to be developed to resolve any major differences, Provided that the designer considers certain basic requirements of the acting area before sketching out his, design the differences between designer and director are likely to be slight. The considerations are these: Firstly, know your space. Are the exits and entrances in the right position for ideal movement of the cast, or will you have to introduce a new entrance? (See also the question of placing temporary stages — page 83.) Secondly, the correct placing of the seating arrangements on stage and the careful positioning of properties and supports that could trip up the actors during certain moves. Thirdly, considerable care to be exercised in the positions of lights — discussed in detail in the section on stage lighting. Finally, think always of the basic limitations of the actual building. Is there sufficient headroom for a balcony ? Will a large ‘prop’ fit within the narrow confines between the existing wings? Is there adequate dressing room space for quick changes of elaborate costumes ? Always plan carefully and relate visual concepts to the space and the facilities available. PLANNING THE SET 1 the sketch method; 2 notes and rough sketches; 3 the There are as many approaches to planning a setting as rough model; 4 settings in a model theatre. These there are designers, but a few methods are frequently __methods may overlap but they will now, for convenience, used: be considered separately be a ee a

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