Week 10: Nature Walk and Wrap Up!

This quarter has been one of my favorite experiences in school by far. I designed a DCP of two one acts of which I had never designed two shows on one plot. So that was fun, and a definite learning experience. I took a beginning directing class and got a whole new perspective on viewing theatre. I was a light board operator for a first time designer, and a light board operator for a graduate designer for the last production of the 2013-2014 year. During that I designed an independent project for two second year graduate actors, which turned out much better than expected. Then there was this class which was a bit of review at times but others it was all new which was amazing to hear first of all is the way that Lonnie explains things during class. He makes it completely easy to follow along and there were never times where I didn't understand something. The other part of this class that made it such a fantastic class were the different perspectives that came from my classmates. It was such a rich environment to be around and it made my quarter. 

Now the last "field trip" was a nature walk in Costa Mesa. Now when I'm outside I do notice the difference in light on people, but something I don't notice is how it looks on the bushes and trees or on the ground. Also the way the shadows changed the color of the ground was interesting to note. Apart from a refreshing walk, there was also so much to learn. 

Week 9: Plotting

I was extremely excited to have this lesson because it was going to me a glimpse at what was going to be in the full scale class on plotting that I am taking in the fall. I'm very interested in the process of plotting, and I feel like I was never taught the correct way to do it. When I would normally sit down and make a plot before coming to UCI I started with what's called here the conceptual magic sheet but it was a much smaller scale drawing. It only consisted of a figure in a plan view, and then some arrows pointing to it in different directions, with some moods that I wanted from that angle along with a color I had in mind. I would then take that small drawing and implement it into each area I had on the stage after breaking the stage up. I would then look at each area and decide what was the best place for the light that most matched the drawing. So I guess in a way it's the same process I think the way I know just takes a lot more time. Also to learn about the different throw distances and beam angles will help a lot in later designs. I'm glad I feel I am ready, and I'm glad Lonnie believes I am ready for this class. We will just have to wait and see how difficult it really is. 

Week 10: Dirty, dirty baby, or, Durango why don't you love me?

Nature Walk:
It was so fun to go on this little hike and notice how the light changes. Even if it was just standing in a couple different directions at the same spot. It really was a great decision to do this walk after the plotting class to get a sense of where the sun (source) is and its angle at the time. The way the sun hits these flowers to the left, I would say are diagonal backs? The sun really outlines these little flowers very beautifully, creating a glowing effect, making them look divine, special, magical, desired. I also learned a lot about the use of gobos in realism, how it's a range of hard and soft edges, not just one consistent outline. I definitely cannot wait until the day we can create a light for the theatre that can work even closer to the sun, filling in the spaces all around. That would be magical. But I suppose we could also just direct more shows outdoors, during the day, noon, and night. (Dramatic Imagination)

Fifth of July:
Ugh!!! MARTHA!!!!! HOW?!?

Dramatic Imagination:
I definitely got a lot of inspiration out of this book to use more of my imagination, who would have thought. I loved that the book stimulated the creative side of my brain. Especially since many books we read for class is all technical. This was a beautifully written collection of essays and I can see why we are told to read it in multiple classes. It reminds us to bring the art back in the theatre, and process of making it.

Week 10: Pretending We're At the Ocean

I never realized how much of a water creature I really am until now- I've been here for a month and all I can think about sometimes is how good it's going to feel to jump into the Pacific when I'm back home. We went to Sand Hollow today ("the beach") at a lake near Saint George. I went with a group of awesome ASMs. 

The sun was so intense and so high that literally the surroundings looked like a cut out. The canyons around us looked like a flat painting and we were in some make believe little oasis in the middle of this big baking picture.  Someone mentioned while we were playing in the water "Just over there, I think I've seen that painting before in a hotel room."

They probably have. 

I think I realize now what Lonnie sees when he is pained with excessive front light. Like you are watching a cartoon and are simultaneously baking in an oven. Just, no.

There seemed to be a kind of thin layer of what you could almost describe as smog all around the horizon flattening out the picture even more- but I have a feeling it's just that you can see so FAR that all of the layers of thin haze and density pile up. I'm not sure how the scientific part of that actually works but everything in the distance seemed a little hazy and like I said, flat. As you can see below, the mountains in the distance aren't clear in the distance. They almost look purple. I'm trying to notice if that effect is consistent, or changes based on the weather conditions. It almost seems like smoke. 

Once the sun got lower, I could immediately starts to see the details in the canyons, the cracks and crevices etc. I'm learning a LOT about angle here. These rocks are like a constant light model with a lot of unique shapes, and we get to watch them change throughout the day. What's amazing is that the angle can actually influence the color, or rather the way we perceive the color. Is that even theatrically possible? 

Brandon Standon, the beloved HONY photography recently posted this quote under a photo of two doctors: 

"We’re eye doctors."
"What’s something about the eye that most people don’t realize?"
"The eye doesn’t see. The brain sees. The eye just transmits. So what we see isn’t only determined by what comes through the eyes. What we see is affected by our memories, our feelings, and by what we’ve seen before."

I find this amazing and so applicable to everything we're considering with light, theatre and story. We are evoking with our work, but if you take this idea into consideration, than with whatever we do there will always be an element of the unknown. Each unique experience within each individual on the team and in the audience will literally see, and perceive the work differently. Incredible. 
This class/quarter/exploration has been incredibly important to me in the way that I observe the world around me. It reminds me daily that we draw the inspiration for our art (and the way we perceive the art we see) based on what we experience and notice around us. By nature of being conscious artists it must make us more observant, conscious awake people. I have enjoyed carrying Robert Edmond Jones with me throughout the year. I appreciate how opinionated he is- it makes me realize how OKAY it is to have an opinion- because if we didn't, what would we be doing here? I think my first favorite thing, though, aside from his revelatory observations in Light and Shadow, is how he openly comments on every element. Jones understands and teaches that every element is important and connected. The collaborative element of theatre is to me, one if it's most prevalent and exciting components- the collaboration yes, between people, but also between different mediums of art, ideally headed in the same direction. 


Happy finals week everyone!!!
(I've seen white sand beaches and black sand beaches, but never red. Have some more photos.)

Week Ten: The End of the Beginning

First of all, I haven't been able to comment on anyone's blogs - Claire, just I tried to comment on how much I loved seeing your adventures through your art, and for some reason it wouldn't register. Sad. But, to the matter at hand:

It's kind of ironic that this was one of the first pictures I took on our field trip this week, considering one of the shows I designed for this quarter. I hadn't really thought about it in that context, that natural light (and shadow) can appear to be wrong or unnatural onstage. It makes sense with some of the frustrations I've had with finding that line, or when something is working for me in the sense that it would look like that in nature, but I'm worried that for some it might just look like it wasn't lit well enough on the stage. That trade off is interesting to me.

I'm going to go ahead and add some other pictures I took too:

(The sunset picture)
 I thought these colors were interesting, especially when contrasted with the sky we could see and the ways that the smog distorted the color.

 This is the picture I sent to Claire. I like it because a) sunset reflections and b) the major difference in the way the sun shines at that angle, and the colors it produces, is interesting. There are a lot of different colors of darkness.
On a separate note, I should probably text you back, Claire.




Wrap up: Although there are some points and descriptions that I disagree with (notably his views of what is aesthetically necessary in an actor and the position of a director), I think that many of the ideas that Jones talks about are important. Honesty in theater is something I've been thinking about a lot in the last year, specifically in regard to acting. Although there are contradictions in the way that Jones seems to see the world I can see, considering his job and the times in which he was working, how he would feel that way. It's important to view these things in historical context, and I think recognizing those contradictions and disagreements is what makes thoughtful art.

