Projects for Teaching Scene Design

Transcription

1 Projects for Teaching Scene Design A COMPENDIUM Volume 2 A Project of the USITT Scene Design & Technology Commission 2016 Editors Tammy Honesty Gion DeFrancesco Brian Ruggaber, Assistant Editor The United States Institute for Theatre Technology, Inc. 315 South Crouse Avenue, Suite 200, Syracuse NY info@usitt.org

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3 FOREWORD Projects for Teaching Scenic Design: A Compendium Volume 2 is the culmination of several years of work by the members of USITT s Scene Design & Technology Commission and the Co-Editors. The challenge of educators everywhere is to come up with new methods and projects to teach universal concepts of theatrical scenic design. The information in this volume will benefit new and experienced teachers and be used for years to come as a resource for educators. We encourage you to adapt the projects as you see fit for your own institution and for your individual educational philosophy. ORIGIN The original edition of this work was first published in August Although many of the techniques of teaching and teaching scenic design have remained the same since 2006, there has been a shift in teaching & learning pedagogies for the millennial students. In the foreword of the first volume, editor Karel Blakeley articulates the best use of the compendium, as Like a cook with a new recipe, instructors are encouraged to adapt or modify the instructions to make them more effective or suitable to their needs. The recipes we tried in the first volume have so inspired us when we ve needed to revise our classes, we wanted to keep the ideas coming. Reading these new projects have already made us look at how elements on these pages might make our own classes better. ORGANIZATION The projects are arranged in a series of categories or topics. Each project has keywords referencing the variety of skills or techniques it addresses. Many projects cross over several categories, and we hope that the keywords will help identify how they might be utilized for your class. WHAT S NEW In Volume 2, some of the new submissions are adaptations of or build on previous projects from the first volume. With the digital format of Volume 2, we were not limited by space or cost of reproduction. We asked the contributors for visual images for the projects and many projects have photos. FUTURE VOLUMES In 2006, Karel Blakely wrote, This publication is the result of many theatre educators generously sharing their projects and class exercises. You are encouraged to submit any projects you have developed or are currently using in your courses for future editions. You will find a submission form for consideration in Volume 3 at the end of this compendium. There is no limit to the number of submissions you can make, and we encourage you to share the form with your colleagues. Please participate by sharing your ideas and experiences in the forum of collaboration. Tammy Honesty, editor Gion DeFrancesco, editor Brian Ruggaber, assistant editor ACKNOWLEDGMENTS We would like to express our sincere gratitude to all of the authors of the projects for generously sharing their ideas, time, experience, and creativity. Thank you to Janet Gramza and Lynne Dundas for their expertise in editing and proof-reading the exercises in this book. We also would like to thank the Scene Design & Technology Commission for its support and encouragement. You continue to inspire us. i

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5 CONTENTS SHAPES, FORM, AND BASIC DESIGN GREY SCALE DESIGN PROJECT Tymberley A. Whitesel PHOTO JOURNAL David M. Fillmore, Jr. DESIGN TOOLS & RULES COOKIES Tammy Honesty THE SHAPE PROJECT Anita Tripathi Easterling EXPLORATION OF THE ELEMENTS OF DESIGN: LIGHT Ann Cadaret MUSIC BOX DESIGN PROJECT Jason Foreman CREATING FOCUS PART I Claire Abernathy CREATING FOCUS PART II Claire Abernathy BEYOND THE BOX - UNIQUE IMAGININGS Jan Chambers RESEARCH PERIOD STYLE RESEARCH Tymberley A. Whitesel RECYCLED SCULPTURE Tammy Honesty THROUGH 3D ARTS Inseung Park RESEARCH FACTUAL OR CONCEPTUAL Claire Abernathy PORTRAIT GALLERY Czerton Lim SET OF THE WEEK Czerton Lim DIMENSIONAL ABSTRACTIONS Tom Burch iii

6 CREATIVITY, DESIGNING EMOTIONS WITH MUSIC OR POEM PIMP MY WAGON Ann Cadaret VISUAL DESIGN TO MUSIC Scott C. Chapman SHOEBOX Julie Ray MUSIC VIDEOS AS A SCRIPT ANALYSIS PRIMER Czerton Lim VISUALIZE AN EMOTION Peter Pauzé and Tammy Honesty MODEL OR EXPLORING 3D SPACE THE SCULPTURAL STAGE SPACE Jon Young ESSENCE OF DESIGN David M Fillmore Jr MODEL SKETCH Dave Nofsinger MODEL BUILDING CRAFT 4 CUBE Michelle Harvey MODEL CUBES Tom Burch DRAFTING FOUND SPACE EXPLORATION Jeff McLaughlin SUPERHERO SWORD PROJECT Annmarie Duggan and Gianni Downs DESIGN AND COLLABORATION COLLABORATION TOYBOX Tammy Honesty COLLABORATIVE SCULPTURAL EXPLORATION Jan Chambers SHAPES GAME Victor E. Shonk iv

7 DESIGN AND TEXT BEATLES HOT SET Tammy Honesty TWISTED FAIRY TALE DESIGNS Tammy Honesty THE ROOM PROJECT Gion DeFrancesco SYMBOLIC USE OF IMAGERY AND COMPOSITION Jody Sekas CHARACTER COLLAGE Casey Kearns SPACE DESIGN Casey Kearns PAINTING, PROPS, AND ALLIED CRAFTS FLOOR PATTERN STAMPING Jeffrey Gress v

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9 GREY SCALE DESIGN PROJECT Tymberley A. Whitesel Messiah College KEYWORDS: design foundations, painting, composition, elements and principles TIME: a longer project LEARNING OUTCOMES Develop grayscale mixing skills Observe how simple forms can translate into specific details by the viewer Expand creativity and imagination by looking at forms in a new way REQUIRED MATERIALS Heavy-weight paper such as Bristol board Watercolor paper or cardstock sketchbook Black and white paint, paint brushes DESCRIPTION The students will experiment with line, shape, and dots, as well as positive vs. negative space to create an image with visual interest when rotated and viewed from four different sides. As the design is rotated, a new and unique image is revealed. PROCEDURE Create a 10 x 10 square on a white sheet of heavy-weight paper such as Bristol board, watercolor paper, or cardstock. On a separate piece of paper or sketchbook, do a series of thumbnail sketches of various objects: dots, lines, shapes, etc. Combine the sketches into one design that when we rotate and view it from 4 different sides, we see separate images. See Example. Recreate the design in the 10 x 10 square on heavyweight paper using only black, white and grey. Using your best hand-drafting lettering, label the images on each side. Present images in class. A PROJECT OF THE USITT SCENE DESIGN & 1-1 TECHNOLOGY COMMISSION, COPYRIGHT

10 Grey Scale Design Project GRADING Success of the design: can the viewer identify four unique images? Neatness: project is free of smudges, fingerprints, paint bleed, etc. Use of elements and principles: there is clear use of line, shapes, balance, proportion, etc. ADDITIONAL COMMENTS Variations: To gain more experience mixing with colors, allow students to use black and white plus one hue. To gain more experience working collaboratively, work in groups of four. Have each student work on an individual side, then combine them to create a single design. Have the class work together to create an interactive display. With each design fastened in the center, the viewer can spin to see the different sides. 1-2

11 PHOTO JOURNAL David M Fillmore Jr University of North Carolina-Charlotte KEYWORDS: design fundamentals, elements and principles, morgue TIME: semester long, but short bursts of time LEARNING OUTCOMES Create compositionally strong photographs that exemplify the elements and principles of design REQUIRED MATERIALS A camera, iphone, or any device that takes pictures. DESCRIPTION As designers, we are charged with learning about and manipulating the elements and principles of design. To that end, students are asked to research, find, and happen upon examples of all the elements and principles of design in the world around them, and photograph them. PROCEDURE For this project, you are tasked with exploring the elements of design by photographing exceptionally strong examples each week. All photos are required to have a strong composition in addition to illustrating strong example of the element of the week. Through this planned exploration of composition of the photo you will also be exploring and creating the principles of HARMONY. All photos need to be taken this semester and should be done on a weekly basis. Please your five photos on a weekly basis for feedback (for example, your five examples of LIGHT in week 8 should be submitted for grading no later than Tuesday of week 9). Take 5 pictures each week of a 15 week semester: Week 1 ART (see additional comments) Week 2 LINE Week 3 SHADOW (Value) Week 4 TEXTURE Week 5 REPETITION (Pattern) Week 6 SHAPE Week 7 SCALE (Proportion) Week 8 LIGHT Week 9 COLOR Week 10 - CONTRAST Week 11 FORM Week 12 (negative or positive) SPACE Week 13 EMPHASIS Week 14 BALANCE Week 15 - ART (Picture of your Sculpture, Model, Light, Rendering, Artistic Self Portrait, see additional comments) 2-1

12 Photo Journal Example of Week 4 Textures GRADING Based on the following criteria: Design element weekly goal: Is the photo a representation of the requested element? How strong is the example of the element in question? Are other elements stronger? Creativity of the example: Innovation in your selection and manipulation of the camera to take the photo. How strong is your composition? Craftsmanship Is the composition clean and refined looking? Is the photo washed out, too dark, grainy or blurry? Final printing At the end of the semester you will need to print out a high photo-quality print of your pictures of each week. (If you end up taking more than 5 examples please limit your prints to the top 5 of each week.) ADDITIONAL COMMENTS Compiling an example archive of past classes photos is very helpful when assigning this project. Week 15 is meant to be a fun collection of all the projects done throughout the semester For my class, I have them start creating a sculpture using only a single item repeatedly to establish a baseline. The light is lighting, rendering is costumes and the Artistic Self Portrait is a fun creative way for the students to express themselves using everything they learned throughout the semester. Often this image has been the most creative of any in the journal. Originally it was only the Self Portrait but I found it very helpful to have pictures of their individual progression for final grading. 2-2

13 DESIGN TOOLS & RULES COOKIES Tammy Honesty Western Illinois University KEYWORDS: design fundamentals, drawing, elements and principles, yummy TIME: In-class activity, minutes LEARNING OUTCOMES Illustrate the principles of composition in quick gesture drawings Explain how you manipulated the tools and rules of design to create the directed gesture drawing REQUIRED MATERIALS Part I & II copy paper (2 pieces per student) crayons Part III (cookie decorating) 2 sugar cookies per student A variety of frosting and decorating supplies such as tub frosting (vanilla and chocolate), decorating frosting tubes (red, yellow, green, blue, black, etc.), sprinkles of a variety of colors and shapes, etc. paper plates napkins knives DESCRIPTION This activity follows lecture on the elements (tools) of design and the principles of composition (rules). It is a warm-up/preparatory exercise to Visualize an Emotion assignment. It is a quick gesture activity to aid the students in isolating the individual components to basic design. This is a 3-part in-class activity. At the end of class, the Visualize Emotion project is assigned. PROCEDURE Part I Each student is given a piece of paper and box of crayons. Students are instructed to fold the paper into quadrants. In the first quadrant, the students have 60 seconds to draw anything that represents UNITY or HARMONY. In the second quadrant, the students have 60 seconds to draw anything that represents CONTRAST or BALANCE. In the third quadrant, the students have 60 seconds to draw anything that represents EMPHASIS. In the fourth quadrant, the students have 60 seconds to draw anything that represents PROPORTION or SCALE. Part II: American Flag Exercise Each student is given a piece of paper and box of crayons. Students are instructed to fold the paper into quadrants. Displaying a visual image of an American Flag is helpful. 3-1

14 Design Tools & Rules Cookies In the first quadrant, the students have 2 minutes to recreate the American flag using only COLOR, SHAPE, & BALANCE. In the second quadrant, the students have 2 minutes to recreate the American flag using only LINE, SPACE, & RHYTHM. In the third quadrant, the students have 2 minutes to recreate the American flag using only EMPHASIS, TEXTURE, & MOVEMENT. Depending on time available, have students present their drawings to the class and explain how they manipulated the flag or created gesture drawings for Part I. Then each student selects two (one from the gesture activity and one from the flag exercise) designs for Part III of the activity: Cookie Decorating. Part III: Cookie Decorating (30-60 minutes) Each student decorates two cookies based on their chosen designs. Before students can eat their creation, they share their cookie design with the class and explain how the design evolved based on the medium used. GRADING: N/A 3-2

15 THE SHAPE PROJECT Anita Tripathi Easterling KEYWORDS: conceptualization, design fundamentals, elements and principles TIME: 1-2 hours at home, in-class discussion LEARNING OUTCOMES Synthesize knowledge of unity, balance, shape, line, and color to construct a formal composition Practice using shapes and lines as a means to convey a message or feeling Describe and explain the use of these elements in a composition Evaluate the effectiveness of a design to achieve its intended goal REQUIRED MATERIALS Materials could be as simple as paper and pen/pencil or as elaborate as they wish, using any type of 2-D media. Typical materials used have included paper, board, canvas, construction paper, computer printouts, craft items, glue, scissors, etc... DESCRIPTION Students create an advertisement for an assigned product using only non-objective shapes and lines. Ads should be a unified, balanced, well thought out 2-dimensional graphic design that sells the product. Students then critique each other s compositions in class without input from the designer analyzing the principles and elements of design we have studied to form an opinion of what the ad is selling. We will then hear from the designer and evaluate the effectiveness of the advertisement. PROCEDURE Preparation Start by going over the assignment and looking at an example or two from actual print advertisements in class. Students will be assigned a product, which might include: Energy drink Athletic shoes Salsa Kid s cereal Razor blades Lipstick Men s fragrance Gourmet ice cream Wristwatch Ginsu (Japanese chef s) knives Mountain bike Women s fragrance Designer jeans MP3 player Sports car Gum 4-1

16 The Shape Project Students should not tell each other what product they have been assigned! (This is done anonymously in class) Assignment Students then create their own advertisement/composition outside of class, using only nonobjective shapes and lines. Ads should be a unified, balanced, well thought-out 2-dimensional graphic design that sells the product. Rules: Not bigger than 8x11 (ish). You may use color. Use only non-objective shapes and designs. Do not create a literal representation of an image on the page. You may use one word of TEXT for your product. There will be an in-class presentation and critique of these compositions. Example: A few examples from magazines will be discussed in class. Each student will verbally critique each other s compositions in class, without input from the designer, paying specific attention to what the elements and principles of design imply about the product. For example, if the composition is asymmetrically balanced, perhaps we will feel some kind of excitement or movement? If many jagged shapes are used, perhaps we will feel we are looking at something sharp? If the colors are dark or cool, perhaps we infer this to be more masculine than feminine? Based on this information the class will form an opinion of what type of product is being advertised. The designer will then respond with his or her reasoning and intentions. The class can then evaluate how effective the design was in getting the viewer to feel/think a certain way. GRADING This project is one of a series of ten-point projects. Points are awarded for each element and principle successfully employed and for following instructions. Was the composition balanced? Did it use only nonrepresentational forms? I use the following scale: 2 Points Followed directions/turned in on time 4-2

17 The Shape Project 2 points Balanced 2 points Unified 2 points Used shapes and lines effectively 2 points Overall effectiveness/explanation of design *NOTE: Though I allow students to use color, we usually have not fully discussed the implications and manipulation of color by this point in the semester. Therefore, I do not grade their use of color specifically. ADDITIONAL COMMENTS This assignment provides students practice creating formal compositions. It asks them to analyze what message they wish to convey to a viewer using specific elements and principles of design and pushes students to think abstractly instead of relying on literal associations. By focusing on shape and line, students create a foundation for creating meaning at the most basic level in theatrical designs, such as unit sets and costume silhouettes. Hopefully, students will also begin to view the world around them more critically once they realize what kind of effect shapes and lines can have visually. 4-3

