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A person who has just started may think of a creative lighting design as a way out, because it is essentially an unrestricted job in addition to the necessary technical knowledge. Let us think about how the novice designer can do the stage lighting design work?

 

Lighting design should be rules

Unlike the factors of physics, academic knowledge, budget, and time, novice designers face the creative elements of lighting design as if they were staring at a vast gap and looking for clues to better design, rather than Simple "assembly". In order to create on this blank, it is helpful to master some of the key parameters that provide an anchor for the creative element in the blank. In short, there is a rule.

(1) What are the rules for lighting design?

First of all need to accept the point may be, although the lighting design itself is not the rules, but the specific lighting design will involve some rules. What we are discussing here is the creation rules, not the number of dimmers, or the height of the rear trusses. Lighting designer, to know the lighting design, know why.

(2) the reasons for the creation? --motivation

"What is my motive?" This has become a tragic character. Having said that, the motive is the reason we make the creation, the same is true for the lighting designer. In theaters, clubs, performances or concerts, each light element must have reason to exist. Changes in the lighting elements or do not change also have reason.

Theater lighting design (or photography light)

- Create a specific scene by presenting space and location

Sometimes, it is easy to grasp the rules of light design creation. For example, in a naturalistic theater lighting design (or photographic lighting), a great motivation is to create a specific scene by presenting space and location.

For example, this location is in France, a noon in August. The scene is in a Victorian workhouse, midnight ... the rules here are easy to understand, not only for the lighting designer, for the performers and the audience is the same: noon the sun is not purple nor From the ground, the midnight of the workhouse does not look like a fluorescent light in the hospital. This type of reproduction of "real" light reproduction is probably the easiest target for lighting designers, because the world's light language is easy to analyze and is known to other people. This is born to the life of the earth. Naturalism is often the starting point of the novice theater lighting designer, and they are often able to feel handy in these early design work.

Negative lighting design rules

The creative rules for lighting design can often be seen from the negative example.

In the enterprise, to the CEO to play the background light can not be the theme of the company's competitors, nor on the screen presentation of the color conflict. When the speaker is trying to talk about last year's loss, even the most dull lighting designer will not destroy this in order to later announced the honor of the company to mobilize the sensational atmosphere. The interactive roundtable will not want a dark auditorium and only a narrow spot on the stage.

The same music also has its own rules, although it is biased in the subconscious. In terms of lighting design, double-click hi-hat and knock on the drum or drum edge, the light effect needs to look different. Vocal guitar and bass guitar melody gives the feeling is completely different, quiet unaccompanied song is usually covered with the whole stage of the white dyed light and the audience through the audience do not take the light Melancholy blues is not a bright melody. Traditional jazz and stroboscopic effects can not be coordinated, no matter how much you like these effects. Not only with the performance of everyone who knows this type of rules, the audience also understand. This is the way you can not get the effect.

Positive lighting design rules

In some performances, it may not be easy to grasp the rules of light design, and even negative rules are difficult to determine. A typical example is not in line with the naturalist stage play. At this point, anything is possible. In order to face again and again to create the abyss, perhaps you should develop some rules to take the first step.

In the lighting design of abstract devices, especially those that are very typical and "modern", you can choose to apply the laws of naturalistic lighting design to the environment. This may be a risky option, and ultimately may be "off tune" the lighting effect. When the stage is placed with a bright red cube, the simulated sun may look very unnatural. What should I do? Whether you try to eliminate the cube figure, and then continue to chase that a sunshine, hope that the effect of noon can be presented in your eyes

The traditional form of theater performance means that the design is all, but it is done before you start working. Elusive lighting design rules may be reflected in the theater environment itself, maybe you can get some clues from it. For your response to the material, shape, color, space have been selected, you should at least try to let the lighting design and other things around the design in harmony.

Rules for the design of materials

Whatever you want to illuminate with light, they all have their own characteristics. The object that requires the light may be text, atmosphere or music, or it may be a gap in the body or body of the stage. If you want to develop your own rules, then you need to identify the elements that form it.

It is possible that a section of a song is similar to another section, or that a scene is dramatically similar to a previous scene, even if their physical location is not the same. The relationship between the things on the stage has the characteristics that may be able to provide a design fulcrum that allows you to successfully develop a lighting design rule for this relationship.

If a band has a special way of playing at different points, which angle or arrangement is suitable for this performance? This is not to create a design formula, but to better respond to the material and the audience, so as to enhance the performance of the show, and let everyone involved in a better understanding of what is happening. Otherwise, what you do is just hit the light.

Otherwise, what you do is just hit the light.

If the focus of the meeting was transferred after the coffee break, would we be able to change the light and then turn back at the end of the tea break? What color should be used today at the time of tea break? Is the environment comfortable or confusing in the coffee break time? Are these lights changing fast or soothing? In the end should be changed?

As mentioned earlier, in the lighting design, the use of creative elements of the rules may be ready, and sometimes may be elusive. If "design" is a piece of art with intent, then only after the intention can be determined to make meaningful creation. Even chaos can reflect some sort of rule, if you want to use chaotic design, then it becomes a positive chaos with motivation.

If you are struggling with your own design, ask yourself first: "What is the design rule today?" If you can not find a lot, then develop some so as to help you start the design. After that, you can break these rules at any time.