This class (/these classes, stemming back from 50C) has taught me a lot, and I know it'll be useful as a actor, director, writer, and hey, maybe even lighting designer? One of the things I'm most glad to have learned in my two years here is that I don't have to be just one thing.

(And, I have to say, very sad that I missed bowling today. It looked incredibly fun.)

Thanks, all, for being awesome and intelligent and as interested in things like sunsets and shadows and reflections as I am. And thanks to Lonnie for trusting me to actually light a show. On a stage. With people.

WEEK TEN!!! Wrap Up & Such

WOW!! This year has flown by, and I would have never guessed that I'd be taking a lighting design class to end my freshman year!

Nature Walk:
The nature walk was beautiful. I love being outdoors, and although I like to rant about walking up steps/ walking long distances, it was the perfect way to end our final week of instruction. My favorite part about the nature walk was being able to watch the sun slowly set. I had never gone on a walk around sunset time to pay close attention to the changes in scenery/color that occur as the sun drops.  It was the perfect opportunity for me to see the warmth of the sun in various lights or shades, and was able to discern the differences between the sun at 60 degrees, and the sun right at its setting point. The nature walk was also the perfect opportunity to take note of fabulous textures, where shadows are just as effective and just as important in design as exposure and light. I loved when we waked through the shades of the trees on the lawn because this is where I truly noticed texture (from leaves etc). However, throughout the walk, it was fascinating to see that texture is in everything, and is truly a part of the "perfect picture" that we so often work to obtain. Lonnie repeatedly touched on how we could never create the nature walk setting in its' entirety onstage and I believe that this has to do with how a nature walk is the purest form of revelation from honesty.. which leads into my next point:

The Dramatic Imagination:
One of the most important concepts that I have learned from this book and hope to carry with me throughout my life is the importance of honesty in art. In honest design, there is a sense of deeper meaning, as if the designer has come in touch with humanity in it's purest form. I believe that this honesty reveals and brings an audience straight to the message/purpose of a piece. I think about honesty in dance from both the choreographic and performing standpoint. As a choreographer, one might tend to think commercially, what will bring in the crowd, be the most popular and will transcend time.  However, the best work (as the book reads) has to be true to what motivates/inspires/speaks to them, and I think that staying true to this will bring the audience to the message in the best format (even if it isn't direct), where there are no distractions or loss of concentration. In performance, one has to leave their ego, worries, fears, everyday stresses (etc) at the door  to evoke feelings and bring forth a message that the audience can reflect upon. I think with lighting, a designer and his/her minions (crew) are both performers and choreographers. I think that in lighting, one has to truly focus on aspects from both perspectives to work for the good of the piece and the overall message. I respect set designers (lights, sound, set, costumes props etc) in a way that I hadn't before taking this class and I feel that designers (as all artists are) are incredibly in touch with their humanity and bring their experiences to the stage in a way that inspires.

Week 9: Plotting

When I first heard about plotting in the 50C class, I was scared because it was made to sound like some upper division calculus something or other that I would not understand. But surprisingly, this lecture made me excited because it incorporates the math that I actually do like! Simple algebra and geometry. The only thing that seems daunting would be learning how to fully utilize Vectorworks. Which to me seems like a huge 10 levels beyond what Excel is... I guess I was surprised by how much I enjoyed learning the technical elements, or right brained elements of the design process. It doesn't seem so daunting now. It was also a really nice review of the different lights and their placement/use (i.e. box boom, high sides) . I seemed to have not retained that information as well as, say color theory.

Over the weekend I was also able to see "A Sweet Surprise", the DCPs lit by our very own Gilly! I thought the white cyc was beautiful and really made the cherry blossom detail on the set stand out. When the show started, my eyes started getting really overwhelmed by the brightness of the cyc and for about 5 minutes I was holding my hand to cover half of the cyc because my eyes were getting weary of it. I loved the red special cue a lot. But I think that moment fell short for me because the actor wasn't particularly more devilish in the moment, which I assume is supposed to be the peak exposure of his true nature. For surprise, I thought the composition was quite beautiful. In terms of setting though, I don't know how much I see them being in a diner because it had a very film noir feel to it. Overall though, I think for Gilly's first lighting design out of class, this was pretty successful.

Week 9: Reverence and Reprieve

 This was at the very top of a hike, where we collapsed for a while. The day had been mostly clear, but when we got up top there was some cloud cover. This is from a couple weeks ago, because this Sunday I spent the day in St. George and regrettably the open sunlight was powerful and bright and overbearing but I couldn't think of much to say about it. 

When Europeans immigrants got here back in the day and, well, founded the Mormon faith, they were so in awe of of Zion and the surrounding area that they believe Jesus himself walked these lands. A lot of the paths and locations in the Park have spiritual names like "Angels Landing." I keep looking for when the lighting feels angelic and reverent. I feel like sometimes it is open, harsh and desert like, and sometimes it feels like Angels really have come down out of this same sky and walked all over this red rock. This was one of those moments. You can tell, because Connor is obviously in some state of bliss. Partially because we had just reached the top of a mountain, but also, look at the light. There is deeper shade below him, underneath the humongous rock he climbed to lay on top of. The light was cool and soft and a gentle reprieve from the rest of the day. It was very quiet and still up there. It instantly had us all in the most peaceful, respectful mood. We all just picked rocks to climb up and chill on. Around 10 of us and we maybe laid around up there for 45 minutes- not talking, just looking at the sky and thinking quietly.

It's incredible the way the surrounding light can impact us. The way we feel, what we want, what we even believe it would seem. Light can make us think of new things because it frames and alters our perception of our surroundings. Things change meaning altogether based on the way we are lit. 

Week 9: Some kind of pun with the word "rep"

Today is my post-strike day, and so I've spent it remembering all the things I still have to do in the next two weeks.

First: plotting. Some of the things I took notes on were ones I had picked up in the last week, from necessity, but I'm also fairly confident that I won't be able to retain it all. Especially without weekly reminders and/or plots due. It seems to me like plotting is an ongoing (and for me, possibly never-ending) learning process. There are things like dealing with area light (making that the largest variable) which seem intuitive, now that I know them, but that never would have occurred to me going into designing this show. I don't really know when my next opportunity to design will be (...) but I hope that kind of stuff will become a more natural way of thinking. And then there's the math (I know it isn't difficult math, but I'm a little out of practice.)

Thanks to the heroic efforts of the cast, crew, and Kyle (and Yasmin, who dropped by to help until she saw it was under control), strike went pretty smoothly last night. We left around 11, and all that remains is for me to return some of the equipment that I borrowed. Shout out to Kyle and Yasmin for being awesome and helping with finding the right Rep Plot file in the crowded board (among other things).

I haven't gotten the pictures yet, but as soon as I do I'll definitely post a couple.