18 The Shape Project NOTES: 4-4

19 EXPLORATION OF THE ELEMENTS OF DESIGN: LIGHT Ann Cadaret Palm Beach Atlantic University KEYWORDS: early to intermediate, elements and principles, light, space TIME: minimal prep time; can be one 50-minute class period or several periods, depending on level of exploration LEARNING OUTCOMES Demonstrate ways light functions to illuminate, create mood, and sculpt Utilize model forms as a means to quickly explore lighting ideas Employ light in ways that goes beyond illumination to show light as a moving, living force on stage that can enhance, detract, and significantly contribute to the stage picture and mood Illustrate parallels between model and stage lighting, documenting how ALL things on stage are affected by the light that is placed (or not placed) on them REQUIRED MATERIALS Flashlight (Cell phones don t work as well as good, old-fashioned, cheap flashlights. If that is all the student brings, it s better than nothing, but not ideal) Large set of wooden blocks, preferably all one, neutral color Package of 8 ½ x 11 black paper (each student needs 3-4 pieces) DESCRIPTION This exercise allows students to explore what light does, what effects light can have on the actor, set, stage, etc., and the power of both light and the absence of light. This project is used to teach the elements of design (line, scale, light, color and texture,) in a sophomore-level class, after students have been introduced to line and scale. It is a quick but effective way for students to demonstrate to themselves, by their own work, how light sculpts, outlines, emphasizes, deemphasizes and illuminates. The project was developed for a 50-minute class, so it was essential that an exercise be done with quick set up, limited requirements, quick clean up, and most importantly, quickly reveal a tangible example in which students may immediately engage. PROCEDURE Fold two sheets of black paper, each in half; stand them up like a greeting card to create theatre walls. Use one sheet as a stage floor (this should give you a small but completely black space ). Have students select random blocks whatever they can fit in a fistful. Students should then arrange their blocks on their stage in some way (not delving into a discussion of composition here, just arranging them in some pleasing way). Turn off the classroom lights. Have each student light their own stages with their flashlights. Discuss (in the dark, while they are looking at them,) what they have achieved (or not achieved). If possible, have neutral colored (to match blocks) plastic toy people (Army men or the like) available to have the students relate this back to the scale of the performer. Even better: more than one scale of toy people so students can really experiment with light and scale once they 5-1

20 Exploration of the Elements of Design: Light have done the initial exercise. Repeat with consideration of angles, mood, movement, darkness. GRADING This is an-class exercise, not graded on product. It is graded on participation: preparedness, willingness to embrace new things, experimentation, quick thinking, articulations of what has been created. (Just like in real life, sometimes the coolest lighting effects are not well-thought out or even something the student has really made progress on; some of the best assignments might be less dramatic but have clear intentions, exploration, and the ability to recognize what works and what does not.) ADDITIONAL COMMENTS Most students see, very quickly, the power of light and the myriad of possibilities of light as an element of design. They all knew it in their heads, but now they can actually make it and feel it. They are eager to reconfigure their blocks, try new angles, and try other ideas relating to this. For many students, this is an Ah Ha! moment that they, themselves, have created and discovered. In its barest form, by using a single light source, neutral paper and neutral blocks, the first few minutes of 5-2

21 Exploration of the Elements of Design: Light this should look at just light, as much as one element can be viewed in a vacuum. Once that is discussed, putting light in context with the actor, line, scale, color and texture is the next essential step and one that students will eagerly proceed to do. This exercise can help point out how difficult it often is to separate elements of design, and how they MUST work together, even if opposing, on stage. Exercise can be elaborated with multiple flashlights, different type bulbs (old cheapies vs. LED), gel pieces, a larger theatre space, more elaborate sets used, more time to create an environment, introduction of color and texture, etc. If multiple days are allocated for this, students should bring in magazine pictures of qualities of light (interior or exterior) that they are particularly drawn to, and then try to recreate them with their simple stages. This will further illustrate the skill and considered nuances it takes to truly recreate a specific look on stage. Depending on how elaborate the exercise is, further exploration of light s role in visual storytelling may be explored. 5-3

22 Exploration of the Elements of Design: Light NOTES: 5-4

23 MUSIC BOX DESIGN PROJECT Jason Foreman Oklahoma City University KEYWORDS: conceptualization, design fundamentals, drawing, elements and principles, music, sculpture TIME: 1 hour of prep, 2 hours of work time. Drawing work is done in class, box design is done outside of class LEARNING OUTCOMES Explore instinctive responses to an instrumental song Communicate mood and emotion using the elements of design REQUIRED MATERIALS A box - basic cake box (12 x 12 x 6) works great, could be a shoebox or similar Drawing supplies - paper, colored pencils, pastels, etc. Scissors or other cutting tools Adhesives - glue stick, spray adhesive, or similar Colored & textured paper - construction paper, scrapbooking paper, etc. Found objects & materials - fabric, leaves, bark, plastic wrap, aluminum foil, etc. DESCRIPTION The music box project is intended to give students an introductory project to experiment with creating an abstract, visual interpretation of their reaction to a song. They select an all-instrumental song, and design a music box expressing their vision of the world of the song. It is intended to be low-pressure, very crafty, experimental, and fun. The students create a drawing response to their music selection. Then they are given a photo box from a craft store (cake boxes would work as well and are cheaper, they could be asked to provide a shoebox or similar), and directed to design the box to express their emotional response to the music. They are also told they may alter the box and lid in any way they feel would assist in creating the world of the song. Students also will write a ½- to 1- page typed analysis explaining how their box design is evocative of their song selection. PROCEDURE This project is intended to be a creative exploration that focuses on uncovering design possibilities through experimentation. This is an example of the type of conceptual, preliminary experiments that designers will create during the design process. After choosing an all-instrumental song, you will create: Drawing response Respond to the mood of the music by creating 2-3 loose, abstract color drawings. Your drawings should be impressionistic, intuitive responses to your song. The resulting work should be void of people, animals, plants, places, or other recognizable things. Line, color, shape, and pattern are what matter most. Don t think too much or be too self-conscious while you draw. 6-1

24 Music Box Design Project Box design Use your drawings, construction paper, and any other found materials you feel are appropriate to design your given box. Create a box that expresses the feelings from your song. You may alter the box and/or lid in any way you see fit. Written analysis You will also turn in a ½-1 page typed analysis explaining how your box design is suggestive of your song; describe how your composition (and your choice of design elements and use of principles) communicates the emotions from your song, and how you used line, shape, color, texture, value, etc., to evoke the environment for your song. GRADING Projects will be graded on the level of completion of all assigned items; usage of design elements and principles (and explanation thereof), aesthetics, and appropriateness to the song. ADDITIONAL COMMENTS I have used a similar project in the past with a poem as the source material and having students create an abstract 3D collage from scratch. I found that introductory-level students often had challenges with the from scratch aspect. It would create an obstacle of what do I start with? I found that giving them a box as a foundation helped them overcome the space issue, and approach the project much more creatively. The project is loosely based on Stephanie Miller s Concept Collages Using the Elements of Design from Projects for Teaching Scene Design: A Compendium Volume I. 6-2

25 CREATING FOCUS PART I Claire Abernathy Arkansas State University KEYWORDS: composition, design fundamentals, focus, space TIME: In-class activity LEARNING OUTCOMES Establish some techniques used by scene designers to create focus on stage Demonstrate how designers direct the audience s attention through placement of objects Illustrate the use of multiple techniques to create clear focus on stage REQUIRED MATERIALS Three identical chairs One different chair Room to move and manipulate the chairs DESCRIPTION On film and television the camera lens shows us what is important and where to look; on stage this isn t possible! Designers play an important role in establishing this focus in collaboration with directors and one another. This project explores ways designers, in collaboration with directors, create focus on stage through the manipulation of three identical chairs (or objects). Chairs are moved around the stage, creating various stage pictures in an attempt to create clear focus. Students engage in discussion regarding what is successful and why (as well as what is unsuccessful and why) and then try it on their own. PROCEDURE Begin the activity with the following discussion: What do you think focus on stage is? Why is it important? Who do you think is responsible for creating that focus? A lot of people share that responsibility: the director, the lighting designer, the scene designer, the costume designer, the actor. In the movies, how is focus created? The camera lens is able to zoom in on exactly what they want the audience to see. It doesn t work that way in the theatre! Let s look at some different ways the set designer can help create focus on stage Activity and Discussion: Place the three identical chairs in a straight line next to one another. Ask which chair has the focus. It is difficult to tell because they are all exactly the same. Perhaps the one in the center, because it is in the center. Maybe the one that is closest to them (either the right or left chair). Push the chair in front forward slightly, creating a triangular orientation. Which chair has the focus now? The one in the center. Why? What if you reverse the direction of the triangle so the one in the center is at the back. Does it still have focus? It might depend on how wide the triangle is spaced and if everyone can still see the one in the back. Why does it still have the focus? Everything is pointing toward it and leading your eye in that direction. Bring the three chairs back to a straight line, but turn the one in the center around. Which chair 7-1

26 Creating Focus Part I has focus now? Still the one in the center, hopefully! Why? Because it is different from the other two chairs. Return all three chairs to the original straight line. What happens if you move one of the end chairs further off to the side by itself? Which chair has the focus now? The one on its own does; pulling an item from a crowd gives it distinction and creates focus. Return the three chairs to neutral and add the fourth, different, chair on the end. Which chair has the focus now? Why? Determine how it is different. Is it better, a different color, or maybe it has a desk attached? What happens if you take one of the identical chairs from the other end and pull it off to the side? Which chair has focus now? It is difficult to say, because your eye doesn t know where to look. This is something to be aware of, creating split focus. Make choices that are clear and will help the audience. The arrangement of chairs is sending mixed information; look here at me, I m different! Look here at me, I m separate! What if you separate the chair that is different from the other three chairs? Now you have multiple pieces of information telling you where the focus is: Look at me! I m different and separate! Let students come into the space and arrange the chairs any way they like, with the goal of creating focus on one of them. How were they successful? What would make it better? Take it Further: Create stage pictures like a director does; bring five students into the space. Now, instead of chairs, you are working with people, but the same principles apply! How you can apply the same ideas to actors on stage, to give a particular character or actor focus on stage? GRADING N/A ADDITIONAL COMMENTS This activity can be followed up or paired with Creating Focus Part II which takes it to the next level and brings in the lighting designer and costume designer. 7-2

27 CREATING FOCUS PART II Claire Abernathy Arkansas State University KEYWORDS: color, composition, design fundamentals, focus, light, space TIME: In-class activity LEARNING OUTCOMES Discover ways designers work together to create clear focus on stage using color, lighting, levels, and other means Create stage pictures with clear focus using the techniques discussed in class REQUIRED MATERIALS All that is needed is room to move around, though a small light might be helpful. DESCRIPTION Creating Focus Part I explored a few ways designers and directors create focus on stage. This activity builds on the first and incorporates other aspects of design. Explore how use of levels, color, and lighting, among other things, contribute to focus. Most of the time these moments are planned in advance, during the design process, so collaboration with the director and other designers is imperative. PROCEDURE There are lots of ways to create focus; we have only touched on a few. Start by reviewing what you already know about how to create focus by asking a few students to create a stage pictures that gives one particular student focus. Have groups demonstrate the various approaches we have already looked at: V-shape (focus upstage) V-shape (focus downstage) Grouping with one item separated Grouping with one item different (one person faces down stage, the rest face upstage) Multiple facets (one person separated and facing the opposite direction from the rest) V-shape and facing the opposite direction Once you have reviewed, here are some more ideas to experiment with: Levels What if one person is raised above everyone else (standing while everyone else is kneeling/ seated/etc. OR standing on an elevated surface)? What if they are lower than everyone else (laying down while everyone else is crouching/standing/etc)? How can a designer use this information? Having levels on stage can be a really useful tool! What are some ways you can think of to create physical levels on stage? For example, steps or a balcony. Direct giving of focus Other actors on stage can direct focus by pointing, or looking where they want the audience to look. This is similar to the triangle effect of the chairs, but the person with focus doesn t have to be in the center. Try having everyone look at the person on the left, while the person on the left looks straight ahead. Can the students think of other ways to apply this tactic? Gesturing with 8-1

28 Creating Focus Part II hand, arm, or foot, for example. Color This is one you may have already touched on. If everyone on stage is dressed in similar colors except for one individual who is dressed in a contrasting or complimentary color, where is the focus? Can you create this look in class? Are there enough people wearing one similar thing to create a color group? Throw someone dressed differently into the mix and see what happens! Lighting The lighting designer has a lot of power when it comes to creating focus; without lights you can t see anything! The lighting designer can place more light on the area (or areas) of the stage that require focus. Can you think of other ways a lighting designer could help audience members know where to look? We can make focus even stronger by combining these things together. For example, an individual dressed in a different color kneeling down stage while the other characters stand and look at or gesture towards them creates a powerful stage picture! Can you think of other combinations that would be equally successful? Place students in groups and give them some time to create a stage picture with strong focus using the techniques they have learned so far. GRADING: N/A 8-2

29 BEYOND THE BOX - UNIQUE IMAGININGS Jan Chambers University of North Carolina at Chapel Hill KEYWORDS: conceptualization, design foundation, space, text TIME: This exercise is begun in class, completed outside of class over a few days time, and presented in class. PROJECT OBJECTIVES This exercise emphasizes textual and contextual interpretation, imaginal thinking, and intuitive implementation of the elements of design and the principles of organization. Participants learn that they are capable of uniquely interpreting a text and creating an object/ environment that communicates that interpretation in a dynamic way. REQUIRED MATERIALS Found objects and materials for construction of the object/ environment DESCRIPTION Given three words as text (blindly selected from three categories: emotional, spatial, sensory), participants create an object/environment that reflects the imaginings generated by the triplet word text. PROCEDURE In Class (working silently without discussion): Blindly select a word from each of the three categories: emotional, spatial, and sensory, by drawing folded slips of paper from three hats Samples of Words (to be cut apart and selected randomly, one from each category): Emotional Spatial Sensory Envy Delight Surprise Fear Desire Contentment Jealousy Optimism Curiosity Serenity Anxiety Revulsion Vast Compartmental Vortex Tunnel Layered Concentric Linear Organic Architectural Meandering Amorphous Dense Loud Piercing Breezy Whispering Wrinkled Dry Hard Liquid Sweltering Cold Floating Sharp Consider and imagine each word, one at a time, and make notes/small drawings for each word separately. What does each word conjure for you? What image(s) come to mind? Imagine a box that is 6 x 6 x 6 (it is helpful to have an actual box of these dimensions for the class to see - or draw one on the board). In your imagination, put your conceptual image(s) of one of your words into the box. How does it 9-1

30 Beyond the Box - Unique Imaginings get in? How does it interface with the box? What happens then? Make notes and small drawings, if you wish. Now put the conceptual image of a second word into the box with the first. What happens? Again, make notes and small drawings, if you wish. Finally, put the third conceptual image of the last word into the imaginal construct that was created with the first two words. How does it merge/ make room for itself in the composition? What has happened to the box? Out of Class Create a 3D representation of your imagining using whatever materials you have at hand (be creative). You may find that the imagining continues to morph as you work. Work intuitively, in concert with what you see appearing before you. That is, rather than thinking through, planning and executing a preconceived creation, continue to be open to ideas that come to you. You may or may not have remnants of the box in your final creation. Presentation and Discussion The word triplets are written on the board. Participants are invited to place their creations on the table. Each person examines each creation, making notes. Open discussion of each creation follows, with everyone except the artist reading the imagery and offering interpretation. It s a good idea for the artist whose work is being discussed to take notes of the observations of others. When all creations have been discussed, participants try to come to consensus on which word triplet belongs to which creation. Each artist then responds to the ideas that have been put forward about their box and reveals the correct text with which they were working. A group discussion of process is valuable in talking through how ideas arise, how to merge two disparate ideas, finding materials that work, the time and focus required, the sense of immersion that occurs, etc. Example photo: Construction by Hillary Norman for Frigid, Spiraling, Decaying GRADING Based on participation, engagement and timely completion. 9-2

