Here's a press release with your names on it:
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Saturday, April 13, 2013
Attention Aspiring Playwrights!
Friday, April 12, 2013
REALLY Starting Construction Drawings
Making myself sit down to draw the build drawings is... tough.
All my most creative procrastination happens when my board is waiting for me to dimension things. Of course, the world conspires to help with that too: it's always tax time or guests coming or laundry to wash or grout to scrub with an old toothbrush or the spring garden to work in, out in that pretty sunshine...
Chores never look so fascinating or so vitally-important-duty-must-do-at-once! as when there's a heap o' dull drawing to be done.
Mind you, construction drawings are not completely dull - there's still plenty to figure out - but after the fun of schematic design, drafting has less charm. Though I know from experience that once I do sit down to it, I'll get interested.
But it's getting myself to sit down to it.
I really ought to check on the garden...
All my most creative procrastination happens when my board is waiting for me to dimension things. Of course, the world conspires to help with that too: it's always tax time or guests coming or laundry to wash or grout to scrub with an old toothbrush or the spring garden to work in, out in that pretty sunshine...
Chores never look so fascinating or so vitally-important-duty-must-do-at-once! as when there's a heap o' dull drawing to be done.
Public domain image - SPRING!
Mind you, construction drawings are not completely dull - there's still plenty to figure out - but after the fun of schematic design, drafting has less charm. Though I know from experience that once I do sit down to it, I'll get interested.
But it's getting myself to sit down to it.
I really ought to check on the garden...
Thursday, April 11, 2013
Tuesday, April 9, 2013
Starting Construction Drawings
So far on my next show, Se Llama Christina, I've talked with the director about the general design; talked with the TD (Technical Director) about how to build the slightly tricky "floating" effect we want; designed the thing; and sketched a "pretty" (ish anyway) plan and elevation which I presented at the first production meeting. There we made some revisions to the idea in order to accommodate some coolo lighting effects.
Now it's time to do the construction drawings.
I have a meeting tomorrow with my intern where we'll discuss just what these CDs need to be. Here's my thinking so far:
1) A plan - always gotta have a plan. It's the one drawing that tells the builder where things layout in the theater space. This will probably be at 1/4" per 1'-0" scale because it's a simple unit-set design and that scale fits on easy-to-copy sized paper, 11"x17."
2) But do I need an undercarriage plan? (AKA a foundation drawing.) This set has a "floating" overhang or cantilever. My builder's very clever so could certainly figure out the leg placements herself - but would it be nice of me to help with that?
3) Overall elevation. Many designers don't bother with this, jumping straight to drawings of flats, but I like my builders to understand what the finished project ought to look like. It helps them catch mistakes (theirs and mine). Besides... I've already drawn it.
4) Individual wall elevations. Must-haves since these will show all the details and dimensions needed to build 'em. I'll draw these larger too, at least 1/2"=1'-0," probably 3/4"=1'-0" for greater clarity. Having drawn these, I rarely bother to draw individual flats - any division into flats and the flats' construction is usually so obvious to experienced set builders that drawing 'em is a waste of time. If this, however, were a more complex set or one with set changes (instead of a unit set) or if it were going to break down to tour, then I'd need to do those flat drawings.
5) Details... But what's needed? I know I'll need to figure out the cradle-hanging-in-space detail. That may end up clearest as a 3D drawing, an axonometric, at a largish scale. Anything else?
In case you haven't run across the term axonometric - it looks a bit like a perspective drawing (and is as useful as a perspective in explaining to directors) but it's much faster to draw because it's simply the ordinary plan twisted to 30/60 degrees then with the vertical lines drawn vertical. Total cheat. But so fast! And very good at explaining 3D relationships. Plus you can still dimension it as you would any other plan - as in this example.
6) Renderings. If this were going to be bid out to scenic houses or were going to be painted by official not-me scenic painters, then I'd need to create painted go-by renderings of the floor and walls. Maybe even a painted model. But since I know I'm going to be painting this sucker myself... that colored design sketch I already made is plenty.
7) Model? The design is so simple that I don't need a model to visualize it. I don't think the builder does either. But if I find an extra half a day (after taxes!), I'll make a fast model for the director and actors. Not, again, because they can't imagine the scenery but as a fun enrichment to the process. I hope I'll get time.
How long will these construction drawings take?
That largely depends on how many interruptions there are, but I ought to be able to finish them in a couple days. I'm aiming to have them finished by the end of the week and - if possible - that model for Monday's first read through.
(In case you're curious, here's the rest of the set for the show that had that medieval tomb in it.)
Now it's time to do the construction drawings.
I have a meeting tomorrow with my intern where we'll discuss just what these CDs need to be. Here's my thinking so far:
1) A plan - always gotta have a plan. It's the one drawing that tells the builder where things layout in the theater space. This will probably be at 1/4" per 1'-0" scale because it's a simple unit-set design and that scale fits on easy-to-copy sized paper, 11"x17."
2) But do I need an undercarriage plan? (AKA a foundation drawing.) This set has a "floating" overhang or cantilever. My builder's very clever so could certainly figure out the leg placements herself - but would it be nice of me to help with that?
