# What's the most important part of your design process?



## Grog12

Another one aimed at the students:

What's the most important part of your design proscess?

All our regular rules apply to the pro type community.


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## ColbyAtTroy

I'm going to take a stab here and say that knowing your space and/or what you have to work with is the most important part. I can't design a set that is 12 feet tall, if the room is only eight feet.

Really hope that made sense.


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## Grog12

Certainly important, what do some others have to say?


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## masterelectrician2112

Know the play is the big obvious one. Read it multiple times, take notes, etc.


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## natebish

for me the most important part whether i am designing lights or sound is to walk the space. spend time in the performance space and while doing that beggining to visualise what i want to do.


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## otherwho

Can it be perhaps the show (and your) budget?


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## jonliles

Does ithave to be a play? Could it be a rock concert or a ballet piece (or insert other type event here)? They need light, too.


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## derekleffew

ColbyAtTroy said:


> I'm going to take a stab here and say that knowing your space ...




natebish said:


> for me the most important part whether i am designing lights or sound is to walk the space. spend time in the performance space and while doing that beggining to visualise what i want to do.


What if it's a touring show? And the venue(s) have yet to be determined? Isn't (one of) the goals of design to transport the audience to another place and time?


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## natebish

derekleffew said:


> What if it's a touring show? And the venue(s) have yet to be determined? Isn't (one of) the goals of design to transport the audience to another place and time?


 too true, too true. what i meant is at my highschool. for a touring show or something that you don't know the house i would think it would be to know what you want to do. AKA that time or place you are trying to take the audiencce to.


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## ColbyAtTroy

derekleffew said:


> What if it's a touring show? And the venue(s) have yet to be determined? Isn't (one of) the goals of design to transport the audience to another place and time?


 
True. There would need to be thourogh analysis. Meaning, read and re-read the script. Also,the desginer would have contraints for what he is designing, typically. A designer does not have the freedom to design whatever they want. Some things that might create a limited design would be, the production concept, which is what you'd need to follow to keep the director's artistic goals in check, and if the show is a touring peice. I know some can tour, even if they were intended to. Also, I imagine you'd have to take in account the needs of the actors, in case they have needs, or have to perform certain tasks (i.e., an actor can't do a skating number, if the whole set is at different levels). Then, obviously, the physical needs of the Script (Doors, windows, beds, kitchen, etc.). Most importanlty, however, you would have to take in account the laws of physics.

So yeah, I guess analysing would be the most important part, and all this is what I mean by that.


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## museav

I think the first step might be to clarify what you mean by "your design" as there can be multiple design aspects related to theatre. In particular, there can be technical facility or system design, artistic design of general areas (lighting, sound, sets, etc.) for a particular performance or design of specific original elements such as graphics or video, original music, a set piece and so on. A 'design' effort may encompass one or more of these areas and which aspects are involved could significantly affect the approach used.

Perhaps the one common aspect is to first develop, define and document what the expectations and vision are for the design effort, in terms of both scope and result.


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## derekleffew

For me, the most part of the important process is the Lighting Concept/Lighting Statement.


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## Grog12

ColbyAtTroy said:


> True. There would need to be thourogh analysis. Meaning, read and re-read the script.


 
It never ceases to amaze me how many folks skip this, IMHO, most important of steps. Read the play. 

When I'm designing my first 3 steps are:

1) Read the play. 
2) Read the play. 
3) Read the frigging play. 

Once just to read it, and experience it. Twice to start really delving into what it means and to work on my lighting concept/statement. And a third time to solidify my concept and start marking out cues. 

In ballet/dance this changes from read the script to watch the dance. In rock and roll it changes to listen to the music. 

But designing something that you don't have a firm grasp on will only lead to a harder tech proscess and you not having any ammo to back up your choices to your directors and producers.


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## mstaylor

I agree rreading the script,watch the dance or listen to the music depending on preformance type. The next most would be to talk with the director to learn their ideas.


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## chadillac802

Know the show. There's a reason the first few steps of the design process is read, research and more research. I find researching the time, place and social/economic situations of a play bring to light to some ideas. Also the more you know about the area the play takes place in will help you visualize what the set, costumes, lighting etc should look like. I also find researching art/artists of the particular time period and place particularly helpful when doing theater.

Remember, design is mostly about what the piece needs to help tell the story, not necessarily what you the designer "wants" to do.


