Related books:
- Looking into the Abyss: Essays on Scenography, by Arnold Aronson
- Theatre and Performance Design: A Reader in Scenography, edited by Jane Collins and Andrew Nesbit
- Script Analysis for Directors, Designers and Actors, Thomas
Introduction
艺术是从手工艺品产生的，两者并不是对立，精妙的物件风格组合和位置摆放产生了艺术。
The terms craft and art sometimes seem to be in opposition. Craft often sounds inferior to art, as in a “craft project” as opposed to a work of “fine art.” Art often sounds full of mysterious, intangible qualities while craft seems to consist of definable goals and practice-able steps.
Most of any art form is craft. When work is of an extremely high level of craft, it can create a spark of connection with its viewer. When this spark occurs, all the sweat and worry, all the craft transcends into a moment of surprise, a flash of meaning.
All aspects of the scene designer’s work can be approached as craft. The challenge is to recognize the importance of all the decisions that need to be made. A well-chosen chair placed in a useful position onstage is in many ways one of the most important decisions to be made, and that chair needs to be chosen and placed with craft.
Scenic Design很复杂
In 1941, Robert Edmond Jones wrote:
A Stage Designer is, in a very real sense, a jack-ofall-trades. He can make blueprints and murals and patterns and light plots. He can design fireplaces and bodices and bridges and wigs. He understands architecture but is not an architect: can paint a portrait, but is not a painter; creates costumes but is not a couturier. Although he is able to call upon any or all of these varied gifts at will, he is not concerned with any one of them for its own sake. These talents are only the tools of his trade
Chapeter 1: The Nature of the Craft
The scenic designer’s task is to imagine and plan the visual and physical aspects of how a particular performance-event will be presented in a particular space.
It can be said that the designer’s work is 10 percent inspiration and 90 percent organization and communication,
The designer may create beautiful renderings and models and meticulous drafting as part of this process, but the designer’s true “product” is a performance environment in which the play takes place.
This includes the tangible objects required like a chair, a window, and a spinning wheel, but also a certain quality of space and a certain mood.
- The scenic design supports and extends ideas in the play.
- The scenic design effectively and creatively solves problems of presenting the play in the given space and production circumstances.
- The scenic design seems of the present, a contemporary view of the play, valid and interesting for a contemporary audience.
The elements of design (line, shape, form, texture, color, etc.) are the building blocks of all art forms and basic descriptors used in their analysis.
可以进行各种材料材质的尝试
Because he works in a finite space with limited means, the designer seeks shapes and materials that can stand in for elements he cannot, or chooses not to, use. What he is doing by making these choices is creating clues that serve as signposts for audience members, signposts that tell them a bit of necessary information.
人们不会被假景糊弄
Arnold Aronson in his Looking Into the Abyss: Essays on Scenography writes, “Yet in the contemporary world it is virtually impossible to fool anyone through scenography; even the most cleverly done trees are perceived as signs of trees.”
人们只会根据材料会开始联想
It is the nature of the craft that a stick of wood, some paint, and a piece of fabric can, as if by alchemy, create an image in the audience’s imagination, an image that is more than the sum of its parts.
Comparing film and theatre, Aronson writes, (film: virtual→reality, theater: reality→virtual)
The cinematic image transforms even the most blatant fantasy into reality. The theater, on the other hand, though composed of real objects—wood, canvas, paint, papier-mache, and the like—transforms a concrete reality into a kind of fantasy. Everything on the stage becomes a sign.4
场景设计只是所有工作的一部分，只是为了调动观众的情绪，而不是为了充分的讲故事
The designer’s clues combine to evoke in the audience a feeling, an emotion, a somewhat undefined memory, like a dream you can’t quite remember. His work should be curiously unfinished and provoke interest in the audience to know more.
Scenic design is a complex craft, which uses a special language of space and image to communicate ideas to the audience in an often subliminal way that will complement and support the story and help give it life.
