# Set Models - Do you use them?



## thorin81 (Dec 2, 2009)

For those of you that do not know, I am a theatre educator. I am in the process of designing a set for our upcoming production of _The Diary of Anne Frank_. I just finished building a set model (to scaled and painted). This has been a pretty common practice since my undergrad work. My question is - does anyone else still use them? Especially in secondary school theatre? It seems that my kids have not ever seen anyone put one together (they are lucky that I know how to draft set plans in VW...). Post a response on the poll and let me know what/how/if you actually use one for your designs!!


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## shiben (Dec 2, 2009)

Well, I have used them for class work extensively, but I like building models to scale. A lot of my fellow students have trouble working with small parts, but I have to thank extensive work in 1:87 scale (HO, for those who do railroad models) for my enjoyment of the process.


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## sk8rsdad (Dec 2, 2009)

There wasn't an option that matched my circumstances so I didn't vote.

I have used maquettes in the past to help others visualize the set. With free tools like Google Sketchup I find I can accomplish the task more quickly that way. Others in my organization use them frequently.


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## rochem (Dec 2, 2009)

I don't personally make set models (I'm not a set designer), but on many of the shows I design, the set designer makes a set model early on in the process and constantly updates it to reflect the current plans. I personally find it really helpful to help envision the space, and I really appreciate the efforts the set designers put into making those models. But I have never made one myself.

EDIT: This is in a semi-professional community theatre setting, not an educational one. I doubt anyone else at my high school has ever even heard of a set model.


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## thatactorguy (Dec 2, 2009)

I've done a few of them in 1:12 to keep the math easy for me  On sets where I do book page type designs, a model is very helpful when working out the logistics, and helps me make sure all of the walls from the previous scene are covered. There's also something very calming about doing these. I've gone so far as to buy 1:12 dollhouse furniture; once three dimensional furniture is in place, one can better see blocking issues and whether a wall sticks out too far. Throw a couple of mini maglites in the mix, and you can get an even better idea of how the set will look. Yeah, I know, I probably get a little TOO into it...


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## Cashwalker (Dec 4, 2009)

My mom built a few models of the community theater sets we did, but gave up when it wasn't helping the the director envision things any better and less so with a new director who changed his mind constantly.


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## Van (Dec 4, 2009)

I find that for communication between myself and most designers Drawings and Sketchup models work fine.... in most cases. I have a couple of designer that I work with who still hand draft everything, Models help a lot in interpreting fuzzy copies of handrawn plans. The biggest advantage of a model , which is also th emain reaso I still like to require them in Designer contracts is for the benefit of the actors and Directors. I can't tell you the number of times I've had to explain one simple detail only to never have it understood while the director is staring at drawings. You give him or her one glan at a model and whammo they know what you mean.


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## calkew5 (Dec 4, 2009)

As a lighting designer I love getting a model, and I'm always a little sad when I don't. It's not always neccessary; for instance, if your set is a box, that's not exactly difficult to visualize. It really comes in handy, for me, on interior sets with multiple levels, like staircases and landings, that are difficult to convey on a front or side section. Or for sets that have a lot of motion, it's helpful to be able to set up all the different configurations. For a wing and drop set, not so useful.


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## kiwitechgirl (Dec 5, 2009)

We have a set model for every show. Like Van said, it can make it much easier for a director to get a grip on how the set works, and I also find that it's much the best way of explaining complicated scene changes - I work in a company where a lot of the scene shifting is done by actors, and if I say to them "you open that wall there" while pointing to a line on the floor they look at me blankly, but if I can demonstrate on the model it all makes sense to them. Plus, our director of design is not particularly computer-literate so Sketchup is way beyond him!


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## curtg (Dec 5, 2009)

I use Sketchup. My experience with models has been mixed. Well executed models work well. Unfortunately, I have been shown too many poorly executed models of mixed scales that only confuse everyone except the model maker. I make drawings from the model before building.
I have stopped working with a Community Theater Director over her sloppy models and last minute planning. Her models are sloppy first drafts of ideas.


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## scenerymaker (Dec 5, 2009)

I make a 1:12 model of nearly every set before funding even shows up. It helps convey to the pastors just WHY I need $x,000 dollars to do what they are asking for. Then it helps with a construction crew that won't / can't read a print (when I'm lucky enough to even get a crew). Finally it helps figure out what people and props are supposed to be where, long enough before load-in that something can be done about problems. This last one doesn't count for others, because I'm sure I'm the only one with limited construction space where load-in is the very first opportunity for all the pieces to go together.