31 PERIOD STYLE RESEARCH Tymberley A. Whitesel Messiah College KEYWORDS: design foundations, research, period style TIME: longer project LEARNING OUTCOMES Develop a broad understanding of a variety of period styles and a deep understating of one period style Recognize how style movements affect architecture, furniture, and costume design Build skills in research methods and use of library resources REQUIRED MATERIALS Library access 9 x 12 paper Color media DESCRIPTION By designing a simple wall, costume, and single chair, the student will gain an understanding of the elements that differentiate one design style or movement from another. PROCEDURE Pick one of the periods discussed in class. Research the specific elements that define the particular period. Use Stephen Calloway s Elements of Style and Judith Miller s The Style Sourcebook as starting places for your research. Find at least four additional references for information about your period (at least one noninternet source). On a separate piece of 9 x 12 paper, recreate the basic wall, figure, and chair found below. Add to the wall the appropriate moldings, window / door treatments, etc. for your period. Likewise, add clothing to your figure and chair details. Add color using the of media of your choice. Present your finished designs in class and submit an annotated bibliography. 10-1

32 Period Style Research GRADING Accuracy: are the design details appropriate for the stated period, clearly represented, etc.? Neatness: is the project clean of fingerprints, smudges, paint bleed, etc.? Personal Investment: does the project go beyond the minimum standard outlined above? Bibliography: does the research contain the correct numbers and types of resources? ADDITIONAL COMMENTS Variations and Tips: Assign specific periods to individual students. Ask a librarian to come into the classroom for a presentation on using library resources. Take the class to the library to find initial research materials. Place specific general research books on hold at the reference desk in your library. Combine the annotated bibliographies from the class into one document and distribute to the class for future reference. To gain experience working on proportions, provide only dimensions for a wall; have the student determine the size of the windows, doors, figure and furniture. 10-2

33 INTENTIONALLY ANACHRONISTIC DESIGN (IAD) RECYCLED SCULPTURE Tammy Honesty Western Illinois University KEYWORDS: collaboration, early to intermediate, elements and principles, sculpture TIME: 1-2 weeks outside of class LEARNING OUTCOMES Executing a three-dimensional design from a sketch Collaboration on a shared project Developing a three-dimensional sculpture from recycled or repurposed materials Evaluation of the process and product REQUIRED MATERIALS Completed Intentionally Anachronistic Design projects from Volume 1. Recycled/repurposed materials (cardboard from shipping boxes, cereal boxes, etc; aluminum cans; 2-liter bottles; etc.) DESCRIPTION This project springboards off of Elbin L. Cleveland s Intentionally Anachronistic Design project from Volume 1. This project can be completed in small groups. PROCEDURE In groups of 3 or 4, students create a 3D representation of a previously designed Intentionally Anachronistic Design (IAD) project. Group members must first decide on one (1) IAD project to realize in 3-Dimensional form. (Hint: you can & should improve on the item, but choose one that utilizes the design principles and will showcase well). Once the object is selected, brainstorm collaboratively on what recyclable materials could be utilized to create this sculpture bottle caps, bottles, cans, paper, cardboard, ribbon, string, wood, light bulbs, toothpaste tubes, etc. Keep a list of what was used and how. At this point, a list of the team member names, list of materials used, and title of object should be submitted to the instructor. Create this object TOGETHER. Together can mean everyone working at designated times, or it can mean dividing the workload up among the three of members, with each person creating a part of the sculpture which will then be assembled into a cohesive entity. Each group member will write a short narrative focusing on one of the following topics about the project (all topics must be covered by the group). EACH PERSON WILL SUBMIT THEIR WRITTEN PORTION INDEPENDENTLY. Research and Process (person #1) Did you need to do more research? If so, what did you (the group) do? How did the process work? How did you decide on the materials to use? Etc. Implementation (person #2) How were the recyclable materials used? What was it about the materials chosen that lent themselves to creating your IAD object? How did the collaborative effort work? Evaluation (person #3) How well did the process work? How was it different than working 11-1

34 Intentionally Anachronistic Design (IAD) Recycled Sculpture alone? How effective was the outcome of the sculpture? How did the creation of the sculpture differ from the initial design of the IAD? Who did which tasks? How did the division of labor work? Person #4 (if there are 4 people in the group) will write an additional evaluation of the entire process) Source: GRADING 20% collaborative work 20% creative use of materials 20% accurate interpretation of original design 20% written narrative evaluation 20% on time completion 11-2

35 EXPLORATION OF VISUAL STYLE THROUGH 3D ARTS Inseung Park University of New Mexico KEYWORDS: collage, drawing, elements and principles, intermediate to advanced, sculpture, text TIME: about two weeks (depending upon students level) LEARNING OUTCOMES Develop more stylized and varied approach in the range of semi-abstract to abstract Develop competence in visual language dealing with design elements and principle Improve skills to conceptualize a given text and to visualize based on their design concept Improve vision to see the space in 3D (mass and volume are studied) Engage in the use of actual texture in scene design, recognizing the relationship between mood and material Present work with a clear design concept confidently and articulately REQUIRED MATERIALS Materials will depend on the students design concepts, based on the text they use. Students must think about a 3D visual form before preparing all necessary materials. In general: A text a short poem would be great instead of a play Magazine swatches or some printed images in varied colors Adhesives (Elmer s glue or hot glue) X-acto knife metal ruler scissors Varied art media such as pencil, watercolor, acrylic, dry or oil pastel Materials that have an actual texture ex) wood, metal, paper, sand, wire, stone DESCRIPTION This project is designed to help students improve skills and artistry in representing a visual style and in conveying mood and emotion through 3D arts such as collage/assemblage. Visual art is often considered to consist of three elements: subject, form, and content. Subject is a theme including either tangible or intangible subject matter. Form is a final visual product produced by an artist. Content is the emotional outcome that a form conveys to the audience. For a play, the scenery is a visual form composed of subject and content. The exploration of visual style is one of the most crucial activities in learning scene design. Students approach the realistic set with relative ease. However, they often have a hard time developing the visual style capable of portraying emotional and conceptual environment along with the appropriate mood in semi-abstract to highly abstract approaches. As the trend of contemporary scene design moves toward more diverse styles in visual form, the various styles become a more dominant feature in scene design. 12-1

36 Exploration of Visual Style Through 3D Arts Scene design is a 3D form in space. This project deals with the 3D visual style of a given text. The stage itself is completely omitted so that students can focus on only the visual form in 3D. The dramatic action of a play is not considered. A short poem is used instead for this project. PROCEDURE Before exploring this project, students need to review the basic design elements: line, shape, value, texture, color, and design principles: harmony, variety, balance, proportion, dominance, and movement. Also, the basic concepts of 3D arts should be reviewed: mass, volume, space, and 3D collage/assemblage. Students review a given poem. Either student or an instructor can select a poem. After the analysis of a poem, students consider some vocabularies describing subject (theme) and content (feeling). In other words, theme and emotion of a poem will be considered. Encourage students to think of more than three words in each category. Students will develop their ideas first on a piece of paper. Simple sketches and drawings with pencil would be fine in this step. They can improve ideas through many thumbnail sketches. Once they arrive at some concrete design ideas, they make a material list. The materials heavily depend on their final outcome. After the materials are ready, 3D assemblage is implemented as it is designed. Magazine swatches or printed photos can be applied. There should be more trials and errors in this process as well. It is important that the visual form carry selected theme and content. GRADING Student s grade will be based not only on final product but also how progressively they develop their design. Planning and interpretation of a poem Design process & style Presentation of design work. It is important to learn how to articulately present their work. ADDITIONAL COMMENTS Below is the outline of a sample project. 3D Arts (collage/assemblage): Create one three-dimensional piece focusing on the five design elements based on the poem by Federico Garcia Lorca. Creating a visual icon of the poem is the key. Select an appropriate theme and content by yourself. The list of several words would help your design process. Must use actual texture in your work. Design may be of any size, no smaller than approximately 12 w x 12 d x 12 h and no larger than 18 w x 18 d x 18 h in size. Should be in the range of semi-abstract and highly abstract. Think hard about the organizing principles of design elements while you create your artworks. 5 design elements: Line, Shape, Value, Texture, and Color 5 design principles: Harmony, Variety, Balance, Proportion, Dominance, and Movement 12-2

37 RESEARCH FACTUAL OR CONCEPTUAL Claire Abernathy Arkansas State University KEYWORDS: design fundamentals, research TIME: In-class activity LEARNING OUTCOMES Examine the role of research as a design tool Distinguish between factual and conceptual research Explore different ways to consider research REQUIRED MATERIALS Several examples of period or FACTUAL research and Several examples of inspirational or CONCEPTUAL research in sets (one set for each group) DESCRIPTION Research is a key component of a designer s process. Many students find research tedious, so it is important to help them understand that research should be an exciting time a time of possibility and exploration! Research can be divided into two main categories: factual research and conceptual research. Factual research typically makes up the bulk of a designer s images, but conceptual research is equally important. In theatre we are not recreating history, but telling a story; this is where conceptual research becomes really important. PROCEDURE Begin the exercise with discussion questions: After reading the play, what do you think is the next thing a designer has to do? They have to start doing research! What is research? Research is a tool designers use to spark ideas and to help them understand thumbnails and the world of the play. Where might one find research? There are so many places; see how many they can come up with! Books, magazines, photographs, our everyday lives Museums, public libraries, school libraries, fire stations, restaurants Research can be broken down into two main categories: Factual and Conceptual. Factual Research What do you think factual research is? Factual research is just that research based on fact; for example, you might look for images of a chair from the 1970 s to see exactly what it looked like. Can you think of some other examples? Historical accuracy Period inspiration Not always pictorial; factual research can be written. While designers are always looking at images, written research can help them make choices and inform them about things like who lived in different kinds of houses or what kinds of fabrics/colors were popular during a particular period. 13-1

38 Research Factual or Conceptual Be careful don t be a slave to your research; it should inform form and function Conceptual Research What do you think conceptual research is? This one is a little trickier. Might have nothing to do with the subject matter of the piece Used to spark ideas for color, line and texture, but mostly for mood and atmosphere Personal connection to the research Most important: conceptual research sparks ideas and excitement Be careful this kind of research can mean different things to different people; always include drawings with your research to indicate your interpretation. Conceptual research is what makes each design interesting and unique. If I asked each of you to research chairs from the 1950 s, you would all come up with a lot of the same factual research, but your conceptual research would be different. Activities and Discussion Points Divide the class into groups. Each group should have the same package of research you have assembled that contains both factual and conceptual research. Have students in each group arrange the research into two categories: factual and conceptual. When they are finished, have one group share their response. Did other groups have the same divisions? Why or why not? Point out that sometimes it depends on the play what might be conceptual for one production could be factual for another. It also depends on the kind of design what may be factual research for a set designer may become conceptual research for a costume designer! Have the groups rotate some of the images. Ask how it changes their perspective. Illustrate various ways the research could be used beyond what it may appear -- like, for example, using an image of a clock as a floor plan. Follow-up Instruction Don t show research that you wouldn t commit to inevitably, that will be the one the director likes! Consider how you will present your research: Collage Assemblage Not showing it at all. Editing is part of design. Frequently we have to eliminate images and ideas as we go so we are able to have a more focused and clear design. 13-2

39 Research Factual or Conceptual GRADING N/A ADDITIONAL COMMENTS I use this activity early on with my design students to help them understand that design isn t just replicating factual details and images. Applying conceptual research to factual research to reflect the story you want to tell is part of the designer s responsibility. Doing research should be fun, not perfunctory, and should be a time of exploration. It also helps them understand how plays like Romeo and Juliet can be produced hundreds of thousands of times, but each production is different because each designer brought different factual and conceptual research to the table. 13-3

40 Research Factual or Conceptual NOTES: 13-4

41 PORTRAIT GALLERY Czerton Lim State University of New York at Fredonia KEYWORDS: analysis, character, design fundamentals, research TIME: Longer project LEARNING OUTCOMES Conduct period research into depictions of people in paintings, portraits, or photography Conduct period research into the environment and architecture of the time depicted in the script Complete dramaturgical analysis of characters within the script in order to cast the character Make clear, definitive choices that can be analyzed and challenged by the class and instructor in how research relates to the script Become more specific with search terms when researching images using the Internet Explore how the visual environment relates to the characters onstage REQUIRED MATERIALS Access to the internet and to a printer DESCRIPTION A component of my design philosophy is the innate connection between the characters being represented and how their environment onstage is being recreated or reinvented. So part of my teaching scenic design relies heavily on script analysis of character development and their relationships to each other. I feel strongly that the best scenic designers are acutely aware of the lives of the characters and that the details of those scenic choices are born out of that keen awareness. This project is also a way for students to be able to relate more easily to the characters of the piece and to have them make concrete, tangible choices that can be questioned and analyzed by the class and in instructor. Usually this project is a way to demonstrate the student s script analysis training, and is a first step in being able to think about how the depiction of those relationships can affect and influence the design of the visual environment. PROCEDURE Assign script to read Open discussion with class about major themes, plot, etc. Assign project for next class session Students are told to cast the show, using period painting, portraits, and photography of the period depicted in the script or a period chosen by the student. Each cast choice is printed on one sheet of paper to allow the student or class to be able to move each choice more easily. They are highly discouraged to use current actors, models and celebrities as part of their cast; real people are highly encouraged. These choices immediately make it clear how the student sees the characters and allows for comparisons with how they fit with the rest of their casting choices, such as age, class, status, etc. It also makes clear who has done a close reading and who has simply skimmed the script. Put up work as a presentation to the class 14-1

42 Portrait Gallery This project allows the class and instructor to ask specific questions about the influences the students used to cast each character, and thus be able to talk about how they see each character in the story and the relationship each character has with the others. GRADING How accurate are the pictures to the period? Substance of the pictures themselves Do their choices fit the basic needs of the characters in the script? How effective was the student at being able to justify the choices he/she made? Has the student demonstrated a clear understanding of the major themes of the play through his/her choices in casting? ADDITIONAL COMMENTS I pick plays/musicals that have unseen characters and tell my students to also cast those characters (for example, the General in Hedda Gabler, the Father in The Glass Menagerie, Godot from Waiting for Godot) since even characters that are only mentioned usually have an affect on the onstage characters directly. I also tell them to find a picture of what they think the set should be, especially if it is an interior or there is a clear description of the environment that they can see their cast performing in. I find that for a beginning scenic designer, being able to talk about the characters and finding those clues within the script becomes an important tool in being able to design the environment that these characters will ultimately inhabit. The discussions become more about how the characters develop, their relationships, and what motivates them rather than simply reading the script and taking note of all the architectural descriptions the playwright has provided. This also allows students a concrete place to start in terms of their research and being able to look at real people in their period and how real things interacted with them. 14-2

43 SET OF THE WEEK Czerton Lim State University of New York at Fredonia KEYWORDS: composition, design fundamentals, research, space TIME: Longer, assigned project LEARNING OUTCOMES Find interesting compositions of space Conduct active research online and begin to notate online sources Identify characteristics of composition, scale, color, use of space, etc. in student s choices and their peers choices Articulate and describe the choice of photographic image for prompt. Discuss and describe how the image could be applied to a stage composition as well as the type of genre. Identify the source of the image, ie. where and what is it? REQUIRED MATERIALS Access to the internet and a printer Libraries DESCRIPTION For me, part of the training for beginning scenic designers is for them to look at real places, structures, and architecture and be able to recognize when those can be a good basis for a set design. This exercise is an extension of sketching, and helps students recognize why something works as a stage composition. It also allows the student to start training their eyes to see how space is defined within the frame of the picture, composition, scale, color, etc., and how to use a real thing or place as the beginning of a scenic design. It also prepares students to be able to talk about what drew them to select their picture and to talk about other people s choices when they are all displayed together.. PROCEDURE Assign characteristics for the Set of the Week Every week of the semester, each student brings a picture that they feel can be an effective set design. Sometimes parameters are given (ie. a public space, an interior with stairs, an exterior with nature, a diner, etc.). The picture can be taken by the student OR an image they find on the Internet. The picture is to be printed on an 11x17 paper in landscape, so the image quality should be high enough that it can be properly seen at this size.. The image chosen needs to be notated, ie. the web address or page where the image was found.. In class, the students then display their images on one board. The students discuss which images catch their eye, the choices they made in selecting their picture, and possibly what play the composition can work for. 15-1

