Front Elevation-

Ground Plan-

Here is my design for some of my ideas for sketching out the mood board into space:

First design:

-The eyes: are drawn in different styles and colors, showing they each are a different person. The eyeballs would be colored in red, representing evil, and white for curiosity.  They are looking at the person in the middle. The eyes are the people who the person in the middle is scared of (imaginary). –> use of symbolism + shape

-Person: has technophobia; scared people might know everything about them by media and phone. Is hardened and still, showing how they feel manipulated, watched, and impacted by the technology. It has no hands = cannot resist

-Phone stand: the person is standing on a phone stand because of the thinking that when the phone gets exposed with private information, then he (=private information) is also getting known and is show-offed by people. –> use of symbolism

-Spotlight: Thinking that people who got to know me are only paying attention to me. “Everyone is looking at me.”

-is more focused on the influence of technology and media. +scared of the system of technology

Second Design:

-the child: is lonely and small. The size shows how he feels. –> use of scale

-the chain: is the technology system. The wall [*size difference] is full of chains, showing how his anxiety about how the AI will swallow his world and the Earth (because of the fast development of AI) –> use of shape

• the pattern is different on each wall

-the hands: are the hands of the AIs breaking into his house (some have pushed in shoulders). Some have round hands = AI, Some have weird 4, 6 finger hands = Fail to copy human form. It is cracked and turned creeply = the child feels technology will catch him

• could be bigger to show size difference like the room vs. child  [the size of the anxiety towards a thing]

-is also focused on the effect of technology but with more real AIs and techs. +scared of AIs and robots

This is the mood board for the theme ‘Technophobia.’

Technophobia is the fear or anxiety toward advanced technology. When people have technophobia, they get triggered by exposure to different devices such as computers, robots, and artificial intelligence. This fear may keep them from adapting and using other devices, or even ATMs and credit cards.

The images on the mood board show objects related to advanced technology, such as iPads, game consoles, and headphones, which may cause anxiety for people suffering from technophobia. Also, it includes various applications/social media and systems in technology devices.

Analysis of my mood board:

• Color: The mood board is very colorful; black, red, gold, white, purple, green, grey, blue, etc. Devices are primarily black, white, and grey; technology is predominantly blue, purple, and white.

• Symbol: The technology (the objects in the picture either is the technology, relate to technology, or contain technology)

•Image: Technology, computer, electronic devices, artificial intelligence, Robots, applications

• Texture: Mostly, it has a smooth surface and is rounded, but some images show space.

• People: Adults are using or controlling the technology. For example, they are typing, controlling a machine, and checking the temperature.

• Locations: Home, companies, buildings, and schools; around the world because Wifi, temperature checkers, and outlets are used almost everywhere in the world.

• Emotion: No emotion (tech has no feelings). People feel happy, astonished, thankful, and scared of technology and media.

• Movement: human: typing, using electronic devices, watching, clicking, controlling objects. AIs: acting like a human, moving how it was ordered by technology.

This process journal focuses on scenic design, including ground plans and elevation sketches. Before producing the sets for a stage, designers sketch the set out in different views as a plan for them to understand what is in their minds and use it as a guide. For this assignment, we drew a sketch of a room from both the top-down view and the front view, that we decided. I have chosen my bedroom.

Ground Plan

Ground Plan PDF version

: This is the ground plan of my bedroom. The dotted line indicates the ceiling (like a block of a wall) that sticks out, which covers the window and the stuff underneath because this is drawn in the bird’s eye view (from the top). The objects are not three-dimensional because when you look down from the top, you can only see the surface of them.

Front Elevation

Front Elevation PDF version

: This is the front elevation of my bedroom. The back wall is a window with black tiles, and everything else is in front of it. The perspective of the drawing is from the entrance (door), so unlike the ground plan, it does not have a desk. The theme of my room is blue, so except for the bookshelf, which is green, everything else is blue.

Scenic Design- The aspect of a production that gives a sense of ‘space’ or location. Can be realistic or symbolic. Aids in creating ‘atmosphere.’

Mood Board (Concept)- A poster that contains imagery that will help focus the design or conceptual weight of a piece of theatre.

Thumbnail Sketch- A quick sketch or drawing that becomes the starting point for a design.

Stage Configuration- the layout of the stage in the theater you are producing the play.

Ground plan/”Birds Eye View”-  The top-down look of the design. Gives you an idea of WHERE things are on the stage.

Elevation- the FRONT look of a design. Gives you an idea of what you will see when you are looking at the stage.

Flat- A scenic piece that is used to build doorways or walls. Light, flexible, and can be built to order.

Sight Lines- the view of an audience onto the stage. Sight Lines are taken from many different seats to see what they see.

Masking/Masking Flats- flats or curtains designed to ‘hide’ the elements of the stage we don’t want the audience to see.

Inquiry

At the start of the episode, Es commented that her practice over the years has been to follow the path of inquiry and then find collaborators who are willing to share their paths with her. What does this mean to you?

–> To me, this shows how you have to get ready with ideas and models (design constraints) before diving into a design/concept, which shows that she is really passionate about her work. Finding collaborators represents how collaborating with a team of people who are willing to work with you and share inspirations/passion is really important because that could often impact the result.

Ingredients

During the episode, Es stated 5 ingredients of stage design… (and perhaps photography). What are the ingredients?

Ingredient 1: Space

Ingredient 2: Light

Ingredient 3: Darkness

Ingredient 4: Scale

Ingredient 5: Time

Pick ONE ingredient and describe or explain what it means according to Es.

