By Design means By Design. Design must be purposeful, even when it is designed not to look like it is – that means everything you see on stage was chosen by someone for a reason.

• Line

• Dimension/Shape

• Movement

• Light

• Color

• Texture

Designers have a lot of elements to draw from when

they put together the physical world of the play. Most of these are pretty self explanatory, and they can come together in an

infinite number of ways to form amazingly varied worlds. Some

may seem totally realistic, while others could simply

suggest realistic elements – maybe it’s just the outline of a wall that lets our imagination

fill in the rest (known as “suggested” design). And then

there are also sets that are more abstract that aren’t interested in looking like

anything real. The possibilities are endless!

Line: Defines Form Straight, Curved, Spiral,

etc. Real vs. Suggested

Dimension: Size or Mass of Form Real vs. Suggested Includes space between

forms (Negative Space) Movement: Action of

Form Relationship between

interval and mass

Light: Reveals Form Intensity, Color,

Distribution, Movement Color: Modifies Form

Change Dimension Generate Optical Motion

Texture: Tactile Aspect of Form Scale from rough to

smooth Light reveals texture on

a Form

HarmonyContrastPatternBalance RhythmMovementProportion

• Line

• Dimension/Shape

• Movement

• Light

• Color

• Texture

Harmony: Created through similar or complementary characteristics.

Contrast: Sets apart design elements to reveal forms.

Pattern: Variation of repetition.

Balance: Relationship of forces in a composition. Influenced by instinct of

gravityMovement:

Perception of change over time

Rhythm: Relationship of and space between forms creates rhythm (regular, static, etc.)

Think about the difference between standing in front of an 8 foot door vs standing in front of a 20 foot door. What would that tell us about

the relative power of the person in the world of the play?

The scene designer’s objectives1. Help set the tone and style of the production2. Establish the locale and period in which the

play takes place3. Develop a design concept consistent with

the director’s concept4. Provide a central image or metaphor, where

appropriate5. Ensure that scenery is coordinated with

other production elements6. Solve practical design problems

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Materials and devices of scene design Trapdoors – doors in the stage floor through

which actors can enter or exit from/to underneath the stage

Tracks or slots – grooves in the stage used to slide set pieces on and off

A wagon – a platform with wheels Treadmill – basically a giant treadmill built

into the stage floor Turntable/Revolve – like a giant record player

built into the stage floor

Materials and devices of scene design Fly loft – the space above the stage where

scenery can be flown in and out so it can be out of view of the audience

The flat – a wooden or metal frame onto which canvas or wood has been stretched and attached, then painted – used to form walls, etc. on stage

Cyclorama or cyc – a series of stretched-taut curtains – or one long curtain – that surrounds the stage on three sides; and are used to represent the sky or infinite space

Materials and devices of scene design Ramps and platforms – fairly self-explanatory The scrim – a sheet of thin, gauzy fabric

through which light can pass. Light from the front make the material opaque, and light from the back makes the material transparent and reveals previously unseen scenic pieces

Scenic projection – a relatively new technique that uses projections rather than physical set pieces to create the physical world of the play.

Materials and devices of scene design Drops – scenery pieces that are made out of

fabric and painted to look however the designer wants. These are usually suspended from batons in the fly loft and are flown in and out to appear when they are needed

Batons – metal pipes above the stage that lift lights, drops and other set pieces into the fly loft

Masking – any curtain or scenery piece that is designed to hide something from the audience, especially the off stage area

* Soft pieces * Framed pieces * 3-D (Drapes) (Flats)

(Structures)

Don’t forget furniture!

Special effects Effects of scenery, lighting, sound, and

props that seem unusual or even miraculous

Include:▪ Fog, ghosts, knives or swords that appear to stab

victims, walls and windows that fall apart, etc. Prop (short for Properties): any object used

onstage that is not a permanent part of the scenery or costumes

Given Circumstances How many

settings/locations /spaces?

Sight lines of the theatre Technology available “Special” things the set

needs to do, special things the actors need to do on the set, details that are key to the production.

Budget and Schedule Style/Concept of the

show

Read script Discussion Research Sketches Discussion Renderings Discussion Model Draft the design Discussion Build the sucker

The scene designer’s collaborators and the production process Technical director - in charge of making

sure all the set elements are built and painted in a timely manner

Property designer - in charge of acquiring or building all the props

Scenic charge artists - help to build set pieces

Paint charge artist - help to paint the set

Visually, performer and costume are perceived as one

Costumes add color, shape, texture, and symbolism to the overall effect

Clothes suggest: Position and status Gender Occupation Flamboyance or modesty Independence or regimentation Occasion—work or leisure, an

outing or special event

The costume designer Responsible for creating costumes for

performers Develops visual ideas with the director Must determine how costumes will

actually look on performers in front of an audience

The costume designer’s objectives1. Tone and style2. Time and place3. Define characters

1. social standing, gender, economic status, occupation, lifestyle

4. Define character relationships1. Who’s on whose side? Who is more or less

important? Who is in love?5. Meet the needs of individual performers6. Be consistent with the production as a

whole, especially with other visual elements

Elements of costume design Line, shape, and silhouette Color Motion Fabric Accessories Hair and Make-up

You’ll note that costume designers are using a lot of the same elements as scenic designers.

They’re both in the business of creating the 3D elements of the world of the play.

Given Circumstances How many costumes? Special Costume

Requirements What do the actors

need to be able to do in the costumes?

Budget and Schedule Style/Concept of the

show

What do you know about this character just by looking at this costume?

Read the script Discussion Research Sketches Discussion Renderings Discussion (Muslin models

of some pieces) Discussion Build the

suckers Look at this rendering for a costume from the musical Legally Blonde

and the actual costume.

The costume designer’s collaborators Costume shop supervisor - pretty self explanatory Cutter-draper - in charge of cutting out and

pinning fabric Stitchers - the people who actually build (yes… we

say “build”) the costumes Wardrobe supervisor - in charge of keeping track

of all the costume pieces during the run of the show

Dressers - assigned to help the actors change their costumes

Related elements of costume design Makeup

▪ The application of paints, powders, rouges to the face and body

▪ Helps the performer personify andembody a character

Related elements of costume design Hairstyles and wigs

▪ Denote period and social class

▪ Sometimes symbolic

Related elements of costume design Masks

▪ An extension of the performer▪ Remind us that we are in a

theatre▪ Allow a face to be frozen in

one expression▪ Make a face larger than life

Related elements of costume design Millinery, accessories,

and crafts▪ Include: hats, walking

sticks, jewelry, purses, parasols, and royal staffs

▪ Items instantly refer to historical periods and make visual statements about character and locale

You can see in the next few slides that every designer has

his or her own style for costume renderings – just like

any other art!

In the top corner of each of these renderings you can see pieces of the fabric they used

to build these costumes. Those samples are called

swatches.