3) Overall elevation. Many designers don't bother with this, jumping straight to drawings of flats, but I like my builders to understand what the finished project ought to look like. It helps them catch mistakes (theirs and mine). Besides... I've already drawn it.
4) Individual wall elevations. Must-haves since these will show all the details and dimensions needed to build 'em. I'll draw these larger too, at least 1/2"=1'-0," probably 3/4"=1'-0" for greater clarity. Having drawn these, I rarely bother to draw individual flats - any division into flats and the flats' construction is usually so obvious to experienced set builders that drawing 'em is a waste of time. If this, however, were a more complex set or one with set changes (instead of a unit set) or if it were going to break down to tour, then I'd need to do those flat drawings.
5) Details... But what's needed? I know I'll need to figure out the cradle-hanging-in-space detail. That may end up clearest as a 3D drawing, an axonometric, at a largish scale. Anything else?
A medieval tomb drawn as an axonometric projection, for Incorruptible
In case you haven't run across the term axonometric - it looks a bit like a perspective drawing (and is as useful as a perspective in explaining to directors) but it's much faster to draw because it's simply the ordinary plan twisted to 30/60 degrees then with the vertical lines drawn vertical. Total cheat. But so fast! And very good at explaining 3D relationships. Plus you can still dimension it as you would any other plan - as in this example.
6) Renderings. If this were going to be bid out to scenic houses or were going to be painted by official not-me scenic painters, then I'd need to create painted go-by renderings of the floor and walls. Maybe even a painted model. But since I know I'm going to be painting this sucker myself... that colored design sketch I already made is plenty.
7) Model? The design is so simple that I don't need a model to visualize it. I don't think the builder does either. But if I find an extra half a day (after taxes!), I'll make a fast model for the director and actors. Not, again, because they can't imagine the scenery but as a fun enrichment to the process. I hope I'll get time.
How long will these construction drawings take?
That largely depends on how many interruptions there are, but I ought to be able to finish them in a couple days. I'm aiming to have them finished by the end of the week and - if possible - that model for Monday's first read through.
(In case you're curious, here's the rest of the set for the show that had that medieval tomb in it.)
Incorruptible at Circle Theatre - more at http://www.devriesdesign.net/past.html under "incorruptible"
ADDENDUM: A section! Of course! I need a section cut through this set, drawn to explain the levels and set back legs etc. of this raised platform. Thank goodness interns think of these things.
Monday, April 8, 2013
Catch-Up
Okay, okay, I've been slow about posting lately - blame the IRS. The tax deadline is breathing down my neck. Day after day - or so it feels - I sit at my board sorting receipts from the whole past year. (To sketch for yesterday's production meeting, I had to total yet more receipts just to free my drawing board.) I find taxes stressful.
Any one else? Raise your hand.
Anyway. More posts will be forthcoming eventually.
Meanwhile, I can heartily recommend other reading: the historical mysteries of Barbara Hambly set in the New Orleans of 1833 and later, with hero Benjamin January. Start with Free Man of Color. Good reads! I happened across these because I'm researching a slightly younger New Orleans (1790-1820).
I haven't written too much here about my trip there last fall (afraid to dissipate my head of steam), but I can say that it's fun to take a vacation with a research goal. It adds more interest to sightseeing when you're always mentally editing your surroundings: was this here then? Would historic character X or Y have stood here like this? Would character Z have smelled this? Tasted that? Been cold and muddy or sun-baked? Surroundings become populated with ghosts you bring along with you - DIY haunting! Of course, New Orleans is an especially easy place to do this because history just oozes out of the brick, but if you do your homework most places have more history than you'd think. For instance, there's a mundane-looking hardware store just blocks away where I'd never work - never shop - because I remember the ex-employee of the ex-sporting goods store who slit the throats of several ex-coworkers for the sake of the weekend till and boxes of expensive sneakers. Digging through old newspapers would turn up those facts... if you looked. (The place has gotta be haunted. Not that I'm superstitious - ha!)
Lately I've been dabbling in history. The Journal of Benjamin Henry Latrobe, one of America's earliest and most distinguished architects is a fascinating read. He visited New Orleans in about 1818 - died there too. As did his son, also an architect, and yet another Greek Revival architect, Barthelemy Lafon. All of yellow fever. We forget how lucky we are to live in a time and place when epidemics are not the scourges they were.
This period of the War of 1812 - which we hardly remember - turns out to be an important turning point in the U.S. and Europe, laying foundations for later events: the industrial revolution, both the plantation system and slavery's abolition, the Trail of Tears and western expansion... History is more interesting than I'd guessed. But then fifth grade Texas History left out all: pirates; cannibals; slave smuggling; slave-smuggling, knife-wielding not-so-heroic heroes of the Alamo; and beautiful quadroon slaves offered up to Mexican generals as a military strategy.
All the interesting stuff!
HERE's a link to what I did write about New Orleans - a bit about Plaza d'Italia, that post-modern fountain.
Any one else? Raise your hand.
Anyway. More posts will be forthcoming eventually.