44 Set of the Week GRADING Image notated Image scaled correctly on 11x17 Does it fulfill the characteristics assigned for that week s set? ADDITIONAL COMMENTS The goal of the project is ultimately to start training young designers in a way to look at real and interesting compositions and be able to see the possibilities of a compelling scenic design within the picture. 15-2

45 DIMENSIONAL ABSTRACTIONS Tom Burch University of North Carolina at Charlotte KEYWORDS: collage, conceptualization, early to intermediate, elements and principles, research, sculpture, text TIME: Variable, 1-2 week project following class discussion of given text LEARNING OUTCOMES Apply the concepts of the elements of design & principles of composition to 3D sculpture Use abstraction to create a sense of the MOOD of a text Build reliance on proper and deeply concentrated visual research Apply the above to usage of 3-dimensional space REQUIRED MATERIALS A text (I have used poems or short stories, but prefer to use a theatrical text that is striking and visceral. At different times, I have used Euripides Medea, as well as Max Frisch s The Arsonists, but it could be applied to any desired text) General art supplies (glues, papers, random buttons, paints, etc) Old magazines I also ask student to supply a container. I leave this request open-ended, and avoid giving specific suggestions, though I always end up with a few shoe boxes I sometimes will get students who create with fish bowls, mason jars, a lamp, and an assorted variety of other container-like objects. I encourage students to find/scavenge items that can populate their container. DESCRIPTION This exercise follows up on class discussions/exercises on the Elements of Design and the Principles of Composition, and the importance of visual research to begin a discussion of the tone or mood of a given text. I ask students to explore creating a 3-dimensional collage using pieces/elements and ideas from their store of visual research. I will often invoke (and spend part of a class) discussing and sharing the work of the American abstract artist Joseph Cornell ( ), whose Cornell Boxes are ethereal and filled with quixotic and abstract worlds. We discuss his method of collage and how that abstraction can be utilized in a theatrical designbased idiom. I have used this as an exercise with an Intro to Stage Design course, as well as a more involved version in a Scenic Design course. PROCEDURE After reading and discussing the text, I ask students to create a research binder of no fewer than 50 images that speak to the spirit, the mood, the tone of the text. Over the next class, I ask students to distill their preferred images down to a small handful (no more than 7 or 8) that best typify their take on the story and its world. We discuss what is similar and different about a single student s images, as well as the breadth of research the entire class has brought to the table. As we discuss an individual s research and point of view of the text, we 16-1

46 Dimensional Abstractions talk about how the elements and principles are at play within the research and how those could be turned into a 3D representation within a student s container. I often ask students NOT to bring their container to this class meeting, so the conversation can focus on the visual research, and to set up the in-class exercise for the next class meeting. For the next class meeting, students are required to have created a dimensional representation of their take on the mood of the text within their container. I often require students to drop them off at my office up to an hour before class, so classmates don t know whose container is whose. In advance of class, I arrange the containers around the room in a gallery-like configuration, and we then discuss these works of art and what we feel they are trying to communicate. Each creator is asked to keep silent during the initial discussion of their container. After initial discussion, the creator communicates their thoughts and process, and the class responds accordingly with pros and cons. I will then often give students until the next class meeting to revise and resubmit their final container. In a scenic design-dedicated course, I have then had students use these containers as the artifact for a basic and abstract scenic design of the given text, requiring that any colors, textures, objects, etc., that a student puts into the design must come from the artifact in some way. GRADING Initial research binder Initial personal written response to the text A final written explanation of how they arrived at the box or the design (as per the situation). The above items and the artifact (or design) are given equal grading weight. 16-2

47 PIMP MY WAGON Ann Cadaret Palm Beach Atlantic University KEYWORDS: creativity triggers, design fundamentals, drawing TIME: In class, no prep LEARNING OUTCOMES Stretch the imagination try to lose the fear of drawing Open up creative alleys that may not have been opened before Develop a comfort level in a new class REQUIRED MATERIALS 14 x 17 paper (or any drawing surface) pencil or something with which to draw DESCRIPTION I cannot claim this exercise! It comes from the book Caffeine for The Creative Mind, by Sefan Mumaw and Wendy Lee Oldfield (HOW Books, ISBN-10: ). Pimp My Wagon is a doodling exercise for the first week or so of class. Mumaw and Oldfield suggest that in order to get creative juices flowing, that one brainstorms and doodles the perfect wagon. I ask students to consider using their little red wagon from childhood and outfit it with whatever they think would be the ultimate life wagon. They can draw it any way they can, as long as they fill the 14 x 17 page. This exercise is a window into the hearts and minds of young college students who may or may not be serious about pursuing theatre, but have expressed enough interest to enroll in a beginning class to explore elements and principles of design. PROCEDURE In the first four or five minutes of class, ask some leading questions like: Remember a favorite childhood toy. Recall a favorite childhood memory. What are the most important things they need in life? (Yes, this is a wide-open question and students always want more explanation; I just tell them to consider it however they wish to interpret it.) How many had a little red wagon? Ask them to draw their own wagon, with all of their essential things. This wagon should hold or house or contain whatever the student feels is essential in life, whatever that means to them. Drawing skills do not count. Any wonky drawing is OK. What is important is that they get all the important stuff represented in some way, all related to a little a red wagon to haul it around. If a student really gets stuck drawing, then have them make a list of their essential things on the edge of the paper, and then encourage them to just doodle them, one at a time. 17-1

48 Pimp My Wagon GRADING Participation and willingness to delve into it are what matter most. ADDITIONAL COMMENTS Some wagons have had hot tubs, hot dog carts, margarita makers and futons. Others had giant shoe closets and Ferrari engines. Others were simple wagons with a pile of sand (the beach,) and their favorite book. Some will be literal, and some will be metaphorical. Some will be all inclusive and some will be scant. It CAN really give the professor (and other students) a window into the minds and hearts of each student. You really see what is important to some students. You really see how deep (or shallow) some think. You really see who immediately embraces tackling their fears (drawing, showing something about themselves,) and who is very reserved. It is helpful to look back at this exercise towards the end of the semester, when students have improved their drawing skills (or at least their understanding of the visual aspects of theatre) and have improved their ability to articulate visuals. Students are often surprised at how much they grow in learning about scale, line, perspective, color, texture, etc. 17-2

49 VISUAL DESIGN TO MUSIC Scott C. Chapman Longwood University KEYWORDS: design foundations, collage, composition, music, space TIME: longer project LEARNING OUTCOMES Use collage as a means of communication in scenic design Apply the basics of song structure to a visual design Understand the importance of emotion-based design and text analysis as they relate to scenic design REQUIRED MATERIALS a piece of music, lyrics (if used) magazine or printed images glue for collage and model box foamcore (for model box) paint paint brushes other model making supplies (found objects for rough bash model) DESCRIPTION This is a two-part project for a basic scenic design class, focused on designing a world/environment inspired by a piece of music. The first part of the project involves giving the students a piece of music. The students listen to the music, write their initial reactions to it, then analyze the lyrics. They then create a collage inspired by the music, which is presented in class. Next the students are assigned a space (for my Fall 2014 class, the space was their bedroom), and within that space create a world/environment for the song. Students see that as scenic designers, we transform and manipulate space to create a world in which the play can take place. If we can create an artful representation of the song in their comfortable space (their bedroom), then we can translate that to a larger scale (the stage). The students end up building a scale model of their bedroom and present them to the class. PROCEDURE: This will be a visual design to music. You will be given a song pertaining to the world of the piece. Listen to the music and read the lyrics (Posted on course-management system or handed out in class). Get an overall impression, and write down your initial reactions (be sure to use descriptive adjectives). Listen to it a second time. What do the lyrics say? What kind of a place is this? Continue to jot down descriptive words. Now, close your eyes and listen a third time. How does it make you feel? What do you see as you 18-1

50 Visual Design to Music listen to the piece of music? Listen to what is beneath the words. Does the music feel cyclical, or jagged, or flowing? Look for images that feel like the music you are listening to. Create a collage of images, colors, and/or textures based on your visual inspiration. Think about how your collage is composed. Does it feel jagged or angular as the music does? We are evoking emotion through imagery. You will be given a space to design within. Build a ¼ scale model box of the space as assigned. Sketch out your idea for an environment/world for this song. Create a bash (rough) model, in color, for the world of the song that you have listened to. Focus on the emotional feel of a space. Present your work in class. GRADING The whole project was worth 150 points or 15% of the class: Collage (75 Points) Content & Concept; Coherence & Organization; Creativity; and Presentation. Bash (Rough) Model (75 Points) Content & Concept (Translation from Collage to Model in terms of the emotional feel of the collage & song); Coherence & Organization (Items in the model are organized in a clear and visually interesting way); Creativity (Items are placed creatively to create a dynamic and interesting space); and Presentation. ADDITIONAL COMMENTS The whole project took three weeks from the project being assigned (song played for the first time) to the final presentation of the bash model. It was set up to coincide with appropriate lectures/discussions in class. The project was incredibly successful and helped students to think outside the box. It was a great first design project for a scenic design class. The song I used was called The Inner Light from a show that I saw in Berlin, Germany called Show Me. It was the perfect song for this project because it made the students think about what their inner light is, and how the inner light translates into a physical space. Is it color, texture, actual light, representational light, etc.? 18-2

51 SHOEBOX Julie Ray University of Georgia KEYWORDS: conceptualization, design fundamentals, elements and principles, sculpture TIME: Approx. 4 hours LEARNING OUTCOMES Interpret written text (visually) Use design elements and principles to create a dynamic 3D composition Create a lighting look to enhance mood within the box REQUIRED MATERIALS Shoe box Objects of choice Adhesive Paint DESCRIPTION Students create an environment using found objects that communicates the feelings evoked by a piece of text (a poem, book, or song). PROCEDURE Find between one to six lines from a poem, book, or song that evokes a strong reaction and/or visual images for you. Gather objects that illustrate your reactions/ images. Examples might include (but not limited to) any of the following: Objects from nature (twigs, rocks, leaves, dirt, etc) Manmade objects (metal, plastic, mirror, string) that represent a shape/texture you like Pictures from magazines Colored paper, ribbon, cellophane, foil Cloth Paint Build an environment in a shoebox that represents your reaction to your chosen text. This should not be an illustration of the text. Your box will need a peephole (location chosen by you) to view your environment. Once the lid is on your box, choose your light sources (holes cut into your box). Your light sources can come from any angle and incorporate gel for additional effect. GRADING The success of your design, and letter grade, will depend on your choice of design elements and how you compose those elements following principles of design. 19-1

52 Shoebox NOTES: 19-2

53 MUSIC VIDEOS AS A SCRIPT ANALYSIS PRIMER Czerton Lim Fredonia State University of New York KEYWORDS: analysis, design foundations, music TIME: In class with outside prep for the students LEARNING OUTCOMES Engage in close reading of the written word and be able to interpret it within a given context Gain experience in parsing out descriptions of imagery and whether it is literal or figurative Gain practice in using language to decipher the themes or intentions of the song lyrics Be able to understand how metaphors can be used Use common experiences in deciphering the intent of song lyrics Explore how prior knowledge of the artist can determine the themes and intentions of the song PROJECT OBJECTIVES Introduces how music can shape the themes/style/mood of the written word Introduces how images shape the narrative of the lyrics through the music director s interpretation of the song Introduces how color, shape, style, composition affect the interpretation of a song Allows students a way to talk about their opinions and be able to justify or defend those positions to each other in a constructive way REQUIRED MATERIALS Lyrics printed on a page to be distributed to the class Laptop to show video DESCRIPTION Script analysis is probably the most intimidating part of any design process, and yet it is the most important component that lies at the heart of any good design. Students often feel they do not have the skills, training, or know how that they need to be smarter than the playwright or the characters themselves in order to decipher the themes or even basic motivations of the characters on the page. This project is a way to look at script analysis in small scale, and to show students that they actually have been doing script analysis unconsciously whenever they watch a music video on YouTube or listen to a song on the radio. The goal of the project is to demystify the basic steps of how one can break down a script to parse out the important clues the playwright has left and how music and visual language helps in that regard. Students are told to pick a song that has an accompanying video online to submit to the class and follow the procedure of analysis outlined below. I feel it gives the students the confidence and the tools to start being able to talk about script analysis without feeling so paralyzed about not knowing enough about the play itself to have an opinion about what they think is happening on the page. PROCEDURE Pick a song with an accompanying music video 20-1

54 Music Videos as a Script Analysis Primer Type out the lyrics without the title of the song or the artist s name. Include the refrain of the song only once. Hand out lyrics and discuss with class what their interpretation is Who is the narrator? What do they want? Who or what are they addressing? Is there another character that the narrator is mentioning? What is the narrator trying to say/convey/tell? Who is the intended audience? What is the reader s interpretation of what they just read? Show the video and see if that changes anyone s interpretation of the lyrics. Is the interpretation of the music video compatible with what was written? Is the interpretation more open? How does the introduction of music help convey the themes presented? How does the biography of the artist play into the themes of the chosen song? GRADING Preparation Following directions Analysis of the projects 20-2

55 VISUALIZE AN EMOTION Peter Pauzé Denison University, Tammy Honesty Western Illinois University KEYWORDS: conceptualization, design fundamentals, elements and principles TIME: Homework, 1 week LEARNING OUTCOMES Demonstrate comprehension of tools and rules of design through application Manipulate the tools and rules of design to communicate an emotion REQUIRED MATERIALS Variety of materials (paper, construction paper, markers, crayons, colored pencils, ribbon, etc.) limited only by the student s imagination. DESCRIPTION This project is designed for students to demonstrate their comprehension of the elements of design and principles of composition (aka the tools and rules of design). PROCEDURE Choose one of these emotions (use the same emotion for the entire project): JOY JEALOUSY RAGE SERENITY INFATUATION SUSPICION SADNESS HOPE UNCERTAINTY AMUSEMENT FEAR RESPECT Using any artistic media you choose, create three different visualizations of that one emotion within these parameters: VISUALIZATION #1 Visualize your chosen emotion using the design elements of Color and Shape, and the principle of Balance/Imbalance as the primary means of conveying the emotion. VISUALIZATION #2 Visualize the same emotion using the design elements of Line and Space, and the principle of Rhythm as the primary means of conveying the emotion. VISUALIZATION #3 Visualize the same emotion using the design elements of Texture and Movement, and the principle of Emphasis as the primary means of conveying the emotion. 21-1

56 Visualize an Emotion The same artistic medium does not need to be used for all three visualizations, although it certainly may. Your visualizations can be as abstract or as representational as you choose; however, bear in mind that your use of the elements of design and the principles of composition, not the subject matter (if any), should convey the emotion. Avoid words and iconic imagery, such as hearts to convey love or skulls to convey fear. Let the elements of design and principles of composition do the work instead. Write a one-page, typewritten narrative explanation of the choices made in fulfilling this assignment. Be prepared to present your visualizations to the class, explaining both design ideas and process. GRADING Students are graded on their ability to isolate and use the specific elements of design and principles of composition assigned, their understanding of those elements and principles, and their ability to articulate design ideas, choices, and process. Success in conveying the emotion is less important than making thoughtful, carefully-considered, clearly-articulated choices. In many ways, the narrative explanation is the most important part of this assignment, as it will explain the choices made. 15% followed directions 15% overall use of design elements 15% visualization #1 execution 15% visualization #2 execution 15% visualization #3 execution 15% written narrative explanation 10% visual and verbal presentation ADDITIONAL COMMENTS Works well as a follow-up to Tools & Rules Cookies exercise 21-2