There were a few things I wish I'd done differently, including some CYA (see, I remembered the acronym!) light for blocking changes that were made without my knowledge and late in the process (well, one. The other spot on the stage with less light was completely my doing). It's kind of ironic, considering my history with using every light possible, but I found myself wishing for a couple more specials to fill out those moments. Don't get me wrong, I'm still proud of the show and process. I liked that I was able to design both an outdoorsy, bright day and an intimate restaurant. I liked my color palate.  And I thought it looked pretty cool, in the end (I also liked that I didn't have to re-patch much). I learned a lot - as a designer and also just as a human. And I kind of wish I'd done this earlier, so I could have done it more than once. :)

Week 9: Craft v. Design

I apologize if this shows up twice on the blog site, for some reason my blog wouldn't post:

Wow! So much information in this week's lecture.  Discussing plotting in design kind of blew my mind because I had no idea that there were so many steps involved in designing a show.

Now that I have reflected, I feel overwhelmed by the entire design process but more aware of the steps that I need to take when designing a piece. I feel overwhelmed because I feel like I've never recognized the amount of work (and the hours of processing) that go into developing a conceptual world for the audience members to completely enter. There are so many steps that must come before a designer can even think about plotting, and I had no idea, which is why I feel that  lighting design seemed almost impossible (because I had no idea where to begin). However, because of this lecture, I feel that I am more aware of the sequential order of the designing, and thus, I have a grasp on how one begins to "make art" -Martha Carter. 

So the process:

1. Design Statement: a script treatment, scene by scene narrative breakdown communicated in angles and movement that says a lot about the entirety of the plot (right, Lonnie?).  One of the most important things to note about the design statement is that a lighting designer does not have to be incredibly detailed about their design concept, for this might take away the design from the designer. Details can be changed/altered by a director, and can take away from the entire vision that the designer is hoping to display. 

2. Conceptual Magic Sheets: breakdown into translations of light, and needs to be specific enough to think/visualize in terms of lights. The concept magic sheet is a step in the process that allows a designer to think about the big strokes of his/her design: brushstrokes, angles, colors and textures. 

3. Scene by Scene System Magic Sheets: this is probably the most complicated part of the process for me to understand. Color, gobo, and systems are determined here. We talked about the various angles of light that are present in the theatre, and how a designer has to be aware of the angles and the distance of a source/system (and what he/she is attempting to present) so as to not only capture the performers (visibility light), but to also play with the dynamics of the design. This process actually occurs twice because of details/edits that are often made in design (right, Lonnie?)

The above processes is a part of the entire design process. Designing is vision, concept, idea, inspiration and communication with the other designers/director of the show/piece. This must, must, must be separated from plotting because plotting should not include design in it's own process, but should be a process of listing and details. In this state, a designer works on the math, the beam angles, the obstructions, and the minutia of the design. I love that Lonnie emphasized that we must separate our design from our craft (plotting) because we use completely separate hemispheres of our brain. I love how this pertains to dance. I am really interested in choreographing a piece this summer (through collaboration with a jazz student from Berklee) but am nervous to start the choreographic process because I have trouble separating the craft from the design when creating pieces. Design is conceptual, and craft is detailed, perhaps the specifics. A designer must have the vision/concept in mind in order to even entertain specifics, and now that I have reflected on this, I feel that I am less overwhelmed and more excited to begin this collaboration! Thanks Lonnie for the life lesson!

Week 8: Lights and Birdies and Gels, oh my!

Hello, fellow lighting designers.
This blog is belated, but thanks to two emails from Lonnie it is here. Yay!
I would like to officially deflect from the lateness by talking about my load in for the week 9 one acts - we loaded in this past Sunday, had tech yesterday, and have our first dress tonight.
Load in was helped greatly by Yasmin, who kindly came in to help and guide in all the areas I had a significant lack of experience (thank you, Yasmin, you're awesome!).
We stayed pretty close to schedule, but because we had a ten hour day instead of twelve (surprise!), we got through a light cue-to-cue of one of the shows after programming/break instead of both. We caught up yesterday, and I also made a couple of adjustments to (hopefully) fill in the comparatively dark-ish spot that exists upstage center. With that hopefully resolved, one of the things I need to clarify tonight is the closing moments of the second show into curtain call.
I have learned that programming is mostly (re)learned (or just remembered) while doing, and that it's best not to question why the cyc lights suddenly start working after being stubborn for a few minutes. Picking cyc colors is not as easy as one might think. Stressed Lighting Designer is definitely a real state, and it doesn't so much reflect the process (which has been going pretty smoothly, I think), as much as the acceleration that occurs during tech.
Tonight, as I said, is our first dress, and I'll be getting feedback (from Lonnie). Fingers crossed that I'm not using too many lights. I'm liking some of the ways that my compositions are working (and I tried programming for source, then working in visibility), so... I'm excited. Nervous, but excited.

(I don't have a picture from the last two nights, but I will take one tonight and upload!)

Week 8: Focus and Tech Nickel Mines

This week I had to run a focus session as a designer and observe the designer during a tech rehearsal for Nickel Mines. These were both really easy to accomplish since I am the light board operator for the show. Starting with the focus session, designer Brady Jay King and I ran a simultaneous focus session. Since so much was completed the day before, there were only two electrics that still needed to be focused. He started from one side of an electric, and went instrument by instrument to the end with a E-Hang crew member. I did the same with Darrin Wade, and we were able to finish in a faster time than expected. The biggest challenge was learning Brady's systems and focus areas. Once Kristin Neu, the master electrician, gave me the purpose of each instrument, it was only a matter of finding the spot. Once in the spot, I didn't have any problems because I have run focus sessions before when I have designed previous shows. It didn't take long for me to pick up the focus area faster than when I first started. I did learn that designing for an unconventional space, non-proscenium or similar, it is all in how you section the stage and create your areas so they make sense to you. Very rarely will it be run by someone who is not the designer.

A few days later after the focus session, we had our first full day of technical rehearsals. Brady had not slept in who knows how long, but he was still able to manage getting his show programmed. I did everything I could to make it easier on him at every moment I could including knowing which channels he was thinking of using or not using. The moving lights are always the most fun, and I was surprising him with my knowledge of programming them. Whenever I got the chance, I would glance over at Brady, and I would see him looking at his cue sheet or having a conversation with the director, Andrew Palermo about whether or not the look was what they were both looking for. Overall, I think Brady has a good control over his emotions as far as getting frustrated or being rushed go, I didn't see him once get so beside himself that he had to leave or step away. He barely would even break when it was time for breaks. This can be both good and bad. It's good because it shows his determination and dedication to his work. It's bad because sometimes you just have to step away and clear your head and comeback with clearer thoughts, but I do understand sometimes you are just in the zone, and some people work that way.

Week 8: Canyon Light

The day before I left I promised Lonnie that I would go hiking every day I had off.  Now, it snowed like crazy on the first Sunday and we actually tried to go to Cedar Breaks but the road was really bad- so I'm granting myself that excuse, but other than that I have kept my word. Today we went on an absolutely stunning hike. There was literally no one else around and we hiked several miles along a creek bed and up through some canyons. The canyons started getting so tall and narrow that although it was mid day we were in total shade. Yet there would be places where the sun was shining directing in. Larry, one of the guys on the hike, mentioned  "the light in here must be constantly changing." I think that was a really kind of astute observation. The gap for the sun to shine is so narrow in some places that depending on the time of year and time of day the experience must be completely different. The places that find lights, like this little green tree, must be constantly shifting. Today it was of course just beautiful. The picture above shows a spot we climbed up to. It's really hard to tell scale with these pictures of massive rock- but if there were people in this picture they would look really tiny. I love the sun flare and the sheer power of the beam coming in through the top. The light in the shadow of the rock felt so cool and diffused and wonderful, and then whenever we hit sunshine the sunglasses went on and it seemed incredibly bright. 