Chapter 2: Scenic Design in the Past and Today
现代的Scenic Design随着摄影和心理学改变了很多。舞台布置更加抽象简洁，表达情绪。
In stage design, the realistic two-dimensional painting previously in vogue began to seem busy, dated, and false. Many theatre artists began to work toward a simplified, less literal look. Two designers of note at this time, Edward Gordon Craig and Adolphe Appia, wrote articles and books on these new ideas that became very influential. Both advocated a clean architectural space on stage in which detail would be replaced by mood and the actor would move through a spare three-dimensional space (see Figure 2.6). Integral to their ideas was a new technology. Electric lighting had become technically feasible onstage, and this made possible the use of lighting as a design element.
Modern Stage Design
Modern Stage Design would be characterized by:
- Simplification: In revolting against strict naturalism, designers would eliminate detail that was visually unnecessary so it would not distract from the story and the performer. With this simplification would come more use of symbolic and metaphoric imagery.
- Unification: A major part of the new design was the realization that all elements of a production should be unified and therefore designed. This period gives rise to the profession of stage designer as we understand it today.
- Lighting as a design element: Electrical stage lighting was just becoming possible in this period and designers were first seeing how important designed light would be to the new ideas. Changeable lighting would go hand-in-hand with the new simplified architectural use of space.
- Three-dimensionality: Scenery would become less flat painting and more 3D and sculptural. With this would come more emphasis on texture and on the treatment of the stage as a real, finite space with less dependence on the illusion of painted space.
Robert Edmond Jones’s design for Macbeth (1922)
From The Theatre of Robert Edmond Jones © 1958 by Ralph Pendleton. Reprinted by permission of Wesleyan University Press
Ming Cho Lee’s 1/2-inch model for The Gnadiges Fraulein, Broadway, 1966
From Ming Cho Lee: A Life in Design ©2014 by Arnold Aronson. Reprinted by permission of Theatre Communications Group
Jo Mielziner’s design for Death of a Salesman, 1949
Courtesy of the Mielziner Estate—Bud H. Gibbs
Ming Cho Lee’s ½-inch model for Electra, New York Shakespeare Festival, 1964
From Ming Cho Lee: A Life in Design ©2014 by Arnold Aronson. Reprinted by permission of Theatre Communications Group
设计与实现之间有很大的差别。
In rehearsals Neher would sketch ideas for how the actors could play individual moments spatially and then he and Brecht would use these sketches to evolve the set design.
Modern Scenic Design
Action Design
The first is functionality: everything placed onstage must be either physically or psychologically functional. Mere decoration or interior design tends to dull and obscure direct and effective theatrical communication.A second principle of Action Design is its emphasis on collaboration. The scenic environment must be created after a rigorous examination of the text in close collaboration with the director.A third principle of Action Design is its pursuit of a complex, ever-shifting metaphorical structure.A fourth principle of Action Design is an intense irony, manifesting itself in the realization that, no matter how many meanings might be attached to the setting as it interacts with the text, director, and actors, the objects onstage never deny their reality—as both concrete objects and purposefully theatrical materials used in the fictive construction.
Postmodern Scenic Design
Working in another legendary collaboration, John Conklin and director Mark Lamos essentially created a new American design idiom in a series of productions at Hartford Stage in the 1980s, combining contemporary elements with appropriated images and strongly sub-conscious choices like the suspended rocking chair in this adaptation of Pericles.
Postmodern stage design has a bold dream-like quality often referred to as imagistic. As in dreams the images used tend to come from the extremes of beauty or ugliness and exist in relationships with each other that seem to exhibit a kind of logic but one that is hard to define. The dreams often include images from a past remembered with fondness, but which we are too sophisticated to still accept.
Summary
Starting at the dawn of the twentieth-century, Modern Stage Design pioneered simplicity, unity, three-dimensionality, and the use of lighting as a design element. The job of designer originated in this modern period Russian Constructivism, the work of Bertolt Brecht and Caspar Neher, and Action Design were three influences on the transition to Postmodernism in the mid-1970s.Postmodernism is characterized by intensely visual dream-like designs that feature appropriated images, the use of popular art forms, and the often ironic use of images and themes from the past.
