1. What is the difference between presentational material and the working drawing?
Presentational material, a rendering or scale model, is used by designer to present his ideas to the director, producer and cast.
Computer Model Designer Boyd Ostroff created the presentational material for this OperaPhilly production of La Boheme on a Macintosh using Strata StudioPro 2.1. Like the more traditional watercolor or pastel rendering, the computer generated 3d model can show how the set will appear under theatrical lights. The working drawings are the "blue prints" -- floor plan, front (or designer's) elevation, painter's elevation, cross section, detail drawings -- used by the production crews to build, paint, and assemble the set on stage.
The Opera Company of Philadelphia has posted a nearly complete set of drawings (Computer Models, Scenic Photos, Floor Plans, Section Views, Designer Elevations and Shop Drawings) for a number of the operas they have produced. Go to their Technical Production Web Page. While there explore their shop (OCP Production Center) and the opera house (Philadelphia Academy of Music) in which they perform.
2. What is a rendering?
A rendering is a colored sketch of the finished set as it will appear, under light, to an audience member seated in the center of the house. Today many designers create their renderings on a computer using both a CAD program (VectorWorks) and rendering software such as Art*Lantis or RenderWorks. Link to the computer generated renderings for Northern's 2005 production Disney's Beauty and the Beast. or to some of my early experiments with the demo version of Art*lantis 4.5
3. Which, a rendering or a scale model, better illustrates a designer's concept of how the set will look under light?
A rendering.
4. Which will best help the director understand the stage space with which he has to work?
A scale model.
What is a virtual model?
Unlike pencil drafting where the designer is forced to work in only two dimensions, on a computer, the two dimensional world of the ground plan and elevation can be extruded into a three dimensional world. The virtual model can be viewed in perspective from the front, side, top, and back. Using Flyover Function it is possible to view the virtual model from any seat in the house.Below is a view of the virtual model I created in VectorWorks 8.5 for one of the two major sets in Northern's spring 2002 production of David Lindsay-Abaire's Fuddy Meers.
Virtual Model: Gertie's Kitchen, Fuddy MeersThe 10'x12' kitchen wall plus the three 12' tall masking units were created using the Wall Tool. The 4x12 wagon plus the kitchen appliances (the stove, sink, counter, and refrigerator) began as simple 2D rectangles which were extruded to give them height. The two figures were imported from another drawing and the table and chairs were symbols included in the VectorWork's Architectual Tool Kit. Below is a photograph of the set as it appeared on stage.
Photo: Gertie's Kitchen, Fuddy Meers
5. What is a floor plan?
A top view of the set. The floor plan is used by the crew to locate the set on the stage floor.
Floor Plan: La Boheme
The floor plan shows not only the physical relationship of the scenic elements: platforms, door, chimney units, suspended skylight, table, stove, bed..., but also the set's location on the 73' x 90' stage of Philadelphia's Academy of Music. (Scale: 1/4" = 1' 0")
6. What are the conventional plan symbols for a door, windows, flat, step unit and platform?
7. What is the difference between a Designer's (or front) elevation,
A Designer's Elevation is a front view of each individual piece of scenery. The designer's elevations are used by the shop crew to determine the height and architectual detail of each scenic unit.
Designer's Elevation: La Boheme
This elevation presents a detailed (large scale) front, side and top (or plan) view of the two 22' tall chimney units which are major scenic elements in the first act. (Scale: 1/2" = 1' 0")
Painter's elevation,
A Painter's Elevation is a copy of the front elevation which has been rendered to indicate the color and painting techniques which are to be applied to the final set. .
Computer model: Tosca Act II
To the left is designer Boyd Ostroff computer generated rendering for the Second Act of the OperaPhilly production of Puccini's Tosca. Below is the painter's elevation for the stage right wall.
Painter's Elevation: Tosca Act II
Each wall in this massive set was 34' wide by 30' tall. Each unit was assembled from 8 luan covered flats-- 4 measured 8'6" x 11' and 4 were 8'6" by 19'.
Cross section, and
The cross section is a side view of the set
Cross Section: La Boheme
This sectional view is from stage right. The drawing not only shows the Act I set on stage but also the scenery used in Acts Two and Three, the orchestra shell, and the lighting equipment hung above the actors in the fly loft. (Scale: 1/4" = 1' 0")
Detail drawings?
A drawing that describes the details of a scenic unit or prop. It is usually drafted in a fairly large scale, typically between 3/4 " = 1' 0" and 1 1/2" = 1' 0".
Detail: La Boheme
This detail drawing illustrates in front, top (or plan) and sectional views the shop built bed used in the first act. (Scale: 1" = 1' 0")
E-mail questions and comments to Larry Wild at wildl@northern.edu.
Last updated: February 5, 2008.
The drawings for Tosca (Copyright © 2000) and La Bohme (Copyright © 1998) were created by Boyd Ostroff and are the property of the Opera Company of Philadelphia.
Web page text and drawings for Fuddy Meers copyright © 2001-2008 by Larry Wild, Northern State University, Aberdeen, SD