Week Eight: UCI Fashion Show

This weekend I did makeup for an annual fashion show here at UCI hosted by the Fashion Interest Group (an on-campus club/organization). The first question I asked the designer I was paired with was, of course, what kind of lighting there was on the runway and models. I was shocked to hear that it was all dark. When I went into the room I saw that they were just going to use a low setting of the built in ceiling lights and these LED screens that were on the runway itself (shown in the picture).

I could not believe how anyone who knows light would willingly do this, unless they did not believe in the student designers enough to fully light the clothes on these models. Not only was the lighting absolutely terrible, but it completely skewed the colors of the clothing that the designers chose as a part of their design.

For example, picture to the right is one of the models I worked on. Her top is a gorgeous moss green color. The designer found a lot of inspiration in nature so her clothes were all colored earthy. In the picture her skin just looks orange and her entire look is reminiscent of oompa loompas. Not a pretty look if you ask me.

Week Eight: Natural light and photography

I am usually not one to post photos of myself, but I felt that I found little inspiration this week in the photos that I captured. I was randomly looking through photos on my computer and found this gem from a photo-shoot collaboration that I modeled for in January, and was inspired to elaborate on lighting from both the natural sense and the architectural sense.

When shooting this photo, I recall posing for long periods of time to allow for the photographer to find and grasp the natural light and the angle. There are so many ways that the photographer could have captured my position, but I thought it was clever that my friend angled the camera so that she could capture the position of light against the concrete wall. I am drawn immediately to this photo by the line cast on the pavement from the sun. I believe that the shadow and light separation truly compliments both the dominative and supportive strength that the concrete wall represents. The angle of the light plays a trick on the eye, and I believe that it makes the wall look bigger (taller and wider) than it actually is (it's only a handball wall). I also believe that the angle of the light played a huge role in making me look longer, more angled, more powerful, focused, and edgy. The angle in which the photographer captured this photo truly reminded me of lighting design:  a designer not only sets the tone and mood of the setting, but ultimately has the opportunity to build and establish a setting in the way that he/she wants the audience to see it, whether than means angling lights to make merchandise in stores seem more luxurious, cleaner, and supreme (I'm struggling with adjectives today), or angling lights to create a divine, celestial space on stage. What I am getting at is: ANGLE IS IMPORTANT in design because it makes objects appear differently (depending on the angle)!

This photo was taken in the early afternoon, and so the light seems warmer, which juxtaposes the harshness that the cold wall represents. The warmth of the light during this time of day not only adds color to me (as a model), but establishes a tone to the photograph. The warmth of the natural light in this photo adds energy and vibrancy that would not be the same if shot during a time when natural light is cooler.

Week 7: Ballet Folklorico and Nickel Mines Focus

This week I had the opportunity to be the light board operator for Ballet Folklorico de UCI an annual Spring dance recital. It was an interesting experience because I was working with a designer who did not have any prior experience in designing. Knowing this, I offered to help the designer by giving tips and general ideas that could help. The designer did not take my advice and instead proceeded to work alone. During load-in and tech, which was a total of 8 hours before the performance the next day, it felt like the designer was unprepared and unorganized since it took us so long to the easiest tasks. I felt as though the designer had thrown out all of my prior knowledge and acted like I didn't know what I was doing. I will say that there were some solid choices on color and some cues worked very well, but for the most part it seemed rushed and not completely thought out. I do apologize if I sound as though I am bashing the designer but I do understand that it was their first design and that is quite a bit of pressure. For what was given in the time allotted for the design, I think it was a design that worked. The dancers were visible and that's one of the main aspects of a design. 

Today I went to the first focus session of Nickel Mines where the designer Brady King and assistant designer Darrin Wade led two simultaneous focus sessions. It was interesting to see the way in which both lighting designers handle a focus. They both have their specific ways of leading focus; although, Brady and I have the same style of focusing I noticed. He asks for certain parts in the same manner I do. It's quick, audible, and efficient, and they both got more than half of the plot focused. Something I noticed while behind the board during focus was the way Darrin worked. He would ask for a glow on a fixture and either forget or just keep working without asking for the fixture at full. I would do it on my own at times and he would thank me for it, but Brady would ask for a light to be at full. It was an experience to witness both designers complete the same task in different styles, and I can't wait for tomorrow when I get to do my leading of a focus. 

WEEK 7: AQUARIUMS

I have always loved going to aquariums. Probably because I have such an affinity for water, be it the ocean, pool, river, a bath, I love it all.

This is something obvious, but lighting for aquariums actually is a thing! I noticed it especially at the Academy of Science in San Francisco. This photo to the left is an aquarium representing the coral reef off a Philippines Island. Above the water are these huge, bulbs that act as the sun. I noticed the bulbs were very cool feeling and does an amazing job recreating the quality of our great star. There was another aquarium that was lit dimly and green. The fish there were all darker, gray colors. I believe swampy or Amazon River marine life rather than ocean. The lighting in the reef helps immensely to bring out the colors of all the fish. AND THERE ARE SO MANY COLORS. It's really amazing to see them.

Week 7: Dusk in the Desert

I was lying in bed at about 8:00 one night last week, and I was so tired I was about to fall asleep, but then the most amazing stream of golden light came in through my window and spilled onto my bed. The cloud cover had broken just before sunset, and there was light everywhere.

Without a moments hesitation I grabbed my camera and headed out into the world. I have been waiting a while to start really shooting a lot. When I am anywhere new I like to get the know the place a little before I start snapping or the shots end up looking really touristy and un opinionated. Anyhow, this stream of light told me that this was the decisive moment to go capture this little world.

The light was just incredible. It seemed like every 2 minutes it would completely shift in color, angle, quality and intensity. I think the reason sunsets are so intense is that all of the elements are shifting at once. This is actually something for me to ponder with stage lighting. Which elements need to shift in the next cue to convey what I want to convey?

One moment it was beaming and gold and peach and within a few minutes everything was this intense purple and blue. (See below) What I find amazing is that the way things look completely shifts. (Of course, as it does on stage, it't just still kind of baffling.) It's not just the sky that changes- its the way everything else looks. Today we went to Zion, and on the way there it was overcast and we didn't really notice these pale cliffs- but on the back when the sun was lower, suddenly we could see all the detail in the rock and they colors were completely brought out. It was 100% the light that brought out their incredible beauty.

The funny thing is that I drove for as far as I could without getting on the freeway, and by the time it was dark I was literally right back at my apartment. I made a big circle. Small town!

Week 7: A Quote

Seeing as we were talking about color theory so recently, I wanted to share a passage I came across in my reading for a writing class this past week:

"And my mind is filled with the things I've learned, thing I never thought to wonder about the world. When sunlight falls through a chip in the studio skylight, bands of color fall on the floor, climb a little way up the wall. Sam told me how the rough edge of the chip separated the colors so that we saw them, but they were there all the time, in the everyday light around us. Then he picked up the blue glass dish that held the river stone and the dried rose petals, emptied those things into his cupped hand and asked me did I know why the dish was blue. I didn't know what to say, but it didn't matter because Sam was already explaining. He said that when light fell on the dish some of the colors, those invisible colors that made up the light, were absorbed by it. Fell into it and were trapped there, forever. But the blue part of the light, for some reason that I forget, bounces back to our eyes and makes us think that the dish is the color we call blue. I looked around the studio, looked at all the colors there, the dull red settee and the cushion on the cane chair, the sky-blue shirt hanging on the doorknob and the rich leather folders on the shelf. And I thought about the light falling on all of them at the same time, but each thing being different in what it took into itself, in what it would not accept, but flung back at our eyes."
- The Boys in the Trees, by Mary Swan.