Designer | Website or web reference |
Alexander Dodge | |
Riccardo Hernandez | |
Adrienne Lobel | |
Derek McLane | |
Scott Pask | |
Todd Rosenthal | |
Walt Spangler | |
Paul Steinberg | |
George Tsypin | |
David Zinn |
Project: Sketch and Plan
Much of the design process is drawing in 2D while thinking in 3D.
A designer’s quick thumbnail sketch is destined to be a three-dimensional construction on a stage. The more you can relate the 2D exploration to the 3D reality, the better. Stage designs are not pretty pictures; they are architectural creations in space.
This project is designed to start you thinking in 3D terms. It is common practice for a designer to switch from drawing an audience view sketch to drawing a sketchy groundplan view. In doing this he explores the connection between plan and elevation, and thinks of his design in 3D.
The example is a thumbnail sketch directly above a rough groundplan. Note the light vertical construction lines used to carry the position of elements up from one to the other. This technique will work equally well from sketch to plan, or plan to sketch.
The Project
Pick five varied set designs that you like from the designers listed in the Research a Designer project. Try to choose different types of sets so you have a variety of challenges to work with. Be prepared to explain your choices.
Using the example as your model, draw a thumbnail sketch of each design with a groundplan below it on separate pieces of 8.5 × 11 paper. You will probably need to do each one several times to produce good work. Draw lightly at first so you can overdraw your initial lines.
This is sketching, not drafting. You should use a straightedge, but keep your drawing loose.
You may not know much about the theatre from the photo of the set design. Draw what you know and leave out the rest. Include a human figure for scale whether there was one in the photo of the design or not.
Chapter 3: Working with Directors
Collaboration is at the core of the theatre. It is one of the things that makes designing in the theatre unique. Unlike other art forms where the artist creates his work alone, in the theatre the designer works from the very beginning with others.
- You and the director have exactly the same concerns. Your eventual responsibilities will differ, but your goals together should be exactly the same. Your collaboration is vitally important to the resulting production.
- Your primary job together is to shape the spatial, visual, and physical rules of a performance. In your early talks with the director focus on the play, the story and its themes, and its characters. Do not focus on “scenery” until you have to. These initial decisions are about what makes the play work.
- A scenic designer’s work involves a lot of different skills. He must work with color, texture, form, and space and understand paint, fabrics, furniture and a hundred other things. His single most important skill must be as a collaborator. Your career in the business is affected by your success in working with directors.
- First, talk about the play, not the scenery. There will be much to say about the play as a whole before you need to ask how many doors the director wants. By talking about the play first, you present yourself as a collaborator not just a technician ready to get started with providing “things.” It is an important lesson to learn that just because the playwright says in the play’s set description that the set has doors to the garden SR and a staircase USL, it does not necessarily mean your design needs to. At the beginning of every process, the stage is a blank canvas where no element should go unexamined as to its necessity. Before you can address how many doors are needed, you may need to ask, “Why a door?”
- Ask what the play is about. This is not what happens in the play; you know that from your reading of the script. That is plot. What the play is about speaks more to theme, and this is an area of great importance to the designer. We could say, “Macbeth is about ambition and murder leading to madness.” For the designer this provides a clear, strong overview of the play that can be used to design that world.
- Talk about the characters, their interactions, and their effect on their environment, or its effect on them. Who are these people? Why do they do what they do? Why should we care? In most cases, the design will be seen through the characters’ eyes. It is their world and therefore specific to their story, emotions, and context. By talking about their relationship to their environment you are also talking about the relationship between performer and space. This is at the core of what the designer and director need to determine. Establishing who the key characters are and whether we see the play though their eyes lets the designer work on creating a specific world from viewpoints inside the play not outside it. We will address this concept of inside and outside again in later sections. The more the physical world expresses the outlook of key characters, the more specific it becomes and this specificity is the designer’s goal.
- Is there a progression in the play? Does the play begin with one idea, feeling, or emotion and gradually change to another? If it does, what does this progression tell the audience? How can the designer make this progression clear? Is it a seamless, almost imperceptible change, or are there dramatic moments when the audience should be aware of the change?