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## kicknargel (Dec 5, 2009)

As a designer in low-end professional theatre (i.e. dinner theatre), I don't usually do physical models, simply because I can't afford the time that goes into it. What I do is a 3D model in vectorworks. This is usually enough to let directors understand the set and it saves me time because I can take views from the computer model and annotate them into construction plates.

There are exceptions. I did a model for a set that was all oddly draped fabric--nearly impossible to draw, easy to model.

In corporate production (the other half of my time) the standard is fully-lit photo real computer renderings.

Nicholas Kargel
You Want What? Productions INC
scenic and lighting design and construction in Denver, CO

www.youwantwhatproductions.com


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## Sayen (Dec 6, 2009)

HS educator here.

I always intend to do models, but never have the time. The few times I've done one I've found them to be extremely helpful, especially when having actors and other non-technical people assist in set construction. Google Sketchup is my next backup when I don't have time to physically build something.

Models are also a good way to see what aspects of the set you may have overlooked during planning, like the occasional impossible walkway or retreat.


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## bobgaggle (Dec 7, 2009)

A model for a set in invaluable, like van said they help the director understand the set and in the long run, can save time/money/effort later in the game. They also 

the only shortcoming of a model is dynamic set changes. Automation is difficult to display with a scale model


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## ship (Dec 8, 2009)

These days Vectorworks or a few other programs are much easier to convert from the plug and time is valuable. Such drawings are amazing in how realistic they have become as with how much easier it is to Cadd something and convert it to 3D perspective. But on the other hand a two dimensional drawing of the scenery and lighting can only do so much especially for those directors that are not more skilled in looking at a plot or floor plan plus other drawings in converting it into a scale painting. Heck a few olden days story boards or scenic drawings of the set would be the same as a Vectorworks drawing.

If I could count up amount of hours from a simple change hand re-drawn, than facing a scale model for presentation - hopefully beyond just a B&W version.., wished I had gotten further in drafing my sets on Cadd so I might have time to make a model, and from there the hours on a model, wish I had time to work on the set or do more work on the design in most times not even having time to finish the model completely or decide what color that boat would be I was designing given all the work I had to do.

Scale models are great, would never sell off my 1/2"=1' scale futniture and people (or were they 1/4" scale.) Made lots of models over the years and can't say they ever helped me with the design but that scale model did help inspire the director a lot, inspire the cast and other designers also. Sometimes thats' important in a way just some color printing just won't help with especially if lower down the tech scale. Can't fault someone that might find advantage to a three dimensional scale model of what they will see on stage.

Assuming time, I will have loved to finilize a design with the director by way of a model. This is what you will get. All now fully understood this with sketches and drawings plus blue prints.

This on the other hand mostly out of the concept of conveying your thoughts to that of the director and other designers and inspiring the cast and crew such a model. Such a model on the other hand perhaps is absolutely not necessary for those more trained you are working with in understanding your vision sufficient to agree or modify its concept to better fit their overall vision.

In the end I would say that it mostly depends on what scale of production you are working on with co-wokers what need that model is. Perhaps in such cases where a model is needed, you don't need to spend as much time on say rear side detailed flat or construction drawings and can spend more time on the model. Shop's gonna wing it anyway and or won't understand a complex drawing mostly in such conditions or you are the MC also and already know what has to be built.

Scale and scope of those you work with on production as with having assistants to build the model for you in some say mid way or end result. Depends on the staff and production if a model or time spent on shop drawings is more needed of your time. This much less one don't just crap out a show, how much lead time you have to study, discuss and come up with a design concept also plays a huge factor.

Look at the callender and scope out the talent you are working with and ask if you need a week to produce a model. This especially if they don't have one pre-built of the theater you can mount yours in - often they won't but would still like your model even if the first they ever had, and hey they now also have a model of the theater to base future sets off of. On the other hand such models in such spaces can prevent huge... gee I didn't understad that type things, this especially if you can walk your figures thru the show and if in seeing it the director agrees and understands the blocking you think you designed about.