–> Scale:

In different performances, you can change the scale, which is the position of a human/object, huge or tiny, depending on the view. The size and the length may change the audience’s mood. For example, a giant close shadow may scare the audience, but a tiny small shadow may be cute for people, not scary.

Communicating

For the “Watch The Throne” tour featuring Kanye West and Jay-Z, Es questioned what the word Throne meant to the artists. For them, Throne was being on top and then having to fight to stay on top — in other words, the Throne meant the tension between power and vulnerability. Can you describe how she created a design that communicated the ‘tension between power and vulnerability”?

–> She made a design that Kanye and Jay-Z can perform both fifteen feet up in the air on boxes. Being in a box expresses how they are on top of everyone and are emphasized and focused, which shows power, but at the same time, they can fall down at any moment and are left isolated (showing vulnerability).

The techniques we used for this scenic painting are:

-lining: drawing lines with cut wood of the size of a brick

-scumbling: base color, which is the bricks (evenly distributed spaces for each color- red, yellow, and brown- and blended the boundaries)

-highlights and shadows: the white and black lines that made the brick wall more like 3D. The lines depend on the direction of the sunlight, and this time the sunlight shone from the right top corner.

-texturing: the paint is on the bottom of the brick, and it expresses the rust of the brick wall (for a more old, realistic wall); it makes the painting darker

-spattering: spattered three colors evenly on the brick wall; it expresses the paint on a real brick wall

During the project, I noticed that scenic painting is different from art; what we should focus on is quite different- the texture and the view from far away is the most essential part since the audience would look at it from a distance. Therefore, precise details do not matter much and there could be minor errors because it is not clearly visible when people observe them in the audience seat. The final product is quite realistic because of the crooked line and the texturing that expresses the rust of the brick wall. We tried out something new during the project to use a silicon brush to create more texture; it turned out quite well because it spread the part where there was too much paint and made different surfaces (like the broken lines at the end).

This is the stage flat our group made:

Front-

Back-

Theatre Tour Experience!

This is a photo of the spotlight (in the spotlight booth) located up at the back of the theatre. The machines spot specific characters, props, or a spot in a scene to highlight and give them focus. It can adjust the size, gels (color), and the position of the spotlight to provide different moods and settings during a scene. I chose this picture because the picture makes me think of the experience of moving and controlling the spotlight; it was so cool!

This photo is taken from the catwalk, a platform that allows the backstage crew to access lights. It is above the audience theatre, so it also works as a safety tool to prevent the light from falling into the house. These lights in the catwalk are controlled in the lighting studio in the back of the theatre, and they play a significant role in a play, as it creates a various atmosphere with different effects from the gels and gobos. And the light is sometimes dangerous since it heats up fast because of the excessive amount of electricity used for lighting the stage. I decided to upload this picture because I never knew there was a catwalk, even though I would have known if I had looked up once!

This is a photo of the lighting booth, where the crew controls the lights of the stage. It is right behind the house at the back of the theatre. Since it is a booth, no sounds are coming out from the studio, which makes it the crew easy to communicate with the people inside, and it does not bother the house to watch a performance. The gel (color), gobo (pattern), size, and position of the sidelight, front light, backlight, and top light (except the spotlight) are controlled in the booth here. It was an incredible experience because I never had a chance to go in and would not have if I did not have this tour!

(HS)                                                                         (ES)

This photo portrays the space where the cable moves up and down to lift the curtains and drapes by the motorized winches. It is located at the very top of the theatre. Before the machines moved the cables up and down, actual people had to use ropes and pulleys and pull down the ropes to raise the curtain and set pieces up. The photo on the right is from the ES theatre; the cables are controlled by the machines, and it is much easier and safer because it is wrapped in several layers without overlapping. I chose this picture because it reminds me of the theatre myth (that you can’t whistle in a theatre), and it was interesting to know how the system was different in the past.

(HS)                                                                          (ES)

This is a photo of the dimmer rack taken in, the dimmer room. It handles the electricity flow, powers the entire lighting rig, and controls the amount of electricity to ensure they do not burn. They can pull each of the dimmers out to manage the electricity. The photo on the right shows the dimmers in the ES theatre. Since there are more LED lights in the ES theatre, fewer dimmers are used (so there is no dimmer room). Also, it is much easier (just have to click buttons in the middle) to lower the electricity because we do not need to pull out each dimmer to control. The crew had to use candles and lamps to light the stage lights by hand in the past. It was interesting to see the development of the technology by the dimmers and how theatre changed over time.

This is a photo of the thrust in the ES theatre, and it stretches the stage out to give more space for the actors to perform. The audience seating could change; they could sit around the thrust, increasing the interaction between the house and the performers. The thrust is controlled by technology (remote control), and it is a unique characteristic of the ES theatre because the MS/HS does not have a thrust. I chose this picture because I never knew there was a way to extend the stage, and it was my first experience seeing it!

Big takeaways about costume design:

-I noticed that there are different stages of making the costumes, and different people are in charge of each step. For example, there is a designer who draws and plans out the outfit, and there is another designer who dyes the costume into various colors.

-Also, I noticed that costume designers should consider the texture, design, and color of the costumes depending on the age mood of the character. For example, in a show, a character named Jane had to show the growth from childhood to adulthood by costumes. The director had to consider everything about how clothing and color would express the development (simple costume for childhood -> structured dress for adulthood), how to change onstage, and how it could match the timeframe and the music.