The book uses light as a parallel a great deal, but I thought that passage in particular spoke to the magic of some of the things we have been talking about. As I work on colors myself, the passage particularly strikes me as capturing something of the scientific mystery. As I have recorded in my notebook from the first day of D157, in the wise words of Lonnie: "Light is magic, and that's okay."

Week 7: Rehearsal, Rehearsal, GOBO?!

Rehearsal with Sheron Wray's Insight Jazz Ensemble is every Tuesday and Thursday at 5pm. Without fail, every week, the sun streams in through the studio windows around the 6pm mark, and practically blinds us dancers as we attempt to practice various intricate/complicated/precise steps in several different pieces. We have a show coming up in the next two weeks, and have been rehearsing later into the evening to prepare.

I apologize for the bad quality of the (left) photo, I was attempting to snap this picture secretively so as not to disturb the rehearsal process, and so it is difficult to see what I will be discussing.  I love this photo because I am reminded of two really important factors in lighting design: texture and color. First off, I thought it was so ironic that we had just discussed color theory in our lecture on Friday, and just wanted to comment on how there is a rainbow in this picture (resulted from sunlight reflecting off the mirror) . When a prism spreads out the color in white light (which is the inclusion of all colors), a rainbow is formed (Lonnie,  I might want to set up a meeting time with you to make sure I really understand this). If you look further into the picture, you'll notice a cluster of sunlight formed on the marley. Although I couldn't snap the best picture of this texture, in the moment, it was absolutely stunning. This sunlit texture (that reminds me of a shuttered-off gobo) was created by mere coincidence and timing, but is so beautiful and adds so much dimension to the space even in its simplicity and natural state.  Because of this naturally created texture, I began to think about simplicity and nature in design. While I have little experience, I feel that if I were to design a piece, my design would at first be complicated and elaborate, and might be unclear to spectators. I am starting to realize that perhaps simplicity is key to further enhancing an audience member's entrance into the piece's world. Providing clarity through texture, color, and source is only possible when each element compliments another (is this correct Lonnie?), and sometimes, not all three elements are needed. While this is a budding thought (and really difficult for me to write about), I believe that the natural result of sunlight reflecting off of the studio mirror inspired me to think about design in a way that brings life to the stage in it's purest, sharpest, clearest form. I believe that simplicity and naturality (is that a word? for lack of a real term) are pivotal and establishes a sense of place (a setting), and further draws the audience into the space and allow each member to see the message/purpose/concept of a piece for an instant. When snapping the picture, I found myself instantaneously responding to the effect of the light, and felt drawn to the space. I believe that it is important that a designer thinks about human nature when programming (and plotting). As creators/artists, I've noticed that we often attempt to out-do/surprise an audience so as to bring a new and refreshing light to a piece, but I also question these motives. Perhaps the most relatable pieces are the ones that allow for the audience to instinctually connect to and understand the motive of the design (even if it is predictable, and not fresh or innovative).  Perhaps this simplicity will trigger an audience's human instinct most successfully and will allow for further entrance into a piece's dimension…  just a thought (not even sure if this blog post makes sense in textual form)? The second picture below is the same reflected pattern (just with dancers!). I believe that this picture is a great example of what I have been attempting to convey into words. Although Nicole is blinded with light, it is as if she has entered a completely different world than I have (I am standing in the back).

Week 6: Colorception

This is the third time I've studied color theory in class (50C, 157, and now), but somehow I still find myself surprised by the details (or, more likely, magic). Realizing things like the fact that a green shirt is actually all other colors but green, and that stage lighting is often both subtractive and additive is still something I have to wrap my mind around.

I've been thinking a lot about color, as it's getting to the point where I'm being specific in my design choices. Even though it's something I've obviously had ingrained in me for a long time, the specifics of what color does - how much it does - to convey feeling is still sort of astonishing.

Looking at the swatch-books is freeing, in a way, because it emphasizes how much choice I have as a designer. But, as all superhero movies teach us, with choice (and power) comes great responsibility.

Week 6: Colorful World

This weeks lecture was a wonderful review and testament to how well I can retain the information I learned from almost two years ago! I love color theory so much. A definite takeaway is understanding the how atoms, quantum physics, and science in general can explain what color really is. It really blows my mind when I think about how amazingly complex light is, and how we can manipulate it to do what we want. I remember from before we talked about how if an alien came to our planet, they would probably not be able to see the world as we know it. They would probably see foggy gravy of some sort because their eyes are not adjusted to the light in our world. It cannot receive light like we do. I also wonder if that is true for us going to other planets. What if there is so much there but we just cannot see them because our eyes are meant to see what we do in our world only?

I also wonder about favorite colors. How do we develop the colors that we are most fond to? That we love to see and be surrounded by? For example mine is white. I guess that's a cop out though because it is technically every color.

WEEK 6: WE ARE NOT IN CALIFORNIA ANYMORE

The past 48 hours have been perhaps the most insanely unexpected and strange. Yesterday I was biking in a sports bra in the sunshine and the today I was bundled up indoors drinking a "snowgarita" and wearing everything I brought layered on top of each other. 

When people said "snow" I'm thinking, you know a California style dusting of snow. This was not the case. Today was our day off from the theatre, and we planned on going hiking, but it was a downpour of snow for almost the entire day. Yesterday, I took this picture of the cliff that is right at the end of 200 street. (I feel bad that these are phone pictures, I expect more of myself... but I really like that they are compositionally identical.) So this afternoon after it stopped snowing I went back to the same spot and replicated the shot with this class in mind. (They are not filtered or color edited.)

The first photo has two really really different elements going on. The sky (brewin' up a storm in there) is so dynamic and full of different shades. It looks really layered and kind of dangerous. The sun was coming in strong and sharp from the left of the picture, and is casting all of kinds of shadows with the red rock and the shrubbery. The sun must have been coming in between clouds to get such intense shadows. The colors brought out in the rock and the land are just incredible. 

In the second photo, those shadows are basically gone. But these pictures were taken at the same time of day. The cloud cover/ more even diffusion caused this to happen. The whole feeling is so much more subdued. The palette becomes nearly white, the sky becomes more gentle and and the shadows disappear. Perhaps all too often we associate cold and dark with danger- and warm and bright with comfort. In this circumstance the snowy picture feels soft and simple and the former feels very energetic and dangerous almost. There is a lot of energy in the first picture. You can see the crags in the rocks, you can see the movement in the sky. 

Yet, after is snowed and the sun came out, it was SO BRIGHT outside. Burning your retinas bright. I think the snow just bounces all the light around into the world and everything is lit from so many more angles that normal. I thought about you guys all day. I will take a million more pictures and I promise you some quality ones soon. 

Love 

Claire

Week 6: C-O-L-O-R!

My mind is still blown from color theory class yesterday, so this blogpost may seem kind of basic/ beginner ….

I have never thought about color in terms of theory because it has always existed and I've never thought to question it.  I now understand that color comes from the way that light is broken apart when it hits a prism, and that sunlight is this main source of light. On the spectrum of color, ultraviolets, or black light, overexposes our eyes, and infrared "lies between the visible and microwave portions of the electromagnetic spectrum" (I did further research, this is from nasa). I also learned that white light contains all color, and black is the absence of color, which means that grey and brown (although this is more complicated) are not colors. Primary colors include blue, red and green, and make up every color on the spectrum, which includes secondary colors. In lighting design, subtractive color mixing means selectively removing colors in order to display a certain color (if red, then green and blue are subtracted). In additive color mixing, two sources are needed to make a color that is a mix of two primaries.

