Graphics Programs Reference
In-Depth Information
• Groundplans,centerlinesections,elevationdrawingsandsections
(AutoCAD or hand-drafted ones)
• Paintelevations(computer-generatedand/orhand-paintedones)
• Colorsamples
Technical Aspects
SketchUp has a primary place in my design toolbox. I find it not only an
excellent means of visualizing and creating a design but also a powerful tool
for communicating stage design concepts, as well as the final design to the
director and other members of the production team (lighting designer, costume
designer, technical director, property designer, scenic artist, and others).
The scenery for A Midsummer Night's Dream prominently featured two walls
that leaned back from their upright positions via the use of pneumatic piston
supports. SketchUp allowed me to effectively and easily communicate this
function to the technical director, who was charged with the task of devising
the system for moving the walls down and then back up, representing both
the chaotic world of the forest and the rigid Athenian court.
I use SketchUp to deliver the 3D computer model to the director and the
creative team. On the 3D computer model, I used Render Plus RpTools for easy
layout of 3D components. RpTools allows me to Select, Place, Move, Copy,
Rotate, Mirror, Stretch, and Aim components.
And because I create to-scale with accurate measurements, I can also export
the SketchUp model to AutoCAD to use as the basis of the ground plan,
centerline section, and elevation drawings. This is a major labor-saving benefit
of using SketchUp.
For the paint elevations, I export from SketchUp to Photoshop, where I
manipulate color and shading and then obtain a printout on paper. I then
paint over the paper printouts to get the final desired colors, shading, and
textures. These paint elevations are used by the scenic artist as a guideline
in painting the finished scenery pieces that were built by the technical
director's team.
New Approaches
In theatre applications as a scenic design tool, SketchUp is not only a time-
saver for the scenic designer but also a powerful creative and communica-
tive tool. Director Michael Butler is typical of the collaborators with whom
I have worked and introduced the power and flexibility of SketchUp. Another
collaborator, Director Jon Tracy says, “SketchUp revolutionized the preproduc-
tion process for me.” Director Robin Stanton says, “It takes the collaboration
to another level. The aesthetics and mechanics can be easily and effectively
communicated to industry veterans as well as early career artists effortlessly.”
Director Joy Carlin adds, “It taught me how to look at the performing space
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