57 THE SCULPTURAL STAGE SPACE Jon Young University of Oklahoma KEYWORDS: early to intermediate, light, model building, scale, space TIME: 2 class periods LEARNING OUTCOMES Explore model-building techniques and design aspects of creating a theatrical model Demonstrate the effectiveness of lighting a scale model in order to aid the presentation of the design Explore the proportional relationships of human scale in a sculptural stage space Further develop safe and accurate model building techniques Demonstrate understanding of light and shadow in a sculptural space REQUIRED MATERIALS 20 X 30 piece of ¼ white foam core Scrap foam core in various sizes and shapes X-acto Knife and replacement blades Glue (Tacky Glue, Sobo etc.) 3-D figures in the following scales: 1/8, ¼, and ½ Various flashlights, headlamps, book lights, etc. DESCRIPTION A creation and exploration of a sculptural stage space using scale figures. PROCEDURE Instructor should demonstrate proper foam core cutting techniques, using appropriate tools and materials. Students will practice cutting various geometric and organic shapes in scrap pieces of foam core. Students should keep all scrap pieces of foam core that they cut. Once students feels comfortable with cutting various shapes, they may proceed to building the model shell. Suggested dimensions of the model shell are 6 D x 7 H X 9 W. Sides of the model shell should remain open in the finished piece for ease of movement and use of side lighting. Once shell is completed, student should take scraps and create a sculptural stage space. The final part of the project can be accomplished in one of two ways: 1. Light each individual project with a scale figure as a class. Discuss with the students about what the various scale, 1/8, ¼, and ½ does to the feeling of the characters relationship to the space. Photograph the different examples of the model under light. By doing this in a group setting it provides the students the opportunity to see and discuss the different projects. 2. On their own, the students decide which scale figure works best with their sculptural space. The students then photograph three different examples of lighting in the stage space 22-1

58 The Sculptural Stage Space and discuss the results with the class. GRADING Projects are graded in the following aspects: Construction and model building techniques effectiveness of a stage space with a scale figure creative use of lighting in a sculptural space. 22-2

59 ESSENCE OF DESIGN David M. Fillmore, Jr. University of North Carolina-Charlotte KEYWORDS: design foundations, model building, research, sketching TIME: Longer project (3-5 weeks) LEARNING OUTCOMES Articulate and employ the elements of design Demonstrate basic model building skills through image-based research Develop 3D composition skills Critique fellow classmates work REQUIRED MATERIALS found materials art supplies craft supplies anything else needed to represent ideas in a ½ scale model and create the essence of an environment. DESCRIPTION As designers who tell stories, we are in charge of analyzing, researching and developing a concept to help reinforce a story being told on the stage. Understanding a specific environment as well as being able to both research and manipulate the basic elements of design to recreate the essence of that environment is an essential skill to scenic designing. For this project, students are tasked with exploring and bringing to life a unique and challenging environment through scenic design. In a complimentary presentation/ concept board or PowerPoint, students identify all the elements that they chose to emphasize within their scenic design and explain how they are used to achieve a desired emotional response. PROCEDURE Decide the time length for the project. A longer time length allows for 1-2 revisions after a rough is presented. Students draw a project title from the list below (in additional comments). Begin the image-based research. Students find a minimum of 50 emotive images from magazines and photography books to jumpstart their imagination and to build a source of detailed research. Begin sketching possible ideas. Using found materials, art supplies, craft supplies and anything else students can find, they next represent their ideas in ½ scale model, creating the essence of their environment. The space to design is limited within 9 wide by 9 high by 9 deep. Walls, floors and ceilings are not required. Build using ½ scale measurements. (Must include a 6 actor in scale.) Acting areas are not required. Do not forget how the audience is going to view the design. Rough models are presented with other class members helping critique the projects. Revisions for improvement suggested at this time. 23-1

60 Essence of Design Revisions are presented with another round of critique and additional revisions suggested. Before final presentation, students design a presentation board or PowerPoint that includes: Name of the essence Inspiration and design concept statement What essence are trying to create? What combination of materials, placement, layering, folds, openings, lines, shapes, and/ or textures are used to create this essence? What emotional response is created or evoked by this design? Renderings / sketches of the explorations of ideas Final rendering / collage of the scenic design Research image stack of 50 images Final design is presented, with all research and creative process materials included. GRADING Design concept How successful is the scenic design at creating the desired emotional response? Creativity of the design Innovation in selection and use of materials and fasteners. Unique uses of the elements of design to establish your scenic environmental essence Craftsmanship Is the design clean and refined looking? Is the research strong and well put together? Design process What was the process of getting to the final design? Sketches and study models. Research image stack of at least 50 images. PowerPoint of your thoughts, choices and deliberations of why you decided to do what you did. ADDITIONAL COMMENTS List of project titles: A Sultry Bowling Alley on Venus A Comical and Satanic Country Church A Barbie Doll New York Alley A Psychedelic Waterfront Fishing Dock A Demonic Counselor s Office A Deserted, Barren, Cold City Park A Candy Factory, Techno Dance Club A Romantic, Fantasy Cinderella Ballroom A Comical Yet Dangerous Dragon s Cave A Violent Bloody Decrepit Prairie Barn A Satanic Art Museum An Enchanted Underwater Forest 23-2

61 Essence of Design An Alien s Alabama Truck Bed The Four Elements NASCAR Golf Course An Ice Cream Repair Shop An Inviting, Deadly Children s Playground An Angelic Serial Killer s Jail Cell Batman s French Tea Party A Nuclear Reactor California Wine Vault 23-3

62 Essence of Design NOTES: 23-4

63 MODEL SKETCH Dave Nofsinger Western Michigan University KEYWORDS: composition, early to intermediate, model building, sketching, space TIME: longer project LEARNING OUTCOMES Apply scale to a project Translate proportion and composition Develop skills to work and communicate quickly REQUIRED MATERIALS Students may use any easily workable white, paper product. Bristol board is a good option. Watercolor paper or a heavy card stock are also possibilities. The key factor is that the student can work quickly with the material and that is has some substance to it. (Printer paper is not as good a choice for any structural element.) If budget allows, instructor may provide a variety of paper products for their use. DESCRIPTION This is a compositional exercise to create a bash model or model sketch from a 2-dimensional image of an environment. Theatre is collaborative and large in scope. The design component alone has many facets and varied skills and can be overwhelming to beginning or inexperienced students. This project is designed to get the students working quickly and immediately. PROCEDURE Before starting this project... I usually accompany the project with work on a model box, which is done as a lead-in project and graded separately. I have also at this point lectured on composition and the elements and principles of design. Students are given an image of an environment to inspire a model sketch. The environment may be an exterior, interior, or have elements of both. I have hard copies of landscapes that I already have screened to provide some success for designing the environment. Some are famous paintings, some are period photographs, and some are modern fantasy landscapes from entertainment material like computer games. The task is to translate the 2D image into model form. Questions to help students analyze the environment: What do you see? What are the things you see? What are the surfaces? Textures? Shapes? What are the details? On what do the details hang? What is in the foreground? Middleground? Background? 24-1

64 Model Sketch What finishes the composition above? What takes the eye off the edges of the picture plane? What elements in the environment are perpendicular to the picture plane? Which are not perpendicular? What are the key proportions? How big is one element compared to another? What are silhouettes created? What creates a sense of depth in the image? Instructions for creating the model: The project is meant to be quick and dirty. It is a rough translation of the 2D image into a 3-dimensional composition. Begin sketching directly on your media. With pencil. Work quickly. Cut out your shapes and put them into your model box. Glue supports as needed. Consider proportion as you fill out the scene. If any element seems not to work, redraw it and replace it. Don t get hung up on details or an I can t draw attitude. Address the entire scene as seen through the picture plane of the proscenium. Students are also required to photograph the model and submit digitally. This is to start the conversation of portfolio. 24-2

65 Model Sketch GRADING Grades are based on the level of achievement and accomplishment, on improvement and growth, and participation in class discussion. Success of project relates to the use of the elements of design and to the translation of the image from two to three dimensions. As an exercise in the critique, I may collect the images and ask the students to match them to the correct box. I also include a grade for the box itself, which might be considered a separate project. ADDITIONAL COMMENTS I discuss how in theatre, it is usually a longer process to get feedback on our work. Certain design applications can be tedious and rely on skill level for success, while the realization of a production takes weeks and many hands. This project is intended to remove text analysis and technical skill level to get more directly at questions of composition. The challenge is to move students to focus on detail later in the class. 24-3

66 Model Sketch NOTES: 24-4

67 4 CUBE Michelle Harvey University of Texas - Arlington KEYWORDS: early to intermediate, model building TIME: 2-3 hours LEARNING OUTCOMES Cut straight, square edges in various materials Make accurate measurements (can use scale if desired- 1 = 1-0 works well) Develop clean gluing techniques to keep edges from looking smudgy Use various materials to enhance a model REQUIRED MATERIALS Foam core Matte board Bristol board Aleene s Fast Grab Tacky Glue (or other suitable model glue) X-Acto knife and blades Cutting mat Metal straight edge Scale rule DESCRIPTION This is a model building exercise. Students build a 4 cube using at least three different traditional model materials such as foam core, matte board, and bristol board. PROCEDURE Measure the thickness of each material and make note. Each material will be used on at least two sides of the cube. Determine which material will be used for each side. This can be prescribed by the teacher or left up to the student. There are certain ways this can be put together that better utilize the edges for gluing purposes. Determine the size of each piece to be cut. Two opposite sides of the cube can be true squares 4 x 4. I recommend using the bristol board for these since it will be easier to glue to the face of the bristol board. Determine the thickness of the two 4 x 4 pieces and subtract that from the height of the first side. Make two pieces. The width of these pieces should be 4. For the last two sides of the cube, the height will be the same as the second set. Now measure the thickness of those sides and subtract from 4 for the width of the final two pieces. Glue edges as cleanly as possible with appropriate sides touching to make the cube 4 x 4 on all sides. 25-1

68 4 Cube GRADING Grading is based on: The cube is square All edges/corners are even and touching All sides are exactly 4 no matter where they are measured Minimal or no glue smudges ADDITIONAL COMMENTS Drafting Option Make a scale drawing of the object to aid in finished size requirements. CAD drafting programs, working in 3D, make this project fairly easy although hand drafting techniques would work as well. It helps to work in 1 scale and use feet rather than inches in the finished cube. This is a good way to work in the use of drafting and scale. It s a fairly straightforward project, but challenging to get the sides even. 25-2

69 MODEL CUBES Tom Burch University of North Carolina at Charlotte KEYWORDS: early to intermediate, model building TIME: 1 week including 1 class period LEARNING OUTCOMES Demonstrate the proper technique for holding and manipulating an X-Acto knife, specifically learning the difference between scoring and cutting a material, and why and when each technique can be handy Develop a familiarity with different basic model-building boards (specifically, bristol board, illustration board, and foam core) Experiment with different glues and gluing techniques REQUIRED MATERIALS Cutting mat X-Acto knife (replacement blades as necessary) Metal straight-edge Basic plastic triangle A variety of model-building boards/papers (generally, I use/require a mid-weight bristol-board, a mid-weight illustration board, and a typical 3/16 thick foam core) A variety of glues that are typically used in model-building (for my own work, I tend to rely on Sobo, however for this project, I will often encourage students to try Elmer s school glue, a glue stick, and cyanoacrylate glues - like Gorilla or Super glue -- so that they can see how each works) Cyanoacrylate glue accelerator (i.e. Zip Kicker) DESCRIPTION In this initial project for model building, I introduce basic materials and techniques of cutting and gluing. I have used this project within a dedicated drafting and model building class (in a BFA design program), as well as in an introduction to design-type course (in a smaller BA program) for students who are new to design. Students have found it challenging but informative, as it introduces them to typical and standard materials and techniques without focusing on design aesthetics or scale. Ultimately, this is a project about learning good model building craft. By requiring students to build multiple 3 cubes out of different materials and with different glues, students learn the intricacies and methodology behind making logical choices of techniques and materials in model building. PROCEDURE IN CLASS Day 1 Part 1: Introduction of Boards and Cutting First off, I demonstrate basic material cutting technique. Especially when working with students unfamiliar with an X-Acto knife, I take the time to show how to hold the knife and to keep it perpendicular to the material being cut so that you achieve clean sharp edges. Then I demonstrate the concept of scoring a materials, explaining how different levels of pressure on the knife achieve different outcomes (good and bad) with each kind of paper. I follow that up by explaining how making several lighter scores can achieve a cleaner cut than 26-1

70 Model Cubes simply trying to hack all the way through a thicker material (like illustration board) in one swipe. I demonstrate these techniques on separate types of boards and papers, show how scoring and cutting work differently with different materials. Then, I typically give student 10 minutes to try cuts of their own on the given different materials. IN CLASS Day 1 Part 2: Glue Beginning with small strips of illustration board (typically 1 x 3 ), I demonstrate how to properly glue and align edges, using a couple different types of glue (I ll typically use a craft glue like Sobo and separately a cyanoacrylate, as they are applied and adhere in different ways). I ll then try the same thing with bristol and/or foam core. Usually within a couple gluings, students can see the direction that I m heading, and I ll then give them another 10 minutes to try differing combinations. At the end of this time, I ll ask students to bring up their best and worst attempts at gluing, and we ll discuss what worked and what didn t; what looks clean, and what looks wonky. Often there are a couple examples of uneven cuts that led to uneven gluings. We discuss methods for keeping glue from dripping along edges, and (especially with the cyno-glues) how they tend to puddle and discolor the material slightly. IN-CLASS part 3: First Attempt I ask students to cut 6 squares out of illustration board at a size of 3 x 3, and then glue them together to form a cube (I often give them a sizable portion of the rest of a 70-minute class meeting to do this). They will (often quickly) recognize that even the slightest off angle or edge will result in a less-than-pleasing cube. At this end of this class meeting, we ll reconvene as a group and look at what everyone/some has/ have built. I ll use a small plastic triangle as a level to show students that while it may look like a cube, slight variations can throw off the shape and exactitude of the cube. BFA students (and focused BAs) will also notice that while a cube may be close to perfect, its actual dimensions are slightly off of 3 x 3 x 3 due to the thickness of the illustration board. If no students have noticed this, I ll point it out, and ask for suggestions as to how to achieve a perfect 3 x 3 x 3 cube with illustration board. This invariably leads to an understanding of taking into account the thickness of a given material. The assignment for the next class meeting is to then build 3 cubes (at a finished size of 3 x 3 x 3 ), using three materials -- bristol, illustration and foam core, noting that student need to take into account the given material s thickness. If I m feeling particularly cheeky, I ll leave it at that. If some are already struggling, I ll point out that a quicker way to achieve the bristol cube is to create the proto-typical flat cube and to score the internal edges, thus alleviating the need to glue each edge individually. For a BA-level class, this project can end here with a viewing and discussion of the cubes at the following class meeting. When I have used this project at the BFA level, (and have the time in the schedule to do so), we ll use the next class meeting to rework techniques, and I ll often give them other variations of each cube to try...i.e. creating the bristol cube by having to cut and glue each edge (instead of the score and fold method), or with the foam core cube, to attempt it by chamfering each edge to get a cube that shows no material edges. This allows the opportunity to get into more detailed and higher level X-Acto knife techniques. GRADING For each cube: Squareness of the cube (often using a triangle to see how off it is) Cleanness of the cuts, and the cleanness of the gluing (cubes where cuts are uneven, or glue is smeared get graded down) 26-2

71 Model Cubes Highest grades go to cubes that are true square, clean cuts, clean glue lines, and are 3 x3 x3. Having said that, strictness of grading depends on the level of the student. For a BA student (or a student who is new to design), I will be more lenient than with a BFA design student who needs to raise the level of their craft. 26-3

72 Model Cubes NOTES: 26-4

73 FOUND SPACE EXPLORATION Jeff McLaughlin Arkansas State University KEYWORDS: drafting, early to intermediate, space TIME: 8-10 Hours LEARNING OUTCOMES Demonstrate an understanding of how to accurately measure a room Analyze a room and redesign that room as a small found theater space Assess what is required to create a theatre, analyze the actor/audience relationship Accurately draft the existing room and its conversion into a theatre REQUIRED MATERIALS Tape measure A found space to measure Drafting equipment or CAD software of your choice: Scale ruler Vellum Lead holder/lead or drafting pencils triangle triangle Drafting tape T-square, parallel bar, or drafting machine DESCRIPTION A drafting project in which students reverse engineer a space chosen by the students (or the instructor) that will be measured and redesigned as a found theatre space. This project can be done in either a hand drafting or computer-aided drafting course. Students are invited to consider different staging arrangements including proscenium, thrust, arena, traverse, and environmental. PROCEDURE This class likely builds on multiple classes and lectures. It invites students to reimagine their everyday surroundings and their potential as a theater spaces, as well as to evaluate the necessities of theatre beginning with a space for the audience and a place for the performers. This project builds on topics including: staging arrangements how to read a tape measure drafting standards and techniques. Steps of the project: Students are sent out to measure a room that they would like to see turned into a theater. This room could be a classroom, church space, storefront, or any other room of their choosing. 27-1