Now that the basic facts have been covered, I have learned that a basic knowledge of color theory is vital to efficient design-work. The designer must have an understanding of how color is created so that he/she may make intelligent decisions when creating a plot and when ultimately making color choices. During the lecture, I began thinking about the value of lighting. If it weren't for lighting design, a piece would not be complete; lighting adds visibility, establishes the setting and mood, creates special effects, and creates a focus point for the audience, ultimately steering the audience towards the overall purpose of a piece. A designer must have a basic understanding of a color's transmission, saturation, brightness, etc. so that he/she can establish all of these aspects and further contribute to the value of a piece.  While I do understand that color theory is important to recognize and grasp, I believe that part of designing is acknowledging and forgetting these concepts, because color has an emotional impact on a viewer that color theory cannot particularly explain.  A designer has to be in touch with the way that color speaks: What does that color make me/the audience feel? What does that color make me/the audience think? WHY? Color is yet another rhetorical device used by a designer that contributes to the overall message of a piece, and compliments every aspect of design including costumes, set, sound, and movement.

Week 5: Footsteps and Christmas

This quarter I was given the opportunity to design one of the DCPs in the Nixon, and it happened to be the two one acts directed by Ryan Schwalm and Julianna Ojeda. They were The Footsteps of Doves and I'll Be Home For Christmas, written by Robert Anderson. I was excited to design shows I had never heard of, and I'm glad I could be a part of the production.

The first story in the show is The Footsteps of Doves, and it's about a married couple who have gone to a mattress store in hopes of buying a new bed or beds to make their marriage of 25 years last longer. After reading it several times, and consulting with Ryan we developed the concept of having George, the husband, the main focus of the story. There are parts of the play where he is alone on the stage so we made that seem like the audience is in his mind looking at what he is feeling about both sides of the argument, whether to go with the 54" double bed or change to two twin beds. On the side of the 54", I kept a warmer tone with a bit of a nostalgic look to show that was what he was used to, it was his comfort zone, which also implied sexual connotations. I did this by one special of a cool tone for visibility and a warm down with warm pipe ends to surround the bed. On the opposite side where the twin beds were I kept a stark colder look to represent the new, foreign as well as no more sex for George. It was achieved with cool downs and a cool special. As the play goes on, since George changes inside, the tones change to a more comforting look on the side that is foreign to him. I did this by keeping the previous look but added in some of the warm downs to give the two beds a more neutral tone.

For I'll Be Home For Christmas, I had a harder time finding something else to do with the play other than just visibility. It is a story of a family in the suburbs that talk about their youngest son going through puberty and exploring himself physically, to their teenage daughter and the possibility of giving her contraception, and finally about the husband's fidelity and the wife's attitudes towards infidelity. The play starts off with Chuck on the couch contemplating to himself and drinking beer after coming home early from work. I started off with a down cool and a front cool. A slow build followed to show the rest of the living room. When Edith walks in there is a slow build to show the kitchen which was a cooler look than the living room and it represented the two juxtaposing personalities of Chuck and Edith. throughout the majority of the play, after a short while there is an even slower build to fill the room to allow for visibility throughout the play. Within the last ten minutes, a letter is revealed from the oldest son who is away at college but writes to say he is leaving college. During the reading of the letter I took out most of the warmth of the rooms and only had a spot on Chuck on the couch in the living room, and another wider pool on the daughter, Clarice, reading the letter in the kitchen. After the reading of the letter, the spot on Chuck intensifies and the kitchen spot fades out, then a general fade to black leaving Chuck the last thing the audience sees as he sings "I'll Be Home For Christmas" with fade on him last.

The whole process was absolutely a learning experience and with the help of my graduate mentor, I learned a few things that I will remember for my next design. One is know the space you are working in and know how much light is takes to illuminate the stage without over doing it. Two is you have to work with what you have, sometimes there cannot be anything added so you make it work. Three is similar to two, but sometimes nothing needs to be added, I was able to use the same rep plot for my show no adds or subtracts only color changes and focus areas. The fourth is know what you want or experiment with things until you find what you want. Finally the fifth is be willing to stand by your decisions regardless what a mentor or instructor asks to change; however it is necessary to at least try out their suggestions, and if it is not to your liking then you change it back. This was my biggest learning experience because by the time the show opened it was not how I wanted it to be. My mentor asked me to make a pretty significant change on the night before open. I made the changes and was not satisfied with the outcome. The time between the transitions in Footsteps was originally five seconds for most of them, not all. I was asked to make them longer which I feel did not fit the mood of the play especially for one that was only less than thirty minutes long. I liked the jarring effect of having the cues visible on stage, one audience member asked an actor afterwards if the young woman in the play, the character Jill, was only a figment of George's imagination since the lighting gave a more dream feel rather than a transition from real world and inside George's mind. I'm not trying to put down my mentor at all since he did help me immensely, but this was one thing I should have stood up for which I did not.

Week 5: Photo Post, backlighting!

Sadly I was unable to attend this week's DCP! As You Like It closed today, this weekend went really well! I hope the DCP went well also!! I wish I could have seen Kyle's work, as I just love what he did with 39 steps. 

I have been doing a lot of self portraiture lately, because I find something kind of inherently feminist about it. There is no contract involved, and the gaze of the artists' is my own, and no one is objectifying anyone. 

I've been thinking a lot about backlighting, and the way it works on stage. It adds three dimensionality, and it seems a sense of romanticism, or just beauty. The day pictured below was at a gorgeous wedding, and the whole sense of the event was very romantic and rustic. The backlighting in this self portrait is perfect to accomplish that sense of romanticism. It also conceals the facial features a bit, making this seem very mysterious. 

The glowing halos around the subjects and through the branches I think are what make the light most attractive. Also, Another detail I am in love with in the bright open sunlight on the fern in front of Marlena's legs. The plant is much more in focus than we are, and adds one beam of harshness right into the picture. There is another brushstroke being used in just that one tiny spot. The look of the ground is soft and mottled but we know what the sun would look like without those trees because we can see one beam. 

Week 5: As I Liked It

Unfortunately, I couldn't make it to see Kyle's designs in performance this week, but I did get to see the closing performance of As You Like It today. Having been there for part of tech, and having had Darrin explain much of his plot to me when I went to observe, I was able to better appreciate the ways that the light complimented the production.

Simplistic as it may sound, there was a moment shortly into the show where I made the conscious effort to look up and see what was being used - there were a lot of lights up there (my kind of show). I meant to ask Brady how many were hung for the show, but sadly forgot. I particularly noticed the lighting in the transition to the swamp there was a par that was cutting through the mist/smoke - a very powerful brushstroke.

Thinking about it afterwards, there was a lot of light - being a show largely set outdoors, the sunlight went a long way towards keeping the realism of the environment consistent. It's not that the lighting in those instances wasn't notable, but rather that I accepted it as a fact, as opposed to reacting in the same way I did to the firefly lights when I saw them for the first time. I wouldn't have noticed all those lights had I not been looking for them (or just looked up), because at no point did they feel anything but appropriate. It didn't hurt that they contributed to a little swampy warmth, either (although not as much as on the tech day, thankfully).