- Talk about what you find interesting about the play. Why are we doing this play? Why here and now? What does the play say to a contemporary audience? By thinking about the play’s relevance to the audience you can find ways to make that relevance clearer.
- Listen. It is tremendously important that you listen at these early meetings. If you get locked into an idea too early in the process it can blind you to other choices and lead you to hear other people’s ideas only in relation to your own. This can cause you to miss a lot of possibilities.
An activity that can help the director and designers come together in their work on the play is the charrette. To do a charrette all participants bring in images they have found that they feel say something about the world of the play. Some can be more scenery related and others more concerned with other areas. Some may be specific research but, in general, a process such as this may best use more nonspecific, emotional images. Generally, each participant brings the same number of images, which need not all be references to their own area. Each image is discussed by the group. Gradually images are selected by the group that all feel are useful and a collage is made of them that can act as a reference tool throughout the remaining parts of the design process.
In a perfect world I don’t like to bring sketches or even research to a first meeting. That being said, I have done so in many cases. I have also brought sketches and research, and then chosen not to show them after some initial conversation has taken place. I like to do some research after the first meeting and then bring that to a second one before I do or show sketches. Sometimes the calendar will not permit this. I frequently do a Photoshop mash-up of some key research images as the first thing I show.
The Groundplan
The groundplan is a drawing that is a view of the stage looking down from above. It shows the size and position of all the elements of the set. Early groundplans may be sketched over printed plans of the theatre. Later versions will be drafted in scale. Later sections of this book will look at the groundplan in more detail and from different perspectives. For the director and the designer in their collaboration to give shape and meaning to the play, the groundplan is both a road map and a contract.
I have worked with joy with many marvelous designers—but at times been caught in strange traps, as when a designer reaches a compelling solution too fast—so that I have found myself having to accept or refuse shapes before I had sensed what shapes seemed to be imminent in the text. When I accepted the wrong shape, because I could find no compelling reason for opposing the designer’s conviction, I locked myself in a trap out of which the production could never evolve.1—Peter Brook, The Empty Space
Designing Moments
Chapter 4: Working with Text
First Read：只是了解故事流程和大概，在脑中展现基调
Consider Not Reading the Set Description：不要去看文中描述的场景描述，而是要根据情节进展和感情变化自己去设计场景，在创作
Read Like a Director：需要了解人物的动作和走向，还有情节的进展来设计空间，来展示故事世界。
French Scene：泛指人物上下场时带来的场景变化。通过French Scenes来细分所有场景。
The Breakdown：类似于storyboard？A written breakdown is an outline that can bring all the needs of the play together into one document and can keep you from spending 20 minutes leafing through the script every time you need to find a particular moment or element in the play.
- Act and scene numbers and the location of each scene in outline form.
- The page number in the script (in a musical, always include the music number, such as “Music #11 ‘Why Are We Here—Reprise’” as cueing and scene shifts will fall at the beginning and end of musical numbers). It is important, if possible, for all members of the production team to work from the same version of the script so page numbers will be the same.
- Any information on time of day, season, or year.
- A brief description of the action in the scene.Physical things needed in the scene. (It is helpful to list anything the characters say about their world, because the audience will expect to see them that way.)
- Any details about the scene changes that the script suggests, like a blackout or an á vista change.
- Anything that seems to be a problem or question you will need to discuss.