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## LouR

Grog12 said:


> Another one aimed at the students:
> 
> What's the most important part of your design proscess?
> 
> All our regular rules apply to the pro type community.


 

incubation


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## metti

For me as an LD, I would say that understanding the script and understanding the directors vision (not necessarily in that order) are pretty key. I like to read through the script five times:

1) Just read it so I understand the plot, etc
2) Read through more slowly and try to get a solid handle on the dramaturgy. This step is probably accompanied by research into past dramaturgical analysis and also sometimes some research around things like period vocabulary (if applicable).
3) After learning about the director's vision at the first production meeting.
4) Going through and identifying all of the cues during and after seeing a rehearsal.
5) Right before production week.

I also have a few different friends who are also theatre designers and we frequently get together to work and bounce ideas off of each other. I find this process to be pretty invaluable.


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## Anonymous067

I generally start by reading the script a few times. The first time, just for comprehension, plot, etc. Next I read it a little slower, making sure to catch the deeper meanings, underlying plots, secondary things, and making sure I understand the relationships of characters, etc.

After that, I like to sit down with the TD/Director, and discuss anything they want to do specifically. After that meeting, I'll read the script again and start looking for things I need to provide, microphones, cues, etc.

After that I'll sit down with the TD, then the Director, in that order, to discuss my ideas and how they want to handle them, or any potential problems.

Finally, I go through my script a final time and start marking it up with scrips and whatnot.

Throughout this entire process, I'm watching as many rehearsals as I possibly can.


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## deltaleader

Since I usually am SM along with lighting design, I tend to be with the director a lot, plus im at every practice... the most important part for me is making sure that im doing the RIGHT thing in such-and-such scene. Am I getting the most out of my plot, am i doing a good job covering all areas, while having it still look intimate... thats the biggest part of my process... Feeling the play/musical/show


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## Franklinscott57

I would say that knowing the script for the production you are designing would be essential. Having an idea of how the director wants to portray the script on stage would be fairly important as well.


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## chausman

Franklinscott57 said:


> I would say that knowing the script for the production you are designing would be essential. Having an idea of how the director wants to portray the script on stage would be fairly important as well.


 
I agree. Plus what other people have said about knowing the venue you are in. (If applicable. A touring show would be hard to know the venue(s) for.


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## ship

As with the above... read, re-read and read again in memorizing it. The director's vision and statement on the production is the next most driving force in production meeting and initial thoughts expressed in production meeting. Obviously for tour or specific space will be known or told at this point.

No firmed up design concept, research the heck out of it until I'm so absorbed into what I'm doing that I get a dream about it. This no matter where the research takes me.

After that dream, I start sketching.


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## LXPlot

I'd say it's definitely what kind of feel the show should have. You can get each kind of feel in a number of different ways with a number with a number of different director viewpoints and a number of different stages, but a show that should have an existential feel just wouldn't seem as well done with a big flashy design.


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## MPowers

Step 1. READ the script
Step 2. Research the time and place the script is set in.
Step 3. Read the script.
Step 4. Research the author and the background of his world.
Step 5. Read the script.
Step 6. Repeat steps 1-5 as many times as necessary.

When reading the script, ignore the stage directions and set descriptions. Those are from the original production and the theatre, director, cast, budget etc. are all different than what you will be dealing with. The original script may call for a door S.L. but your stage has a heating vent there, can't put a door there.

Also, read the script for what the play NEEDS, not what the words may ask for. Example: john and Mary are arguing, she runs and slams door in his face but they continue yelling at each other. Do you need a door? No, you need something to block his advance. she may pick up a weapon or get on the other side of a table or......! Read what the script NEEDS.

Now, repeat steps 1-5 and start drawing and sketching and talking with the director and....... design the show.


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## derekleffew

Wait, are you, and others, saying to _read the script_?!

Since this thread is three months olds, let's expand/change it up a bit: 
What if there is no script? Another thread had a question about designing lighting for a one-act play festival. What if it's a concert, dance, or talent show production? How about a corporate show, where all the script is going to tell you is what the sales figures projections are or what the marketing dept. is planning (and the speech won't be written until after you've hung and focused the lights anyway)?


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## PadawanGeek

When designing for the church/concerts, the bigest aspect I focus on is flexibility. Since our sets go up for about three (or more) months at a time, they always need to be made so that we can get a variety of different looks out of them. We have moved away from the traditional white corrugated plastic and white spandex look that lots of churches do so that we can have a lot more flexibility, heavily relying on the combination of our moving lights/LEDs and haze.