Meanwhile, I can heartily recommend other reading: the historical mysteries of Barbara Hambly set in the New Orleans of 1833 and later, with hero Benjamin January. Start with Free Man of Color. Good reads! I happened across these because I'm researching a slightly younger New Orleans (1790-1820).
I haven't written too much here about my trip there last fall (afraid to dissipate my head of steam), but I can say that it's fun to take a vacation with a research goal. It adds more interest to sightseeing when you're always mentally editing your surroundings: was this here then? Would historic character X or Y have stood here like this? Would character Z have smelled this? Tasted that? Been cold and muddy or sun-baked? Surroundings become populated with ghosts you bring along with you - DIY haunting! Of course, New Orleans is an especially easy place to do this because history just oozes out of the brick, but if you do your homework most places have more history than you'd think. For instance, there's a mundane-looking hardware store just blocks away where I'd never work - never shop - because I remember the ex-employee of the ex-sporting goods store who slit the throats of several ex-coworkers for the sake of the weekend till and boxes of expensive sneakers. Digging through old newspapers would turn up those facts... if you looked. (The place has gotta be haunted. Not that I'm superstitious - ha!)
Lately I've been dabbling in history. The Journal of Benjamin Henry Latrobe, one of America's earliest and most distinguished architects is a fascinating read. He visited New Orleans in about 1818 - died there too. As did his son, also an architect, and yet another Greek Revival architect, Barthelemy Lafon. All of yellow fever. We forget how lucky we are to live in a time and place when epidemics are not the scourges they were.
This period of the War of 1812 - which we hardly remember - turns out to be an important turning point in the U.S. and Europe, laying foundations for later events: the industrial revolution, both the plantation system and slavery's abolition, the Trail of Tears and western expansion... History is more interesting than I'd guessed. But then fifth grade Texas History left out all: pirates; cannibals; slave smuggling; slave-smuggling, knife-wielding not-so-heroic heroes of the Alamo; and beautiful quadroon slaves offered up to Mexican generals as a military strategy.
The battle of the Alamo - public domain image
All the interesting stuff!
HERE's a link to what I did write about New Orleans - a bit about Plaza d'Italia, that post-modern fountain.
Friday, April 5, 2013
Just Floatin' Along
In a few minutes I'm off for a breakfast meeting. These are rare among theater folk, who usually sleep till noon! (Or want to anyway.) I'll be talking with the TD or Technical Director (AKA Builder) for my next show at Kitchen Dog, Se Llama Christina.
The set for this play will be a simple apartment living room - a series of simple apartment living rooms - except for one tricky little thing...
The director and I want it to "float."
How?
That's the question.
For help I intend to tap into the awesome power of the Scenic Carpenter Brain! That formidable problem-solving instrument. That often-tapped resource of an experienced set builder's know-how, that whole reservoir of scenic legerdemain and cunning artifice!
Good set builders are wizards. Superheros.
The set for this play will be a simple apartment living room - a series of simple apartment living rooms - except for one tricky little thing...
The director and I want it to "float."
How?
That's the question.
For help I intend to tap into the awesome power of the Scenic Carpenter Brain! That formidable problem-solving instrument. That often-tapped resource of an experienced set builder's know-how, that whole reservoir of scenic legerdemain and cunning artifice!
Good set builders are wizards. Superheros.
The Wizard Zoro - public domain super heros
And on the subject of superness and Kitchen Dog...
I watched Kitchen Dog's production of RX last night. This is, as usual, Not a Review, just a few thoughts from a set designer in the audience:
Funny! A good script, I thought. With humor, satire of the working world and the Big Pharmaceutical Complex, and some wonderfully human moments. Mind you I'm partial being a "Dog" myself, but I thought the acting terrific.
The set? Very effective. I liked the look (sorta Modern or De Stijl clinic... or Montessori school), liked the quicky-set-change pull/slide/flip aspect. (Though, between you and me, I think the playwright could have simplified things a little.) And I loved the use of plastic panels and lighting. I especially liked the lighting in the transition to department store scene (fun set piece for that) and the well-observed clinic light.
Had a great time - recommend this show!
Wednesday, April 3, 2013
Flash Sale on Kitchen Dog's RX
Just got notice that there are half price tickets available for RX tomorrow night (Thursday) or Friday.
Want one? Gimme an email!
Want one? Gimme an email!
Tuesday, April 2, 2013
Distractions
Today is a Toothache Day - I'm nursing a temporary filling, enjoying the rubber lips and that lingering taste of clove oil and tooth dust that come home with you from the dentist.
Isn't it amazing how hard it is to concentrate on art or ideas while keeping company with a toothache!
All the more respect for all those many artists through history who kept on writing or painting or creating though in jail or in pain or hungry or otherwise distracted. Bunyon's Pilgrim's Progress is the book that comes to my mind first...
Isn't it amazing how hard it is to concentrate on art or ideas while keeping company with a toothache!
All the more respect for all those many artists through history who kept on writing or painting or creating though in jail or in pain or hungry or otherwise distracted. Bunyon's Pilgrim's Progress is the book that comes to my mind first...
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