74 Found Space Exploration After they return from measuring and documenting the room with drawings, measurements and photos, they are invited to consider how to best reimagine the room as a theater. After being encouraged to sketch out ideas and problem-solve through multiple sketches, students then begin to draft the room and its modifications either on drafting vellum or in a CAD program. Students begin with a ground plan, then move on to wall elevations and a section. The project can be finished up with a composite elevation or rendering. GRADING This project is graded on the following elements: Completeness Use of line Title block Accuracy Dimensions Lettering and labeling And primarily, the conversion of a found space into a theater. ADDITIONAL COMMENTS This project fairly adaptable. It has been successfully done in CAD and hand drafting classes. I have also given just part of this project to students as extra credit in my stagecraft classes. 27-2

75 SUPERHERO SWORD PROJECT Annmarie Duggan and Gianni Downs University of Pittsburgh KEYWORDS: CAD, character, digital media, drafting, early to intermediate, research, sketching TIME: 2-3 weeks of studio and out-of-class time, depending on the skill level of the students LEARNING OUTCOMES Demonstrate a proficiency in the digital design tools Vectorworks and Adobe Photoshop Produce professional working drawings that could be used in the construction of a unique piece of artwork Produce professional digital paintings that clearly illustrate a design idea and the materials and textures required of the design REQUIRED MATERIALS Laptop with the minimum requirements needed to use Vectorworks and Adobe Photoshop Mouse or tablet Digital reference files as needed DESCRIPTION Assuming that you have recently acquired super powers and that you are evolving into a superhero, design and create working drawings for a sword that is representative of your new unique super powers. PROCEDURE Determine a new superpower that you may acquire. Produce a thumbnail sketch of a design for a sword that may represent or utilize this superpower. Research appropriate materials and conceptual imagery that will help visualize your design. Produce a written concept statement or brief to support your design. Adjust and refine your sketch to reflect ideas spawned through the research. Draft your sword design in either 2D or 3D using Vectorworks or similar CAD program. Following theatrical drafting standards, produce orthographic working drawings in PDF for sharing with colleagues. Import your PDF or CAD working drawings into Adobe Photoshop or another digital painting program. Use research images and texture imagery to create a grayscale paint elevation and/or rendering in Photoshop. Colorize your paint elevation and/or rendering based on your design concept. Publish your photoshop file as a PDF for sharing with your colleagues. Deliverables Each project will include: Written concept statement or brief that describes the idea behind the sword design Orthographic design drawings for the Superhero Sword in both the native Vectorworks and PDF file formats that: follow theatrical drafting standards (line weight, dimensioning, title blocks, sheet sizes, etc.), 28-1

76 Superhero Sword Project exemplify best practices for layer, class, and viewport strategies, and indicate all necessary information for constructing the sword in the absence of the designer Digital paint elevation/rendering in both the native Adobe Photoshop and PDF file formats that: clearly illustrates the color, texture, and materials used in the construction of the sword, and exemplify best practices in layer and digital painting strategies Class presentation of the design and supporting drawings GRADING 100 points are available, based on: Concept statement and supporting research imagery (20 pts) A 1-2 paragraph statement that describes the superpower and how the designed sword relates to the superpowers Orthographic drawings and Vectorworks file (30 pts) Orthographic drawings Drafting files and plates of the design Paint Elevation/Rendering and Photoshop file (30 pts) Paint elevation in Photoshop and PDF files Oral Presentation (20 pts) 5-minute presentation in class of the design and process 28-2

77 COLLABORATION TOYBOX Tammy Honesty Western Illinois University KEYWORDS: collaboration, conceptualization, design fundamentals, sculpture TIME: In-class activity, minutes LEARNING OUTCOMES Experience working alone and collaboratively Evaluate how communication is effective or ineffective in the collaborative environment Develop a design/sculpture through individual work and collaboration REQUIRED MATERIALS Building toys like Tinker Toys, Play-Doh, Legos Cards with adjectives DESCRIPTION Students use different toys to create objects based on the same adjective, then each student creates an object using different adjective. Finally, students create an object based on an adjective through direction and collaboration. Students evaluate the success of material choice. PROCEDURE Part I Students each pick a building toy. Students are given the same adjective to create with their building toy in 5 minutes. Students each present their sculpture to the class describing how it embodies the adjective. Part II Students are each given a different adjective and 5 minutes to create a sculpture. Students present their sculpture to the class. The class guesses the adjective. Part III: Password! Students are put in pairs. One student is given an adjective (director) and must explain to the other student (designer) how to create a sculpture of that adjective without using the adjective. Teams present their work. Students switch roles and repeat the previous two steps. End the activity with a class discussion and evaluation of each part of the process. GRADING: N/A ADDITIONAL COMMENTS This exercise highlights the importance of a common language in collaboration as well as the challenges directors and designers face in creating a visual representation of the story. 29-1

78 Collaboration Toybox Examples of Adjectives Used: Elegant Formal Cold Grim Severe Whimsical Humorous Claustrophobic Dynamic Complex Pressured Overwhelming Powerful Authoritative Happy Hopeful Disturbed Chaotic Playful Simple Austere Hopeless Confusion Order Excitement Anticipation Handsome Graceful Gnarly Serene 29-2

79 COLLABORATIVE SCULPTURAL EXPLORATION Jan Chambers University of North Carolina at Chapel Hill KEYWORDS: collaboration, conceptualization, design fundamentals, sculpture, text TIME: In class LEARNING OUTCOMES Develop collaboration skills through non-verbal collaboration Explore the experience of collaboration and being a part of a team Experience how the synergy of collaboration can generate ideas for interpreting a text REQUIRED MATERIALS Prima Plastilina modeling clay, 1/2 pounds (or more) per person Sculpting tools, plastic knives, chopsticks, bamboo skewers (1 package) Tabletop covered with newsprint (taped down) DESCRIPTION Participants engage in the process of collaboration as they explore a specific text through the group creation of an abstract clay sculpture. This exercise Develops rapport among a group of collaborators, Emphasizes the value of non-verbal communication, Offers the experience of putting forth an idea for consideration by the group and the recognition. that once the idea is put forth it belongs to the group and not the individual, and Collectively generates original ideas for the understanding and interpretation of a text. It works best when there are 4-6 people in a group. PROCEDURE The selected text has been read and discussed prior to this exercise. Participants sit in a circle around the covered table. Each person has a piece of clay with which to work, kneading the clay to warm it and make it pliable, working the clay with hands and available tools. More clay is available off to the side. Participants are instructed to create a form that in some way speaks to them about a character, an action or the environment in the world of the play. The first one to finish this form places it in the field the space in the center of the table. The turn passes to the right until everyone has contributed a form. While awaiting one s next turn, another form is created by each participant. The second time around the circle a participant can add to, subtract from or alter the forms in the field. This turn-taking continues, although a participant may pass if they are not ready or have nothing to add, subtract or change. The sculpture is finished when everyone agrees that nothing needs to be changed, or time is up. Bamboo skewers may be used for structure, to connect pieces, or simply as another tool to manipulate or texture the clay. They may be added, removed, or changed in the same way as the clay. 30-1

80 Collaborative Sculptural Exploration Rules: Forms must be abstract no overtly recognizable objects or people, no symbols, no words inscribed on the clay. No talking. Laughing, vocalizations and gesturing are permitted No one may pass more than twice in a row Important Notes: Participants should be encouraged to watch each other carefully as they work. Much can be learned from the ways in which a person handles the clay and interfaces with the sculpture during a turn. Participants should be encouraged to observe the evolution of the sculpture It will be beneficial for the group to rotate to different positions once or twice during the exercise so that everyone experiences the sculpture from several points of view. Following the exercise, participants should make a 5-10 minute drawing of the sculpture and write comments in their journal regarding: Expectations going into the exercise, What it felt like to submit an idea to the group and what it felt like when that idea was modified, What one noticed about the methods and thinking of the other participants as they worked, The point at which the effort began to be a true collaboration, Other turning points in the evolution of the sculpture, What new insights and/ or questions one had about the characters and the world of the play during the course of the exercise, and What the final sculpture says to you about the play. This should be followed by an open discussion of the experience and the results. GRADING Preparation (reading of text, participation in discussion) Thoughtful engagement during exercise Sketch Journal commentary 30-2

81 SHAPES GAME Victor E. Shonk University of South Dakota KEYWORDS: collaboration, design foundations TIME: Minimal prep time. This is an in-class exercise (time can vary). Each game should take 7-10 minutes, with minutes of discussion afterward. LEARNING OUTCOMES Investigate the importance of communication in the creative process Recognize the advantages of presenting organized ideas in manageable components to facilitate communication Demonstrate the importance of formulating a common vocabulary when collaborating with others Correlate the skills used in the exercise to the relationships between production team members Develop patterns of strong communication, and to recognize and combat poor communication habits REQUIRED MATERIALS An envelope that contains the 8.5 x 11 drawing and the cut-out pieces (matte board or bristol board) described below Enough space for the students to sit back-to-back on the floor or at a table/desk DESCRIPTION It is often difficult enough to develop our own ideas without having to communicate them to someone else. Communicating an idea requires a certain skill set. Fortunately, we are able to develop these skills through practice and repetition. On the other hand, when trying to realize someone else s ideas, we sometimes wish that we could simply read their mind. The Shapes Game is an exercise that helps to identify and develop the skills needed on both sides of this equation. PROCEDURE Two people sit back-to-back. Without looking, one student instructs the other on how to construct a prescribed shape with the pieces they have been given. Each team is given a set amount of time to create the shape (7-10 minutes), at which time the students get a new shape and switch roles. The students that do not successfully create the shape can learn about what happens when communication breaks down, how frustration inhibits progress, and what causes frustration. GRADING: N/A 31-1

82 Shapes Game ADDITIONAL COMMENTS The exercise is an excellent introduction to basic verbal communication and collaboration skills. Some students will be very good at this game, others will not. All students will learn from what worked and what did not work in their communication process. The materials and preparation time is minimal. This game is a fun and informative way to open conversation about the theatrical design process. It seems to be most useful in an introductory course, scenic design, or drafting. It is very helpful to listen to the students as they are working and write some of the things they say on the board. The quotes will help fuel the discussion at the end of the class. For example, The pointiest end of that triangle should be pointing at two o clock, is helpful to demonstrate the importance of establishing an orientation and a common vocabulary. It is also important to let the students know which side of the cut-out pieces face up. I make the front side of the pieces white and the back side black and tell the students that the white side is up. Be sure to have different levels of complexity in the pictures you give them, some easy some hard. I also have one that no one has ever completed successfully. 31-2

83 BEATLES HOT SET Tammy Honesty Western Illinois University KEYWORDS: analysis, design fundamentals, drafting, model building, music, research, space, text TIME: 3 weeks LEARNING OUTCOMES Demonstrate ability to analyze lyrics and music to inform choices in creating an environment Develop research based on analysis Develop an environment based on analysis and research Execute either a model or rendering of set Evaluate the success of function of the environment as a stage set REQUIRED MATERIALS Time: several weeks depending on the ability level of the students MP3 s of songs listed posted on a course management system Cards with the names of the songs for the students to randomly select their song. Depending on medium chosen for project: Model-making supplies (X-acto knife, adhesives, foam-core, bristol board, etc.) Rendering supplies (watercolor paper, watercolor or gouache) Scale Rule Pencil Paper DESCRIPTION Using a Beatles song (see specifics below), each student has to create an interior for the main character of the song. They must use the style of the song as well as the clues in the lyrics to create this environment. The tricky part for the student is not to design every word in the lyrics. PROCEDURE Students will create an interior room for the main character in the Beatles song (aka the script) they receive. The students get to choose the style, both architectural time period and theatrical style, for this room. This set will be on the university stage. The student will randomly select a Beatles song from the hat. The songs in the hat will be: Lovely Rita Sgt. Pepper s Lonely Hearts Club Band Being for the Benefit of Mr. Kite! Sgt. Pepper s Lonely Hearts Club Band Eleanor Rigby Revolver Lady Madonna on the Past Masters, Volume 2 album Julia The Beatles [The White Album] Sexy Sadie The Beatles [The White Album] Ob-la-di, Ob-la-da The Beatles [The White Album] 32-1

84 Beatles Hot Set I Am The Walrus Magical Mystery Tour The Continuing Story of Bungalow Bill The Beatles [The White Album] For ease, put all of these songs on a course management system as mp3 s for the students listening pleasure and to be downloaded for this project. Have the students research the lyrics of these songs and utilize them as a foundation for analyzing the script. Each room needs: At least one place to sit, like a couch or chair A DMU (downstage motivational unit) for the character Interesting and dynamic entrances and exits At least one person for scale Masking Note: the students have an unlimited budget for this show, however, they cannot do an extreme makeover of the theatre where they blow out a wall or cut a hole in the stage! Students must gather research images, create a PowerPoint of these inspirational images, and properly cite the images. Initial research images are reviewed. Then a director (either the instructor or an actual director) gives feedback on conceptual approach. Students are then instructed to gather additional research to use as the design develops. For presentation to class, each student needs: A clean and precise ground plan in either ¼ = 1-0 or 1/8 = 1-0 scale of the set A completed model with at least one person and all masking PowerPoint of research (present the first 5 slides, include many more for grading) The song A brief typewritten narrative explanation of the scenic design that includes: An explanation and defense of your scenic design concept An analysis of the logistical scenic requirements of this script An explanation of how the functions of scenery will be fulfilled in your design Any notes or explanations needed to make your intentions absolutely clear The student should assume they have to submit this proposal to the director, who will only have the materials they present to make his choice for a scenic designer for his show. They should be as thorough and as complete as possible without having more collaboration from the director. Sexy Sadie 32-2

85 Beatles Hot Set GRADING Creative use of the tools and rules of design Connection to the character and style of the song Visual interest as well as acting/directing, interesting blocking options Foreground (DMU s) Mid-ground Background and masking Execution of model Presentation Written narrative explanation of choices ADDITIONAL COMMENTS This project was inspired by the SyFy channel s reality TV show, Hot Set. A variation or additional component for this project can be adding a color perspective rendering. 32-3

86 Beatles Hot Set NOTES: 32-4

87 TWISTED FAIRY TALE DESIGNS Tammy Honesty Western Illinois University KEYWORDS: analysis, conceptualization, drafting, early to intermediate, model building, rendering, research, space, text TIME: longer project LEARNING OUTCOMES Develop script analysis skills Research architecture, period, and visual inspiration based on a story Synthesize new conceptual research and combine with previous research to create a new approach Execute a design through a ground plan, model and/or rendering REQUIRED MATERIALS Provide fairy tales for each student (or if there are too many students for each to have a different tale, have a set of five or six common fairy tales to distribute the same story to 2 or 3 students maximum). DESCRIPTION This project is designed to replicate the actual design process in a classroom setting. Early in the term, each student is given a different fairy tale and instructed to analyze the story and gather initial research for a traditional fairy tale. A few weeks later, the twist emerges. Students pick a new direction to research for the fairy tale to develop into a ground plan, model and/or rendering. This is based on Fairy Tale Designs by Elbin L. Cleveland in the first volume of the Compendium. This adds the surprise twist and revisions to mimic the actual design process. PROCEDURE Part I: Fairy Tale Script Analysis (15 pts) Each student is given a different fairy tale. The student must complete an analysis of the script/story. Through a class discussion, remind the students they will want to read it multiple times before completing the analysis. Part II: Initial Research (15 pts) After an introduction to helpful techniques for searching visual images and citing them properly in the MLA format, students will begin researching images that inspire, reflect, and create a traditional fairy tale world for their specific fairy tale. Encourage them not to Disney-fy their research and go beyond that. Requirements: MINIMUM of 12 separate images properly cited in MLA format from multiple sources. May use internet searches, but use the more sophisticated search engines rather than Stumble Upon and Google Images. MUST use at least 2 different physical books. 33-1