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## MPowers

> Since this thread is three months olds, let's expand/change it up a bit: What if there is no script?...................a one-act play festival. What if it's a concert, dance, or talent show production? How about a corporate show



I feel, IMHO, the directions still apply. Read the script and determine what the show "needs". The difference is now the definition of "script" changes quite a bit. Obviously the 3 scenarios you listed above will have vastly different needs, so half the battle is to find out just what the "script" is.


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## JustinTech

For me as an aspiring TD, the most important part of ANY design process, whether it be sound, lights, set, props, costume, makeup, etc...is communication. Whether that be with the director to get his ideas and incorporate his vision, or with other departments to make sure things don't clash, or with your own crew to make sure things are done as they are supposed to be. Communication throughout the design process can take a lot of stress and possible future issues off of your plate.


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## erosing

derekleffew said:


> Wait, are you, and others, saying to _read the script_?!
> 
> Since this thread is three months olds, let's expand/change it up a bit:
> What if there is no script? Another thread had a question about designing lighting for a one-act play festival. What if it's a concert, dance, or talent show production? How about a corporate show, where all the script is going to tell you is what the sales figures projections are or what the marketing dept. is planning (and the speech won't be written until after you've hung and focused the lights anyway)?


 
Figure out what everything else is going to look like, then compliment it. 

Who/what is the event for, can you pull from those design schemes?

A formal event will require a different feel than a sales kickoff or congratulatory meeting, same as a conference will have a different tone to it.

What is the seating like? A stage presentation with stadium seating is a lot different than a social gathering around tables.

Will there be music, projections, any special other things.

Most importantly, if there is not a script (or a very "loose" one) production design meetings will guide you and the rest of the team. No one wants to see Congo blue centered over maroon table clothes, on a cherry floor while everyone is wearing green blazers. The design team needs to communicate and essentially build on each other. No one should be trying to over power it should be balanced, stark lighting in the right venue for the right thing can look great, but subtleness does too. R&R is flashy, powerful, and saturated. Theatre is a playground; but not constantly overpowering. Corporate, dance, weddings, should blend and balance no one piece of the design should be over done. I consult the flower arrangement of talent, you layer the plants to be in balance, yes there is a center piece that stands out, but it does not overpower, one still sees the beauty of the entire arrangement.

Now, talent shows and festivals are another thing. For both I start with what I believe is simple elegance. I pick a few strong colors each for back and side lighting, and usually a strong color or two at an interesting angle. Simple cyc set ups: RGB(A). Front light I'll go with a light amber and a light blue, if I have the ability I'll also put up a more saturated of each. I like to keep my top simple and I'll usually just go with a slightly warm tint, or no color frosted like it's February. 

Specifically to a festival, I'll try and contact participants to see what they are doing, if they can send some materials to get me an idea of their set and costumes, and I'll ask (while not guaranteeing) if they have any special requests for a look they would like. Get all that data together and go from there to refine color and locations, adding a few specials if I can.

For a talent show, top light is frosted no color or a light tinted cool. I'll put up blinders if possible; add some sort of foot light system (hopefully RGBA). If its a musical talent show and not just a general talent show, I'll go a little further and set up some more saturated colors and "cool" angles for lead, bass, backup, and the drum riser (including a floor mount back/up light (or 3) to blast through the drummer). If it's not a music talent show and more just general, then I'll keep it simpler and make sure everyone is visible, and that the opportunity for elegance is there.

Lastly, send out a plot and paperwork to the show/groups lighting designer. Label the board very clearly. Build 2 cue stacks, soft and simple, and a little more saturated and simple for the groups that don't have a designer or don't want to have anything above the basics.


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## kendal69

For me, I'm a visual person. I like to compile as much info as I can - Venue, timing, dimension's, colors etc.etc.etc., then I like to put everything on a CAD program and look at it in 3D. I can spin the room, look for placemt errors, change colours with the lights and actually see the final look months, weeks before I walk into the room. 

What this also does is let me have time " in the room" but at my desk with a cup of coffee. I am relaxed and can think outside the box along with adding and deleting as necessary to accomplish the look. 

The greatest part is when the room is done live it already feels like I've been at the set for weeks so I can anticipate ant challenges. One last thing is I can hand finished drawings and cut sheets to all the people involved so it stops a lot of confusion and questions. Everyone has their file and they all beging and all work efficiently.


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