The 7 distinct phases of theatrical design and production:

1. The 7 distinct phases of theatrical design and production: The design process is NOT a simple, linear progression. As you move from step to step, you must review your previous steps to make sure that you are headed in the right direction. Commitment Research Selection Analysis Incubation Implementation Evaluation

2. Commitment • Wholeheartedly commit to doing your best work • Use the word problem as infrequently as possible; instead, use challenge • A challenge is more interesting and more manageable than a problem

3. Analysis This step in the process has two objectives: Gathering information that will help clarify and refine the definition of the challenge you are facing Identifying areas that will require further research

4. Analysis, cont. Prime sources of information include the script, the producer, the director, and your fellow designers Examine every aspect relevant to your design project Stream-of-consciousness questioning Ask the questions that pop into your head as soon as they pop into your head! Read the script. Some designers read it before meeting with other members of the production team; others wait until after. Both approaches are valid, and it comes down to personal choice

5. Analysis, cont. Analyzing the script—“the first three readings” First Reading: The first time you sit down with the script Read it for fun; discover the play’s “flavor” Learn: general storyline, the nature of the characters, and the relationships Italicized design information are not requirements but suggestions Use that information to synthesize an original design concept

6. Analysis, cont. Analyzing the script—“the first three readings” • Second Reading Look for specific moments and incidents within the play that stimulate your imagination • These moments will provide you with strong visual and textural images and feelings Carry a notebook with you to jot down inspirations Don’t judge the ideas at this point; gather information now, weed later

7. Analysis, cont. Analyzing the script—“the first three readings” • Third Reading Look for specific mechanical information rather than broadly based concepts Note information that affects the time and financial budgets • That information could include special props, construction, costumes, or effects that will require extra time and/or money Information from the “third reading” comes not only from reading the script, but also from conferences with other members of the production design team

8. Analysis, cont. SHED YOUR FEAR! In order to analyze effectively, you must shed your fears of criticism, making mistakes, and appearing less than brilliant or foolish Fear inhibits thinking The only dumb question is the one that isn’t asked

9. Remember Past productions should be used as references Resist the temptation to copy another designer’s work. It will stifle your creativity, and it is ILLEGAL. Research Background Research Designers must study the historical background of each production they design Online research can be quick and helpful, but it may not always be detailed. Don’t forget about the library! Research may include visiting museums to get a sense of an historical period Research may include reading about past productions

10. Research, cont. Conceptual Research This type of research involves devising multiple solutions to specific design challenges Avoid the “perceptual block”; try to come up with more than two or three solutions

11. Incubation “Sleeping on it”: Give yourself the needed time and stress reduction to allow the solutions to float from your subconscious to your consciousness Incubation provides you with time to let ideas hatch “Enough time” can be anywhere from a few hours to several days depending on the size and scope of the project Don’t procrastinate! You will do your best work when you allow time for incubation

12. Selection Selection involves sifting through all of the data you have accumulated and deciding on your specific design concept Every designer’s designs for a production should be discussed in a production meeting in order to maintain unity of vision Depending on which aspect of the production you are designing, there are various ways to convey your concept at this stage of the design process

13. Thumbnail sketch a small, quick, rough drawing, usually in pencil Selection, cont. Scenic Designer Draws thumbnail sketches to explain the scenic concepts for the production Constructs functional models to more fully explain the concept. Can create a “virtual model” of the concept using computer technology Provides an indication of intended color scheme Functional model a 3-dimensional sketch of the design built on a ½ or ¼ to 1 ft. scale

14. Selection, cont. Costume Designer Provides hand- or computer-drawn sketches or pictures of the intended costumes Although the costume designer will attach fabric swatches to the final renderings, only an indication of color and fabric need be on these initial sketches

15. Selection, cont. Lighting Designer Submits sketches or computer presentations showing the general characteristics of the lighting concept At the least, the lighting designer presents the intended palette and verbal description of the atmospheric effect of the lighting

16. Selection, cont. Sound Designer Discusses the sound scoring—the types of background and specific sound and musical effects Also discusses the location of the various speakers’ setups

17. Implementation This phase begins when you stop planning and start doing At this time, all designers must provide the necessary drawings, models, plans, and instructions to construct the designs

18. Implementation, cont. A production model is similar to a functional model except that it is fully painted and complete with furniture and props Scenic Designer Makes the final color renderings of each set and constructs (if necessary) production models Drafts the plans that describe, to scale, all the details of how the set should look Monitors the progress of construction of sets and properties

19. Implementation, cont. Lighting Designer Draws the light plot as well as the other paperwork associated with lighting design Supervises the hanging and focusing of the lights and determines the intensity levels and timing of all lighting cues

20. Implementation, cont. Costume Designer Produces colored renderings for each costume, complete with notes and sketches that fully describe the accessories, general style, period, and feeling of the costume Turns over fabric samples and trim to the costume shop Maintains close contact with the shop

21. Implementation, cont. A sound plot is a list describing each sound cue in the production Sound Designer Completes the sound plot Begins gathering and recording the various musical and effects cues Assembles the necessary playback equipment and speaker systems During the tech and dress rehearsals, determines the appropriate loudness levels for each cue

22. Implementation, cont. Minor changes may be made as the director begins to see the production coming together; production meetings during this phase can help ensure that the lines of communication stay open At this time, the technical director: Completes the production calendar Makes any necessary construction drawings Orders the materials for construction, organizes the crews Begins construction

23. Evaluation Evaluation takes place within each step of the design process, and it also occurs when the project is completed The final review should be an examination of the methods and materials used to reach the final design goal Designers should not only objectively evaluate their own designs, but also the process of communication throughout the production period