88 Twisted Fairy Tale Designs Research Presentation: Images must be in a PowerPoint format. Check the classroom computer for version it is running. Have a title slide that includes student s name and the title of student s fairy tale. Student may put more than one image on a slide, but not all 12 on one slide. Cite each image used. Each student is limited to 20 slides and 5-7 minutes to present: Encourage students to practice what they are going to say make an outline as a reminder for why each image was chosen Bring presentation to class on a jump drive. Load all the presentations at the beginning of class. As a backup only, students can it to themselves. Part III: A New Twist Research (a week or two later) Continuing the design process with the fairy tale the students were given for Project #1, each person draws a conceptual time period (Old West, Art Deco, 1950 s Americana, Victorian ( ), Arts & Crafts, Art Nouveau, Mid-Century Modern, Rococo, Under the Sea, Circus, Super Hero, Zombie, etc). This is simulating the director s approach to the show. Not only has the director envisioned a new approach to the show, but they want to meet in the next class period to see the new research. The student needs to identify the line, form, color, and texture that they were drawn to in their initial research and find parallels in the new research. Requirements MINIMUM of 12 separate images properly cited in MLA format from multiple sources. May use internet searches, but use the more sophisticated search engines rather than Stumble Upon and Google Images. MUST use at least 2 different physical books. Presenting your research Images must be in a PowerPoint format. Check the classroom computer for version it is running. Have a title slide that includes name and the title of fairy tale. More than one image may be on a slide, but not all 12 on one slide. Cite each image used. Each student is limited to 5 slides and 3-5 minutes to present, but should include up to 20 slides for all research to be graded: encourage the student to practice what they are going to say. use vocabulary of the tools and rules of design make an outline as a reminder for why each image was chosen Bring presentation to class on a jump drive. Load all the presentations at the beginning of class. As a backup only, students can it to themselves. Part III b Create three different ground plans for the fairy tale show in the theatre space provided. Pay special attention to DMU s (downstage motivational units), dynamic entrances/exit options, and levels. Part III c Revise ground plan based on feedback given in class. 33-2

89 Twisted Fairy Tale Designs Part III d Create a rendering or model of set. Part III e Present work to class. Final presentation will include a finished color rendering or model, the high points of the research, and ground plan to the class in 5-minutes. Each student will submit a typewritten narrative articulating their choices using the tools & rules of design. Encourage specific statements! Art Nouveau Rumplestilskin Sock Hop Cinderella GRADING 15 pts. Analysis: Detailed, Strength of Adjectives 15 pts. Initial research and presentation: Quality of Images, Multiple Sources for Images, Proper Citation, Quality of Presentation (eye contact, engaging, organization of thoughts, pride in work) 10 pts New research: Quality of Images, Multiple Sources for Images, Proper Citation 15 pts Ground plan: Strength of Blocking Options, Dynamic Entrances/Exits, & DMUs 5 pts. Ground plan revisions: Extent that feedback was incorporated 10 pts Rendering or model execution and color choices 10 pts. Verbal and visual presentation: Quality of Verbal Presentation (eye contact, engaging, organization of thoughts, pride in work); Quality of Visual Presentation of Rendering or Model (neatness of execution and attention to detail) 33-3

90 Twisted Fairy Tale Designs NOTES: 33-4

91 THE ROOM PROJECT Gion DeFrancesco Miami University KEYWORDS: analysis, character, design fundamentals, model building, research, text TIME: 7 day project, mostly completed out of class LEARNING OUTCOMES Demonstrate the creative process followed by the scene designer Create an environment appropriate to character and action of the play Integrate research into a design Practice graphic skills in model building REQUIRED MATERIALS Foam core Illustration board Bristol board Pencils X-Acto knife Straight edge Glue Scale rule Instructor should provide a simple script that requires students to address specific design needs DESCRIPTION Teaching in a small liberal arts program, it has been a challenge to find the right first project for scene design: one that shapes what the study of scene design entails, sets the tone for the scope of work expected, and helps the class get to know each other. After a few failed attempts over the years, this project has proven successful. On day one, each student is given a short original script set in a bedroom. It presents a common set of given circumstances, including requirements for entrances and exits and furniture. Each student, though, has a different main character who lives in this bedroom, and the profile of each main character is unique. The character profiles are based on the personality profile of another student in the class, and are assigned blindly. The design is developed through traditional means: analyzing the details in the text, researching inspirational room images, developing a ground plan, and modeling. We work fast, and I introduce these topics with just enough depth to get through the project. We don t talk about masking or sightlines, but do start talking about playing areas, obstacles, and using upstage, center, and downstage planes of the stage. The results aren t always art, but it does help students get acclimated to thought processes they are going to have to develop as scene designers. 34-1

92 The Room Project PROCEDURE Instructor Preparation This is the fun part! Create a scenario or script that sets up a series of given circumstances, and introduces a main character who is reflected in the space. My scenario takes place in the bedroom of Jill or Bill (different students get different genders), a college student who is home for the summer, packing up belongings. The parents have decided to move, and are selling the childhood home. Jill/Bill is visited by a best friend, who helps with the packing and uncovers items from growing up (revealing things about the character). Some information is revealed by me through stage directions, while other needs of the space are revealed through action and dialogue between the characters. It becomes clear that the space requires a door to the hall, a closet, and a window. Since the characters are reminiscing about the past, Jill/Bill s imaginary childhood friend appears through an unexpected entrance. I leave some specific details and attributes of the main character undefined at first. The week before classes start, I ask the students to complete a Personality Profile (using Google Forms). It includes: 1. My favorite color is: 2. Three adjectives that best describe me 3. The musical artist (or genre) I listen to most at this point of my life right now is 4. When I have down time, I m most likely to spend it: a. reading b. doing physical activity c. playing video games d. watching TV e. listening to music f. Most people don t know this, but I have always been curious to know more about 5. Do you have a favorite sport or activity you take part in regularly? 6. If you could invite anyone from popular culture over to dinner, who would it be? 7. How often do you clean your room or apartment? 8. As I get older and move from place to place, the one sentimental thing I will always bring with me and keep close by is: Using these answers, I create a different version of the scenario for each student mad lib style. Here s the opening of my text: Setting: August. Now. Bill s (or Jill s) bedroom. He s lived in this room in this house all of his life. Its obvious from the look of the room that he loves the color (color chosen in profile). He is,, and (three adjectives listed in profile). He s very (tidy, sloppy, etc based on cleanliness question in profile). Bill is getting ready to return to his second year of college in a few weeks. Music playing. Something by (music choice from profile). At rise Bill is (whatever kind of activity is chosen in the down time profile question. Could be 34-2

93 The Room Project sitting on the bed reading a book, watching TV, doing yoga ) Cell phone rings. Bill checks who it is, puts down book, turns off music BILL: Where are you? Where? (going to window) Oh, yeah. There you are (waves) Front door s open, just come in. K. (Hangs up. Sets phone on table. Grabs two boxes out of closet) (Noise from offstage, small dog barking and someone, DONNY, swearing) DONNY: (entering) Jeeze! Piper nearly took me down. BILL: Sorry, she s been so hyper with all the showings and open houses and stuff. DONNY: I can t believe your parents are really moving. BILL: I know, right? They get the last one off to college and then decide to have a midlife crisis or something and move halfway across the country. They have no idea what they re putting me through. I feel so I don t know uprooted. DONNY: It s gonna be weird not having you here at Thanksgiving and Christmas. And what about next summer? You gonna go there? BILL: Oh, God. Don t make me think that far ahead. I don t know DONNY: You can always come back and stay at our house. BILL: Oh, please! DONNY: We ve only been best friends since second grade. My house isn t good enough for you? BILL: It s not that. Living with all your brothers and sisters? I don t know how you put up with it. You know, I was thinking about maybe heading to (city based on the next prompt) for the summer. Totally off the wall. DONNY: Really? Doing what? BILL: Don t laugh (A job, internship, or class based on profile question 6. The city in the previous prompt should be a place where this could likely happen) [I have 2 or 3 more pages of dialogue written, followed by a paragraph or two about how the story ends] Everyone is designing a bedroom that has the same basic practical requirements, but each has to make this into a bedroom for a very different personality! One student might need a television set, and another might need a bookcase Since the character traits are based on classmates, they learn a little bit about each other. In Class Students read play, analyze needs of the script. Students make a list of practical requirements. We talk about what things in their own bedrooms communicate who they are, then shift discussion to Bill and Jill. Students research bedroom spaces, furniture, etc., and create a research inspiration board. This should show a few different bedroom layouts, but more importantly reflect the personality of their Bill or Jill. We spend a class or two learning how to use an X-Acto knife with bristol board, and very basic model techniques. Over the next week, students develop a rough sketch model in ⅛ scale that includes three walls of the room. This is presented in class for critique. We talk about scenic conventions for box sets, and work in class on options of transforming their room into a set. Students create a set version of their room, this time in ¼ scale (still without color). I define the size of their playing space for them which, unknown to them at the time, fits inside our stock proscenium model house. 34-3

94 The Room Project Exploratory rough models GRADING Final white models Reliability of designer (15 points). Were you on time to presentations (class)? Prepared? Did you meet deadlines? Development of the design idea (30 points). Each part shows connection, growth of ideas, experimentation with ideas. Each part must be complete in order to show development. Communication of ideas (25 points). Your communication is clear written material, class presentations are clear and professional, drawings, sketches, models are done with enough care and skill that your ideas can be seen. Appropriateness of design (30 points). Does your design do what the project asks it to do? Is it workable? Are the play s needs met and can the action of the play happen in the space? Is the design aesthetically challenging? ADDITIONAL COMMENTS At some point during this project, students do create a very rough, rudimentary ground plan. The next unit is drafting, so we develop the ground plan further. We put the room models inside a model house and explore sightlines. The rough ground plans transform into something that could actually work on the stage. If I had more time, I might have the students do a third iteration of their design, based on a more accurate ground plan. The scenario could certainly be less intricate than mine. Maybe some common action and given circumstances, but everyone has a different fairy tale character? The best discussions have come about how to create a magical and unexpected entrance for the imaginary friend character. 34-4

95 MACBETH PICTURE PROJECT: SYMBOLIC USE OF IMAGERY AND COMPOSITION Jody Sekas University of Wisconsin-Parkside KEYWORDS: analysis, conceptualization, elements and principles, design foundations, model building, research, sketching, text TIME: 3 Weeks with some in-class. Four two-hour class periods will be devoted to work on the project. Work outside of class will also be necessary. LEARNING OUTCOMES Effectively analyze and select images symbolically appropriate to fifteen unique emotions Effectively analyze three consecutive scenes from Macbeth in terms of story arc, character traits, practical needs, and symbolic content Analyze the middle of their three scenes, selecting and justifying their choice of use of elements and principles of design, appropriate to symbolic content Select images appropriate to the scene and sketch spatial relationship diagrams, compositional thumbnail elevations and ground plans Demonstrate their use of imagery and the elements and principles of design through a scenic model and oral presentation REQUIRED MATERIALS Blank scene breakdown form (provided by instructor) Blank elements and principles of design analysis form (provided by instructor) Blank scaled sketch form - plan and elevation (provided by instructor) Black foam core board, for model box Heavyweight cardstock Illustration board X-Acto knife and blades Steel straightedge (12 or 18 ) Masonite (for cutting surface) Tacky Glue Access to a black-and-white photocopier (for copies, enlargements, and reductions of imagery) DESCRIPTION Throughout history, visual artists have sought to express ideas in ways that have far more impact than mere words can convey. Their creations provide an aesthetic experience one that engages us on both intellectual and emotional levels. An effective scenic design serves the practical needs of a production (time, money, stage space, wing space, etc.) while supporting the text and conceptual approach both aesthetically and symbolically. Over the years, I discovered that my students in beginning scenic design had a good grasp of the practical needs, but had a difficult time breaking away from literal interpretations of location. Inspired by design images from Darwin Reid Payne s The Scenographic Imagination, this project challenges the students to create a scenic environment that utilizes the power of symbolic imagery focusing on composition and the 35-1

96 Macbeth Picture Project: Symbolic Use of Imagery and Composition elements and principles of design. Through this multi-part project, students are each tasked with generating a morgue of symbolic imagery. Then, the collective class morgue serves as the source material for each student to design one scene from Shakespeare s Macbeth, relying on no more than five evocative images, and effective use of the elements and principles of design. PROCEDURE Part 1: Picture Project (5% of overall grade) In this project, you will find images that you feel convey the following emotions/states/feelings: Love Rage Fear Calm Ecstasy Power Bliss Pity Control Triumph Formality Desolation Natural Dangerous Magical You must have one image for each emotion (15 images total) The images must be of two-dimensional art (i.e. no pictures of sculpture) At least one-third of the images must be by recognized, established artists (eg: Renoir, Pollock, Matisse, Da Vinci, etc) All images must be: Digital (if you are using analog research sources, you must scan them) At least 480x480 at 72 dpi. Higher resolution is better. Turned in to the course management dropbox by the due date & time In.jpg,.png or.gif format Named ambiguously (i.e. NOT timothy-bliss.jpg) All images must also be turned in as printouts, stapled together Black & white images are okay No more than four images per page Label each picture with: Your name The emotion it conveys Image source Title of piece (if applicable) Artist of piece (if applicable) You must choose images that truly affect you on those emotional levels. Be more creative than picking the first thing that shows up on Google Image search. Give yourself time to explore! Part 2: Macbeth design (10% of overall grade) For this project you will create the scenic design for one scene from Macbeth, selected by the instructor. This project focuses on unity of style and the symbolic and aesthetic aspects of design. You must complete the following: Scene Breakdown (of three scenes: yours, the one that precedes yours, and the one that follows yours) 5 points - Class 1 Design Analysis (of your scene) 15 points - Class 1 Spatial Sketches (at least 3) 10 points - Class 1 Thumbnail Sketches (at least 2) 5 points - Class

97 Macbeth Picture Project: Symbolic Use of Imagery and Composition Scaled Sketch (plan and elevation) 15 points - Class 2 ¼ = 1-0 Scale Paper Print Model 40 points - Class 2 Presentation 10 points - Class 2 Note: Although each aspect is assigned a point value, all aspects must be completed to receive any credit for the project. You have received a dropbox link with 300 images, conveying a variety of content, moods, emotions, and feelings. You will use these images to create a scenic environment that is appropriate, functional, and symbolically supportive of your scene of Macbeth. Requirements for the design: Your design will be in the Mainstage theatre. The proscenium height is 20 feet. Every aspect of your design (platforms, etc) must incorporate images except: Masking Furniture (this should be stylistically appropriate to your overall design) You may not use the images as pictures hanging on a wall You may not use images in their full-size, rectangular format Think in terms of economy of style: What are the essential elements and principles of design, and which images will best convey your intent? Do not use more than five images You may use multiple parts of the same image Utilize shape, line, scale, rhythm, and content to suggest the environment and symbolically support the theme and mood(s) of the scene. If your scene encompasses multiple moods, this can be tricky. Your model should be in black and white (printouts/photocopies). Do not use color. Focus your attention on content, line, shape, space, rhythm, balance, and emphasis. In your presentation, you should convey: The action of the scene The dominant mood and theme of the scene How you used content and the elements and principles of design to support the action and mood / theme How your design fulfills the symbolic, aesthetic, and practical needs of the scene And show every step in your process, including: Images you selected and later rejected (and explain why) Images you selected (their original format) (and explain why) Sketches Model (remember to include people) At the end of your presentation, turn in your model and a labeled, organized binder containing: Scene breakdown of the preceding scene, your scene, and the following scene A synopsis and design analysis of your scene Images you selected and later rejected Images you used Spatial sketches 35-3