Working with Words
The Style of the Playwright’s Language
有时剧作家的语言风格可能会给设计师提供线索。 如果他使用华丽、华丽的语言，那么设计具有类似品质的布景可能会很有用。 莎士比亚在《爱的徒劳》中的语言充满了文字游戏和人物之间的戏谑。 该布景可以设计成一种有趣、复杂的感觉来反映这一点。
大卫·马梅特饰演的格伦加里·格伦·罗斯根本没有给出有关演员位置或动作的固定描述或信息。 设计师只能从文本和写作风格中寻找他能找到的东西。 我们知道这部剧是 1984 年写的，而且语言听起来很现代。 我们从提到将角色带到奥黑尔机场的参考中发现，该剧发生在芝加哥。 这就是我们要做的一切。 马梅特使用的语言稀疏而简洁，通常是简短、不完整的句子。 这种断断续续的风格能否转化为一种视觉上简洁的外观，其中具有相互不连接的孤立的建筑元素，以传达戏剧所创造的空虚和不安感？
Words as Images
Chapter 5： Research, Period, and Visual History
Combining Key Images
当你的研究达到一定水平后，一些关键图像往往会被证明对最终设计非常重要。 三到四个不同的图像通常会在它们之间建立起联系，这些关系会产生共鸣，就好像每个图像都单独讲述了戏剧世界的真实情况一样，但它们组合在一起就不仅仅是各个部分的总和。
一起查看您的研究图像会非常有帮助。 当您近距离看到三张最好的研究图像时，通常会出现突破。 传统上，这可以通过打印图像并将其放在桌子上或将其钉在公告板上来完成。 您可以通过数字方式在同一页面上组合图像。 考虑进行一些快速的颜色修改，如果它可以帮助您了解不同的图像如何协同工作，或者保持图像的内容完美，但其调色板不是您想要的，以免分散您的注意力。
Making Connections
有时，设计问题的解决方案可能是通过与与戏剧截然不同的时期或文化的意外联系来解决的。 只有对各个时期都有广泛的了解，这才有可能。
Chapter 6: The Designable Idea
Choices
概念这个词对于设计一开始来说太过沉重。“可设计创意”一词或许为设计所依据的一系列创意提供了最大的空间。 在研究文本中的主题和人物时，我们试图找到作为我们决策基础的见解。 有些想法不容易设计，因为它们本质上不是视觉的。例如，嫉妒可能是剧中的一个主题，但它不适合我们使用的视觉元素。我们需要的是关于戏剧主题、意义和背景的想法，这些想法对设计师的视觉和实际工作有用。 我们如何才能得出可以转化为可设计元素的戏剧想法？
Looking for Adjectives
The written Statement
创建一个简单的、基于视觉的、关于该剧的书面陈述是很有帮助的，这样可以让你对它的感受更清晰。 理想情况下，这应该非常短且非常简洁。 如果您的第一次尝试又长又散漫，请努力浓缩和精炼它，直到它不包含不必要的元素。
Objects have Meaning
放置在舞台上的物体变得比现实生活中的物体更加丰富。 它们之所以具有意义，是因为它们被选择是有原因的，观众被要求从它们是什么、为什么被选择以及它们如何放置和使用来解释意义。
因为观众会寻找舞台上放置的东西的意义，所以设计师必须探索他选择的物体将意味着什么，或者可以意味着什么。
物体带来的意义可能是找到可设计想法的重要途径。
Study the Characters and Themes in the Play
Research the Locations and Things in the Play
Summary
Work hard to develop a simple, clear statement of your designable idea.
Make your technical solutions come from, and support, your conceptual ideas and vice versa. The more your solutions to both the practical and the conceptual are the same, the stronger they will be.
Use objects for their meaning. Make the things you need to do the play also be things that speak to the ideas in the play.
See designable ideas as coming from inside the play and its characters not as something from outside visual sources and then keep them as simple ways to explain and strengthen how you will do the play.
Chapter 7: Space
Considerations Regarding Space
- Emotional Space
在开始考虑细节、颜色或纹理的所有其他决定之前，空间的基本表达可以在观众中产生强烈的反应。
- Movement in Space
- Defining Space
Position of the Defined Area in Space
您可能需要通过起草家具布置来规划该区域的大小，包括根据需要在家具周围和家具之间移动的空间，然后努力将这个新街区放置在平面图上。 随着界定区域的进一步发展，其需要容纳的内容也会增加其规模。 这将改变它占用的总体空间的百分比，从而影响可用的“其他”空间量。 设计师必须清楚所需的家具或景观元素，并准确地表达它们的尺寸。 当他们放置在空间中时，必须在他们周围和之间留出空间，以便演员能够以各种可能性移动。
- Flow
- Angles or Parallel/Perpendicular?