I also started thinking about gobos in a more subtle sense, as well as the more blatant leafy/window/statement patterns I'd thought about in the past. In the court, especially, there seemed to be subtle bar gobos that were a constant reminder of the restriction of the city. By contrast, the swamp's freedom felt even more unrestrained.

And now I go back to my conceptual magic sheet, because colored boxes are my friend. And then, after that, to make those boxes a reality.

Week FIVE: Coming to Terms

So Physical Graffiti is officially over. It's really ironic because most dance major 101's are ecstatic that they finished their 101 units after the closing of a show, but I'm not. I actually completed three extra units of 101 this quarter, and I wish I could do more! Programming/Operating the board for Physical was a really eye opening experience, and I've learned many things not only about lighting design, but about myself in this process:

I know I talked about this last blog post, but I would just like to reiterate how important it is to accept the messiness that comes with designing a show and creating new works. Nothing in a design is going to be perfect initially. There are many layers to designing, which includes A TON of collaboration, thought, and experimenting, and throwing out ideas is one of the most important techniques that allows for a designer to learn and gain new understanding about a present situation or piece. While I observed this behavior from both Martha and Naomie, I began to think that there is a fine line between getting messy in design and just being outright sloppy. This is not to say that Martha and Naomie's designs were sloppy, but rather that messiness is thought-provoking and experimental, and sloppiness is unfinished, lazy work. The reason I'm discussing this is because it is so apparent in ALL forms of design. I have had experiences with choreographers who do not want to get messy, and so they throw something on their dancers to fill up time, and the piece becomes sloppy, syrupy, unfinished, unresolved, whatever you want to call it, and the message never gets conveyed (but rather confusing). In lighting design, this is also true, and although I touched on this last week, this is where the difference between lighting a piece to light a piece versus capturing a piece through design are apparent. When lighting a show, designers must be cautious, and make sure that they are portraying a piece exactly how they must so that they assist the audience in grasping a deeper understanding of that piece's world and  ultimately the concept that is being presented. I was talking to a lighting grad, and they told me that if they don't understand the concept of a piece that they are designing, they make up their own concept and light the piece that way. I question this strategy(even as an inexperienced amateur). I think it is vital to a piece's survival that ALL designers find a way to grasp the original concept, build upon it in their designs, and let the concept resonate. If not, why light a piece? There has to be original meaning and thought in design: a piece should never become a 'get it out of the way' ordeal (what do you think Lonnie?)  Designers, I have learned (especially in this process), are a team, NOT a single entity, and it is the team's motive to communicate a similar message to the audience, and how they are going to collaborate to fulfill this task is the next step of the design process.

As for me, I think this entire process was eye-opening and extremely helpful for me as a performer.  I feel that I have been able to come to terms (title of this week's blog) with being okay with the unclarity that occurs in a design process. I've learned that concepts/work are/is sacred, that they must be respected even if a designer hates or disagrees, and everyone must work as a team to motivate and inspire the audience (get the audience to feel, that's art right?). This was apparent in many pieces in Physical Graffiti, and I was taken to another world (even as I was operating the board) where I could relate to, feel, and question some of these concepts. In other pieces, not so much, which made it clearer for me to figure out all of the above. As for my lighting interest: I AM FASCINATED! I think nervous because it is so new to me, but fascinated and inspired and excited!

Week 5: Winery

I went to Paso Robles over the weekend. This was at one of the last wineries we went to for a tasting and I was pleasantly surprised by the use and placement of this lamp.

It was in the middle of the day and this winery did not need this extra light because sun was flooding into the room from all four sides. But this light accented the painting so well. It pulls the focus of the painting to where the swirl of colorful smoke is centered. It also adds warmth and vibrancy to the red while keeping the blues cooler.

The shape of the lamp is really beautiful as well. The ellipsoidal shape is very artistic and uncommon in itself, so I really loved the placement of it being in front of this work of art.

Week 4: Brushstroke

4: BRUSHSTROKES
(SORRY LONNIE!!)

Our brushstrokes lecture brought me to a new level of understanding in terms of the the bruskstrokes came to be, and the variations among them. I already knew the basic 3, but hearing about their alterations and the subsequent invention of new, or altered brushstrokes was eye opening.  

The idea that followed me around most this was the concept of F2. In a camera, the F stop indicates the width of the aperture, and hence the depth of field of the photograph. Of course, when we start talking about F2 on a fixture, I immediately start trying to unpack the comparisons. 

 

 The photo on the left was shot at F 16 or 22, the tightest the aperture on the lens I used could be. The photo on the right was shot at F1.8, the largest the aperture can open on the lens I used. On the camera it becomes a matter of how much light you want to let in, and how much detail you want to reveal. The picture of the Swedish country palace was shot in broad daylight, and I wanted to get the gravel in focus as well as this palace that was really far away. With the spoons, I wanted them to feel cozy and intimate, and the lighting was also very low. Convenient. The comparisons between light design and photography are limitless.

In essence, one of the more complex elements of "brushstroke" is focus point. The edges of your subject can be blurred or crisp. The point of focus can be small, or can be large, and based on the shape of the reflector, it changes. It's all starting to make sense. You can obtain different angles of Lekos in order to change this.

I was backstage yesterday during As You Like It and noticed a pattern along the SR wall of the house- and instantly thought, HM- what kind of light is being used that this pattern is being picked up through this mesh? How far away is the light? Where is it? Had I not been going on stage in a matter of seconds I should have liked to figure it out. The light must have had F2 in the right place to be picking up a pattern and throwing it on the wall.

Brushstroke is probably the element that people consider least when thinking about stage light (when they AREN'T lighting designers) but aside from angle it seems to be one of the most important. It's the first elements that influences the quality of light.  

Week 4: Stroke, stroke, stroke

(SORRYYY LONNIEEEE)

I think my favorite part of this week's lecture was how much deeper we dove into talking about brush strokes and the different uses. I was seriously amazed by how subtle the Fresnel was. It is quite the sneaky light. And of course, PAR is still my favorite. A lot of the week's lecture was review, but a wonderful one at that because now I feel like the information is imprinted in my brain.

I went to see Shakespeare Unscripted this past weekend at Pasadena Playhouse. It's a very lovely little theatre and I noticed the lights above me instantly (I don't think I'll ever walk anywhere again without noticing what lights are used). It was to my surprise that they mostly only had Fresnels and Lekos. (Maybe a couple little PARs). During the show it didn't feel complete and I wonder if it was because of the missing brush stroke which may have added another layer of complexity to the plot. It could have also just been that there was no source really and therefore I just felt uneasy.

I also saw As You Like It yesterday and I must say I LOVED the lights. I completely bought everything, largely because of the magical fairy tale element that was a major player in the production. One of my favorite cues was when a couple of the men were up on the set and the walls, and stage floor was lit completely with a gold, rectangle pattern gobo. It was so dang pretty! The rain cue was also completely gorgeous. It was mostly white which I realized made it believable (my first thought was cooler, bluer). In general the use of colors and patterns were well done. I was much more satisfied with this show's lighting than the Shakespeare Unscripted one.

Week 4: Canvas

I'd intended to dig out my notes from 50C (I'm using the same notebook as I was in 157, so I had those review notes with me) and thus appear like I remembered every single moment of every class from my first quarter. Luckily, even though that didn't happen I've been involved enough in classes and projects since then that the knowledge hasn't completely escaped my brain.