98 Macbeth Picture Project: Symbolic Use of Imagery and Composition Thumbnail sketches Scaled sketches GRADING Grading is based on a six-level scoring rubric Level 1, Exemplary All of the requirements are evident and exceeded The product is very neatly well-organized or executed The product is complete, detailed, and well-reasoned Completed on time Level 2, Expected All of the requirements are evident and met The product is neatly well-organized or executed The product is complete and detailed, with justifications Completed on time Level 3, Close to Expected Almost all requirements are evident (maybe one or two missing) The product is organized or executed The product is complete, but may lack detail or adequate justification Completed on time 35-4

99 Macbeth Picture Project: Symbolic Use of Imagery and Composition Level 4, Not Quite Sufficient Most requirements are evident (maybe three or four missing) The product is done, and somewhat organized The product is incomplete, but attempts at completion are clear Completed on time Level 5, Not What is Expected Many of the requirements are not present The product is very poorly organize and/or poorly executed The product is incomplete Not completed on time Level 6, Zero points - Does not meet standards Cannot be scored, or no product Project grade sheet: 100 points possible Scene Breakdown (three scenes) 5 pts. Design Analysis (of scene) 15 Spatial Sketches (at least 3) 10 Thumbnail Sketches (at least 2) 5 Scaled Sketches 15 ¼ Scale Finished Model 40 Presentation (verbal and binder) 10 ADDITIONAL COMMENTS Before the project begins, the students must read the entire play, which I quiz them on. Then, with the order of the students chosen at random, I let each in turn select their scene from the following list: (there can be no duplicate selections) I-3: Heath near Forres (3 witches, Macbeth, Banquo, Ross, Angus) Witches prophecy I-5: Macbeth s castle (Lady Macbeth, Macbeth, Messenger) Duncan s coming tonight, Lady Macbeth plots Duncan s death I-7: Macbeth s castle (Lady Macbeth, Macbeth) Plot to kill Duncan, Macbeth isn t sure II-1: Court of Macbeth s castle (Banquo, Fleance, Macbeth, Servant) Banquo can t sleep, Macbeth sees a dagger before him II-2: Macbeth s castle (Lady Macbeth, Macbeth) Macbeth kills Duncan II-3: Court of Macbeth s castle (Macbeth, Lady Macbeth, Macduff, Banquo, Donalbain, Malcolm, Porter) Some comic relief, then Duncan s murder is discovered III-3: Park near palace (3 murderers, Banquo, Fleance) Murderers kill Banquo, Fleance escapes III-4: Banquet Hall (Macbeth, Lady Macbeth, Ross, Lennox, Lords & Attendants) Macbeth sees Banquo s ghost IV-1: Cavern with Cauldron (3 witches, Hecate, Macbeth, Lennox) Macbeth sees three prophetic images IV-2: Macduff s castle (Lady Macduff, her son, Ross, Messenger) Murderers kill Lady Macduff s son IV-3: England, before the palace (Malcolm, Macduff, Doctor, Ross) 35-5

100 Macbeth Picture Project: Symbolic Use of Imagery and Composition Plot against Macbeth, Macduff learns his wife, children, & servants were killed V-1: Dunsinane (Doctor, Gentlewoman, Lady Macbeth) Out damned spot speech V-5: Dunsinane, in the castle (Macbeth, Seyton, Soldiers) Lady Macbeth dies, Birnam Wood comes to Dunsinane V-8: Another part of battlefield (Macbeth, Macduff, Malcolm, Seward, Ross, soldiers) They fight. Macduff returns with Macbeth s head, Malcolm is the king of Scotland 35-6

101 CHARACTER COLLAGE Casey Kearns University of Wyoming KEYWORDS: collage, design foundations, elements and principles, research TIME: 3-5 one-hour work sessions outside of class over a one-week period LEARNING OUTCOMES Explore characters from text and contextualize ways they can be communicated visually in all facets of stage design Demonstrate the knowledge of the elements of design by applying it choices in a simplistic form and articulating choices in written form Visually represent character traits without resorting to known, stereotypical, or comfortable design choices Use collage as a tool to facilitate design collaborations REQUIRED MATERIALS 8.5 x 11 Paper Scissors Glue Images from multiple sources DESCRIPTION Through the use of collage techniques, students are encouraged to explore, identify, and visually communicate how they perceive their personal character and make visual choices in how they wish to communicate perceptions of themselves. Although this assignment may seem quite simple, it will require lengthy periods of thought and students should be encouraged to spend generous time making thoughtful, less obvious choices while identifying their visual understanding of their personality. Students create an 8.5 x 11 collage visually representing their personality (likes/dislikes, beliefs, personal interests, etc.). Once the students have been assigned this project, provide a class lecture on the elements of design. This project gives the students a better active and personal understanding of these terms and provides a vocabulary for discussing their completed work. Time should be taken to explain this creative process is similar to the process established in stage design as designers may visualize and analyze characters in the context of a play. Regardless of our commitment to scenic, lighting, costumes, sound, projections, etc., we must understand the characters of a play first before we can continue our journey designing. PROCEDURE: Students collect multiple color images that aid in visualizing their own self-identified characteristics. The images used to compose the collage do not have to be proportionate to each other, they don t all have to be of the same color or value. They will potentially be quite eclectic. The images shouldn t follow a specific orientation. Cut and paste only portions of these images that are the most interesting visual representation of your character and arrange these image fragments into a collage that you feel best represents 36-1

102 Character Collage your personality. Students should cover the entire 8.5 x 11 page and minimize the negative space of a blank page. By doing this, students are obliged to make complete choices and a class discussion can include the perimeter of the page serving as a proscenium arch. Keeping the collage small at 8.5 x 11 heightens expectations of filling the space as well as keeping a commitment to the criteria below. NO DIGITAL WORK (Photoshop or similar) NO DIMENSIONAL OBJECTS Students must be strongly encouraged to use portions of images in their collage that are less obvious and/or to manipulate (cut, paste, fold, tear, etc.) popular images so they are less recognizable. Strongly encourage the students to avoid specific identifiable images such as logos, album jackets, mascots, family photos, etc. Students should choose portions of those images that they find interesting or that best describe their character. The images selected to compose the collage should not be recognized in any other fashion other than describing the artist. The collages will be most successful if specific objects cannot be visually identified. Images used in the collage should simply illustrate the student s character without using images that may pass as obvious stereotypes. For example, if a student chooses to use a sunset as part of the visual representation of their character in their personal collage, they should be encouraged to use only a portion of the image that best represents their personality and not the entire sunset image. Perhaps a sliver of color or texture can be cut from the image. Perhaps a shape can be cut from a portion of the image that best describes their character. Using an obvious image may miscommunicate. An observer may see a sunset as part of the collage communicating this person is romantic or outdoorsy while the artist may simply have been communicating their lure to warm colors. Lightly record your name in pencil on the back of your work (this will be erased after grading to promote anonymity for part two of this assignment.) Students should write a one-page explanation identifying their visual selections and their reasoning for such choices while using the terminology from the elements of design lecture. GRADING Grades will be determined by: Your commitment to the above criteria The overall quality of your final collage Your demonstrated understanding, articulation and use of the elements of design. ADDITIONAL COMMENTS This assignment can be used as part one of a two-part assignment. If this is desirable this project should be kept anonymous among students so that part two of the assignment is solely based on the visual understanding of the collage provided and not social understanding of their peers, likes, dislikes, gender, etc. In smaller classes, where anonymity may be difficult to achieve, providing students with large envelopes to disguise their work until it has been submitted and graded is helpful. Once the projects have been graded the names can be erased for anonymity. Part two of this assignment, Space Design, (also included in this compendium) uses the anonymous character collage as a source of visual research to design an environment best suited to the character visually identified in part one. Project Two could be limited to an interior room design or stage design of sorts, but the most successful projects allow the students to choose and provides more theatrical freedom in the final product. 36-2

103 SPACE DESIGN Casey Kearns University of Wyoming KEYWORDS: collage, design foundations, elements and principles, research, space TIME: 3-5 one-hour work sessions, outside of class over a one-week period of time. LEARNING OUTCOMES Demonstrate an understanding of the elements of design Observe and evaluate visual research Interpret and apply visual research to design choices Explore the design process through meaningful conversations Articulate an informed critical analysis through constructive feedback to their peers work. Synthesize the visually storytelling of stage design through presenting the character presented in the Character Collage REQUIRED MATERIALS 8.5 x 11 Paper Scissors Glue Images from multiple sources NO DIGITAL WORK (Photoshop or similar) NO DIMENSIONAL OBJECTS DESCRIPTION This assignment is the second half of a two-part project. Part one, the Character Collage, is included as part of this compendium. For this assignment, students are presented with a Character Collage that has remained anonymous. Students should be informed to keep ownership of personal collages anonymous as this is important for this assignment to remain true to its objectives. The purpose of this project is to heighten students understanding of the Elements of Design in addition to introducing the Principles of Composition (line, scale, movement, light, texture, color). Lecture material covered during the completion of this project should include a review of the Elements of Design from previous lectures and introduce the Principles of Composition. Using collage techniques, student should prepare a collage that visually suggests a space, environment, or habitat in which they believe the character in the collage belongs. This space can be any environment the students seems fits the character represented solely based on their perceptions gathered from the visual source material presented in the Character Collage. Students should visually acknowledge and address the following, at the very least, in their design. What defines the perimeter of the space? What does it look like? What does it feel like? 37-1

104 Space Design How do people move about the space? How does light filter through the space? Are there sources of light that further defines the space? What does the floor/ground look like? What does it feel like? Is there a place to sit and/or stand? Are there opportunities to physically use the space beyond sitting and standing? What do people do when they visit this location? Are there decorative accessories that further suggest the functions, use, or understanding of the space? How do the visual characteristics of the space best define the character present in the personal collage? PROCEDURE Supply students with one of the character collages completed in Part One. Students should be instructed to keep ownership of personal collages anonymous as this is important for the assignment to remain true to its objectives. Once students have completed a visual character analysis of the personal Character Collage, they should write a descriptive paragraph that describes their interpretation of their classmate s visual tastes (preliminary conceptual statement activity). Encourage students to use the Elements of Design and the Principles of Composition to assist in their analysis. For further assistance, encourage students to use the five senses as descriptors of the space; sight, smell, touch, taste, and sound. For example, does this make believe environment smell like cinnamon or dirty socks? Is this space frequented by classical music or heavy metal? Do these early perceptions apply to the visual communication of the Elements of Design and Principles of Composition? Do they communicate the character present in the original collage? After the students have been given an opportunity to establish a preliminary idea of what a space could look like they should begin to assemble a design. Students should collect images of items that appeal to their preliminary design idea(s) for the determined space. For this assignment, they should use recognizable objects, furniture, plants, props, light, applied textures, etc. Design ideas should be presented by assembling a collage of images that collectively represent the character they believe exists in the Character Collage. Students should be encouraged to use minimal negative space. Make certain the students understand negative space is a design choice and not a void. Because this project is of collage nature, scale is difficult to address. It is not necessary to cover the page entirely with collage, but it is necessary for the students to understand to leave no space unaccounted as a representation of the design. White notebook paper likely will not further communicate the design, but a specific color or texture might better identify their choices. Including a human figure in the collage provides an opportunity to begin discussions of scale and proportion. Without such, there is little opportunity to understand the magnitude of their design idea. Students are strongly encouraged to use multiple sources for acquiring images. Tearing a selected page from a hip catalog, gluing it to a page, and taking design credit should be considered artistic plagiarism. Please enforce that students must take responsibility for their own creativity. 37-2

105 Space Design Using multiple sources of imagery (catalogs, websites, etc.) will provide a larger palate for design. Students should submit the following to complete this assignment: One 8.5 x 11 collage displaying your design choices One-page typed design statement The original personal collage (Lose the original character collage? Student fails the assignment.) Once the students have completed the design assignment, each student should be united with the owner of the original Character Collage from which they have designed. At this time the student should present and discuss their project, identify the reason for making such design choices, and discuss their analysis of the character presented in the collage. This perhaps is the most rewarding part of the process as students discover for whom they have designed. Often times, students make choices contrary to the person identified and this leads to some interesting design discussions. Sometimes an industrial space is designed for an otherwise naturalistic person. Sometimes a masculine space is designed for a female or vice versa. This can often lead to interesting discussions about our responsibilities as designers and our perceptions of visual stereotypes, interpretation, and presentation of design ideas. GRADING Grades will be determined by multiple factors including, but not limited to the following: An active commitment to the project Effective use of the elements of design, the principles of composition and the five senses Strong design choices based on critical analysis of the personal collage provided A truthful description of the design Active participation in the class presentation and discussion A professional response to constructive criticism ADDITIONAL COMMENTS This assignment can be further enhanced by keeping the Space Design anonymous, passing the design to another student, and assigning a sculpture or model-making activity that includes a three-dimensional representation of the Environment Design. Why call this project a Space Design and not a Scene Design project? Students, especially early career design students and non-majors, initially find the idea of stage design intimidating and this often results in designs resembling a three wall box set with a sofa and a plant. Changing the title and encouraging the exploration of any space they choose often leads to far more interesting design projects a forest of swings, a water park, backyard movie theatre, a break room in the back of a historic hardware store, etc. Class discussions at a later date can lead to how one might adapt a design idea to the stage. Initially, the more freedom they are given early, the more free thinking they become in the process. Referencing the stage too early often suggests a formality and rigidity to the process that some students may find hampering. 37-3

106 Space Design NOTES: 37-4

107 FLOOR PATTERN STAMPING Jeffrey Gress Capital University KEYWORDS: carving, pattern, research, scene painting TIME: can be any length LEARNING OUTCOMES Employ research to solve a specific problem Transfer information from digital images to manually created images using drafting skills Scale images to appropriate size in a given theatrical space Demonstrate precision cutting skills Solve problems in the shop through creative use of limited resources REQUIRED MATERIALS This can be a lab project using stamps and scrap lauan or plywood as the finished surface or you can use your lab class time to complete a production floor project or anything in between You will need: Latex paints Brushes or rough surface rollers Matte knives 2 pink or blue foam cut to 24 or 12 or other sizes Also need to have students research and prep a pattern to transfer Push pins to attach pattern to foam Markers or charcoal to transfer pattern to foam. DESCRIPTION Bring Pinterest to live theatre. We needed an abstract floor for a unit set and decided to experiment with stamping. Students participated in research, pattern transfer, carving, floor prep, layout, and paint application of the pattern. It was a lot of fun. And really inexpensive. Much faster and simpler than stencils and allowed many students to participate regardless of skill sets This project grew out of necessity. I spent a weekend in a meeting room in Nashville. I was supposed to be finishing the painted rendering of my floor for a show that opened in a couple weeks. The show was set in the early 20th century in a rural village area and I was stuck with images of wrought iron but no idea how to translate them to a useful neutral textured floor. Between the airport public areas, our hotel, and the hotel meeting room I encountered many examples of the trendy patterning of industrial carpet and found, literally right under my feet, a design solution and a stagecraft class project simultaneously. The students were very excited to complete the research and craft/stamping parts and were so proud of the outcome that they brought friends and parents to see it. It was a lot of fun. It can get messy if you aren t careful. PROCEDURE We cut 2 pink foam squares 12 X 12 and then transferred hand drawn geometric shapes based on old wrought iron work images onto the foam. Using matte knives, we carved the negative spaces, leaving the pattern raised about a 1/2 above. 38-1

108 Floor Pattern Stamping We used brushes rather than rollers to apply paint, though rough surface rollers would work. Using chalk lines, gridded the stage surface on 24 grids after applying the base coat/texture. Starting at center, we worked out to create a randomized pattern of four different print blocks. GRADING Rubric items: Did student provide needed research materials? Did student complete research per required elements? Did student transfer research to foam medium effectively? Did student carving create an appropriate stamp? Did student work effectively with paint application? Did student understand and apply instructions appropriately? Did student s final project meet the quality expectations provided? Did student complete all work in the time allotted? Did student work with tools and materials safely and appropriately? Can student extend this project experience and offer examples for further use? Can student orally or through writing explain the technique effectively without prompts? 38-2