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## ajb (Dec 10, 2009)

All of our set designer contracts leave models up to the discretion of the director. We generally get pretty good/experienced directors these days, so in at least a year and a half or so none of our designers have been required to provide a model. Some of them still do models of their own volition, though.

For my own part, on the rare occasions I do set designs anymore it frankly depends on a combination of the complexity of the design, the needs of the director, how much I like the company, and the fee. The greater any of those factors are (especially that last one ), the more likely I am to build a model.


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## erosing (Dec 10, 2009)

I made one set model. I've used CAD ever since.


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## BrianWolfe (Dec 11, 2009)

In graduate school I loved making models and the are incredibly helpful in helping directors and actors understand the space before it is built. 
All that being said after 28 years building Broadway scenery and props for countless designers, one of my greatest resentments is in receiving a model piece that is so beautifully built that it took more time to build than the actual prop. Some designers go way overboard and the self indulgence is wasteful. One designer told me to be careful with that model because it is going to put his kid through college. I wish some of the money spent on models could be used to build the real thing for which producers don't seem to have enough money.


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## peacefulone61 (Dec 11, 2009)

I use Sketch-up to put basic models on and have students submit designs on it to me so we can work collaboratively together.


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## ReiRei (Dec 11, 2009)

At my old high school our Technical Director was the Set Designer as well. This meant that for _every_ show we had a set model. I thought it was nice to have one, given that I wasn't the one who was creating the set. It was always good to have a visual.


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## InfraredHot (Jan 14, 2010)

I think when everybody is at a production meeting, a model is the only way to clearly communicate your ideas. But if you're already making everything in a CAD program like Vectorworks, it doesn't have to be that painful. 

Set up your viewports so that everything makes sense on your sheet layer. Plot to PDF, import to Photoshop, slap on a little color, print, cut and glue.

If I really want to go the extra mile, I'll import the photoshop work back into VW and that way the LD can actually experiment with lighting things that have color and texture. While it might sound like a lot, it's not that bad, a few times and you'll be able to do it quickly and then your presentations will be stunning.


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## 1kfresnel (Jan 14, 2010)

My scenic designer will do models depending on the director. I do most of my work in CADD, which I find provides good-enough "3D" to communicate with. I agree I can achieve a lot more in a timeframe in CADD than model building, but it is a valuable tool.

The one school I work at now has a 3D printer to compliment their CNC mill. I need to see if I can create some pipeline for generating models with it. It also seems nifty for prop work. But alas, if only there are only so many hours in a day.


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## ArtistGeek (Jan 14, 2010)

As a Scenic Artist, I have on many occasions used the model in place of paint elevations, if no elevations actually exist. I also find them helpful so I can see how the set designer wants the whole "picture" to look since elevations are only unit by unit.


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## draco17315 (Jan 19, 2010)

I try to build one for as many shows as I can. I even go as far as to not only build to scale, but I try to leave areas of the final "skin" or "set Dressing" of the walls and such either open or removable so that as the kids are building, they can actually check out the model. I take a good bit of time to build each piece, just as I would with the actual lumber. We did a Romeo and Juliet last year, in the form of a Western (I know, sounds crazy, but it was really cool) and we had to be able to tear it down in pieces and load it into a truck and drive to Butler, PA for the ITS State Conference. We performed on their main stage and were told that they had never scene anyone bring an entire 2 story set complete with a usable balcony!!! The kicker was we only had 2 hours to set it up. Using the model helped us build it in a fashion that was safe, acurate, and fast to unload, set-up, and then tear down. The final set-up for the conference only took us 1 hour and 35 minutes!!!! I know it is a dying art, but I think it is definately an priceless tool!!!


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## adambattey (Jan 22, 2010)

I work in educational settings designing sets for productions in Secondary Schools and Universities and do find that scale models help me visualise the spaces that i use on a regular basis... However most of the time i do it in [what i think to be] a fairly unconventional method. When building a model i use a mixture of cardboard, cassette boxes, lego, matchboxes...anything that i can get my hands on... and lay them out in the correct positions and photograph them to help me get across what i am thinking to the production team. I find this useful as i'm not really verbally articulate about my artistic ideas, I know what i want something to look like but i can't explain it very well so i photoshop the photo's to match my thoughts. Also, when drawing plans i use PowerPoint A LOT. It is so easy to get things drawn to scale and then move them around and place the different set pieces where they are needed.


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