Arranging Objects in Stage Space
在舞台上布置元素与在客厅布置家具不同。 任何特定剧院的观众空间和舞台空间的建筑布局已经创造了一种动态，这是景观设计师在工作时必须解决的问题。 剧院创造的视角将成为他作品的决定因素。
- Planning Space by Architectural Logic
- Planning Space from the Performer’s Perspective
- Loosening Up
Sightlines and Masking
Chapter 8：Design and Redesign
The Design Process
No two design processes are the same. With experience, you will find a process that serves your skills and temperament. Still, the demands of a specific project’s schedule, your collaborators, and problems inherent in the project will make it unique in its own way.
First Phase of the Design Process
• Research Images
• Thumbnail sketches
• Rough groundplan
• Rough 1/4-inch model
Developments at all stages of the process must be reflected in all media. A change in the groundplan should be shown in the model or the sketch, and vice versa. Keeping everything up to date is time-consuming, but having versions that are not all current can be confusing for you and your collaborators.
此过程阶段的一个主要目标是相当快地达到这样一个程度，即您可以（在任何媒体中）获得设计的表示，以显示完整设计的感觉，具有细节和色彩的感觉 。
这是一项非常重要的技能。 无论您选择的媒体是传统媒体中的草图（也许是快速洗色）还是数字媒体中的渲染，重要的是您开发一种方法来展示您的设计的美观表现（图 8.1）。
由于设计的所有元素都是相互依赖的，因此在不显示所有部分的情况下很难评估整体。
Design Strategies
Elegance and Economy
Because of the huge range of projects, styles, and interpretations the designer will come across in his work, there are not many concepts that hold true for all. One that seems to remain viable is that the designer should look for an elegant solution. Elegant, of course, here does not imply formality, but a simple, appealing “rightness.”
Selection, Abstraction, and Transformation
Three basic design strategies are frequently called upon. They can be used in different ways, in different combinations, and at different points in the process. They are fundamental ways in which the designer can turn research and ideas into effective designs.
Color
Color is an extremely important element to consider because of the very strong reactions to color in the human eye and mind.
Choices of color can be arrived at in many ways:
Many objects if used in a realistic manner come with color choices already. The sky is blue. Grass is green.
If an element is transformed to seem like it is made of a different material than its common look, then the new material would give it its color. Example: a steel forest.
Color can be chosen for the emotional response it will create in the audience.
Unexpected color choice or intensity can create estrangement.
Because the reaction to color is so strong, it can act as a strong unifier to balance or connect very dissimilar elements.
The Redesign Process
All the things we have discussed so far will inevitably, finally, magically coalesce into a design that seems to have possibilities. This point may come quickly and smoothly, or only after much discussion and many attempts to pin it down. It has been said about the writing process that “writing is easy; rewriting is hard,” and the same is true of design. However promising your first design seems, you will almost always have more to do to make it better. The strategies of doing this involve assessment, development, and refinement.
When you know what needs work but don’t know what to do, develop a mental list of possible things you could do. Don’t think about what these choices would mean to the play or whether they are right or wrong, just quickly run through a list of what you could do:
- Make it bigger.
- Make it smaller.
- Make it a different color.
- Make its color more saturated.
- Change its position.
- Change its scale.
- Change its proportion.
- Eliminate it.