I find myself thinking about which brushstrokes are likely to be most suited to which kinds of space. Designing in the Nixon this quarter, I suspect I'm going to be dealing less with par-cans and fresnels, but they may have a place in the worlds I'm lighting (or, I guess, painting). I'd never really thought about it in the context of realistic theater - maybe because the creation of a realistic world successfully doesn't usually draw direct attention to the lighting as separate from the production as a whole, where more abstract lighting is viewed in a different way?

Working on compositions in 157, and having conversations with the other designers, there always seemed to be a general consensus that the more abstract the design the more "fun" it was. I wonder if that's a result of less pressure to make the stage appear strictly realistic, or from a freedom of color, or just because moving further away from realism feels like stepping out of the box. Bigger gestures are allowed when realism is not the first priority, I would think. Maybe it's easier, or maybe it's just a different kind of challenge.

Week 4: Brushstrokes

First of all I have always enjoyed when an instructor compares lighting design to painting it really builds a strong image in my mind. I first heard it called that in my senior year high school when I was first designing my first show, Little Shop of Horrors, when a former student came in to teach the second year tech class students some more complex programming, mostly effects and macros. He described the board as his palette and the stage as the canvas. I imagined the literal painting of light, and his words have stuck with me ever since.

I was happy with Monday's class even though it was a review its always helpful to get a different perspective and explanation of each instrument. It did make me reconsider using Fresnels in my design for the week five DCP. I had a realization that the space was much smaller for the amount of selection I want for the pieces. Fresnels would be too wide and sloppy for their purpose, so I stuck to the Lekos.

Week 4: GO FOR LIGHTS

A ton of lighting information was thrown at me in the past few weeks, that I'm pretty sure I am ready to enter the field and begin my career as a designer... just kidding, but wow, my time as a programmer/board op has been an incredibly fascinating experience.

I think the best way for me to approach writing about all of the information from the brushstrokes class and from tech/programming for Physical Graffiti is to discuss all under the transcending concept of designer intention and the use of rhetoric.

The brushstrokes lecture was a ton of information in a very short amount of time. It was difficult for me to grasp all that Lonnie was attempting to explain in one sitting, especially because I am a visual (and messy) learner, and have to experience things for myself to be able to completely understand conceptual thought. However, working in the Claire Trevor with Martha and Naomi has proved beneficial in instilling these concepts about brushstrokes as they designed the various pieces in Physical Graffiti. In many of the pieces, the audience enters a specific world that conveys an underlying theme. This is where I truly realized that certain brushstrokes can aid in deepening the audience's understanding of the piece's world, or can extract from the audience's understanding. I noticed that harsher brushstrokes, including texture, can be oppressive, raw, and exposing. In a particular piece about feminism, Martha used a textured system to convey the inner turmoil that the choreography was expressing. In contrast, softer brushstrokes can present a more ethereal and angelic look. In another piece about Divinity, Naomi uses Source 4 Pars, and it evident to the audience that a higher power is present and is dictating (communicating and manipulating) the arc of the piece. 

So about programming/tech: buttons are awesome, Martha says that I am a rockstar. It took me a solid day to re-familiarize myself with the board, but seeing the light plot on a screen proves beneficial to designing. While I learned about operating the board, what surprised me about programming was the importance of accepting messiness as a designer. I am a perfectionist at heart, and it is difficult for me to not attempt to get things correct the first time. In the programming process, the designers were at first nervous and overwhelmed as they were attempting to create a "perfect" design for tech rehearsals. They were able to work more efficiently when they allowed themselves to be messy and to make mistakes and to accept that the editing process is a huge part of designing. This is so pivotal to all that I aspire to be (if this makes sense). As a designer in both dance and someday lights, I, as a perfectionist, must accept mistakes because in the end, these mistakes solidify a design. Because I know dance well, I was able to offer suggestions (at both designers' convenience). It was helpful for me to be a part of the designing process, because I had an opportunity to communicate and discover (and better comprehend) the relationship between piece and lights: lights can either compliment or, for lack of a better term, 'contrast'  the piece, and this is where intention plays a huge role in design.

Week 3: I have more fun when I scream.

First of all, I had a BLAST hanging out with everyone (Claire you were there in spirit) back to back for our field trips! Best field trips I've ever been on.

Anyways, so I was shocked at how many different positions of lighting designers there were when it came to theme park and architectural lighting, and all the types of lighting (i.e. facade, character, story/ride). It was fascinating to discover all the ways designers have tried to hide lights to make rides look and feel seamless, effortless. I never noticed before, especially on the Pirates of the Caribbean ride that for each lantern, there were two lights, one to light the inside of the lantern and one to light its surroundings. The latter of the light being hidden.

This trip has also reconfirmed the idea of how important it is to collaborate with fellow designers and that you are only trying to help one another. Space Mountain was a great example of how designers did not work well together, or consider one another at that.

The detailing at Disneyland makes the theme park remarkably successful. But even more than that, the creation of the different lands and how each land has its own feel, look, and theme. In another class, we had to discuss why the Lord of the Rings franchise was so successful to the point of having a cult following after the movies came out. One of the reasons why was definitely the cohesive creation of all the different "worlds" from elves, to hobbits, to dwarves, that made it such a visually, multi-award winning trilogy.

Then on the flip side to architectural lighting that we saw at the mall, I figured that the theme was still there, just a lot more subtle. It is after all, a mall, and the fact that the lights are focused on the items being sold with slight variations to characterize whatever name owns the shop provides the sense of a theme. There were wonderfully lit shops that knew exactly how to attract customers in and those that knew what type of customer they want to go in their stores. From the over bearing bright, crystal chandeliers which drew the money spenders, to the industrial and inexpensive feel of the affordable stores. The designers of the shops definitely needed a sense of "Why, what and for who am I lighting this for?" In general, probably the basis of themed lighting designers.

I would never have imagined how much light could make or break a ride, land, or store. Whether or not people are aware of it, they respond to it which makes lighting such a huge and important factor to any form of production.

Week 3: Disneyland and South Coast Plaza

I have to start off by saying that Sunday was a dream come true for me. Ever since I started to become interested in lighting, I have wanted to learn how a theme park like Disneyland is designed. I felt as though I was a small child discovering Disneyland for the first time with how much information was given throughout the day. The different pieces in which the areas were broken up for design was helpful because it all seemed overwhelming at first, but as we went along, we were able to classify each lighting fixture whether they were show/ride, area development or facade lights, and whether they were accent or character fixtures. It was all very eye-opening, and it made designing for such a large area not as complicated as I originally thought. It confirmed for me that whatever it is that is being lit has to tell a story.

Last night at South Coast Plaza was another eye-opener to the different techniques designers use when designing for large areas; especially malls because there is a cohesiveness to the stores while still maintaining an individuality in each store. For the majority of the mall because of its modern and upper class look and feel, the lighting reflected that tone throughout the mall. Some stores like Armani and Tiffany had better success with their designs than others. Armani with the use of the recessed down lights while still having the small movable lights to focus on certain items of clothing or areas of the store, was effective in singling out elements of the store while still keeping the visibility of the store. Tiffany broke the store into two parts, the overall jewelry side and the diamond/engagement ring side. The feel of the engagement ring side was completely different because of the temperature of the lights on the color of the walls. It gave the whole room this sparkling, cool and very expensive feeling while the rest of the store had a more inviting and warm tone due to the wood and more earthy tones on the walls.