Eliminate an Element
Reversal
Refinement
Refine Line
Refine Proportion
The Front Elevation
随着设计的发展，一个非常有价值的工具可能是前立面图。 这是没有透视的直视整个舞台。 它的主要价值在于它允许设计师处理风景元素的大小和比例。 舞台大小的矩形以 1/2 英寸或 1/4 英寸比例绘制。 添加了按比例缩放的图形。
这个矩形的大小和比例可以按照第 7 章的 Crazy for You 示例中的讨论得出。
景观元素的放置是使用平面图上的构造线转移的。 添加您已知的高度和立面，例如上层高度或标准门高度，然后计算出您之前未决定的单元的高度。 此时，很多问题就显现出来，通过调整规模和比例来解决。
可以在此绘图上完成 Photoshop 渲染。 虽然在某些设计中透视感会被忽略，但在模型中透视感会很清晰，通常任何在前视图中看起来不错的设计在透视中看起来都会更好。 透视扭曲了事物的实际度量，因此不能用来检查相对比例。 还值得注意的是，在许多舞台剧院中，观众从管弦乐队水平面的观看角度足够低，非常接近正立面，而不是从阳台上观看，这将显示出更大的深度。
Groundplan
Sketch
Chapter 9：The Art(Work) of Communication
布景设计师创造的真正产品是与所有其他制作元素相结合的表演成品。 在该设计的创作中，他将使用许多艺术技巧来规划和传达他的想法。 在规划设计时，他将创造许多美丽的物品，从图纸和彩色渲染到模型和绘图。 记住他的目标是最后一盘的表现这一事实很重要。 漂亮的图纸或模型并不一定能产生有效的设计。 对于设计师来说，在设计和传达设计时将其创作的艺术品视为实现最终目标的步骤，而不是成品本身，这一点很重要。
许多成功的设计师在绘画方面并不具备理想的技能。 他们找到了与同事交流想法的方法，并在舞台上制作了成功的设计。 许多人聘请助手来制作效果图和/或模型。
In common practice today, the scenic designer will create visualization tools in several different media: sketches, renderings, models, and drafting. The beginning designer must attempt to master proficiency in all these forms.
Sketches
绘图是一项技能，是所有设计工作的基础，作为流程本身的一个步骤，也是后续其他步骤的基础。 大多数设计师做的第一件事就是拿起铅笔画一些草图。 这些缩略图将您头脑中的想法带到页面上，您可以在其中查看和评估它们（图 9.1）。 这些最初的图画通常仅供您观看。 再进一步发展，早期的草图是与导演和其他设计师分享的第一件事（图9.2和9.3）。
storyboard
Rendering
如果制作中只需要进行一次渲染，则应该在布景足够明亮以使其所有部分可见的时刻。 喜怒无常、黑暗的时刻可能会产生美丽的渲染效果，但作为展示场景的工具可能没有多大帮助。 将布景渲染为舞台灯光照明可能需要设计师对几个月后技术排练开始时的灯光效果做出一些假设。 如果灯光设计师足够早地加入，咨询他或她可能会有所帮助。 如果不是，设计师将根据他最有根据的猜测来猜测照明效果。 稍后讨论的绘制立面图将显示设计师希望如何绘制布景的真实颜色。
Traditional Rendering
Some Ways to Convey Darkness in a Traditional Rendering:
- In a watercolor and pencil rendering, cross-hatch the dark areas with the darkest zones closest to the set and fading out as they move farther away (Figure 9.8).
- Using an airbrush, spray the dark colors, again, with darkest areas closest to the set and fading away. Linear streaks can also suggest light beams in space to help the illusion (Figure 9.9).
- Consider using black illustration board as the base for your rendering. This means you will need to build up all the light tones, and this can be difficult (Figure 9.10).
Digital Rendering
- Speed: Rendering digitally can be faster than traditional techniques, especially when you consider the time spent to redo a traditional rendering.
- Ease: Many aspects of rendering are easier digitally than in traditional media. Very detailed or photographic-looking elements can be found and reworked for sharper looks than by panting from scratch.
- Duplication: If you are doing a multiple set production, a master image rendered digitally can allow you to turn on and off layers and save many looks as separate images.
- Revision: Any time you need to revise something the time saving in digital work will be to your advantage.
- Clarity: By working with digital images and textures, you are from the very beginning of the process working with “real” looking materials, not trying to render the feeling of a material or texture using a media that doesn’t convey its power or complexity.
在数字时代之前，设计师通常会对布景进行水彩渲染。 这些很漂亮，但非常耗时。 在这个过程中，一个常见的、可怕的时刻是，当你展示花了几天时间创建的美丽渲染时，导演会说，“那太好了，但是我们可以把它移到这里并把它变成蓝色吗？” 当你美丽的渲染变得过时时，你的精神会下降。 人们会有捍卫现状的冲动，抵制改变只是为了保护渲染。 如今，数字媒体已经不再是一个问题，因为改变变得更加容易。
SketchUp
PhotoShop
Models
Hand Drafting
Plan, Section, and Front Elevation