Friday, October 14, 2011

Mermaid's Horatio and Such

I am fired. So unbelievably fired. My only excuse for not having written since my last post is that I'm just tired and worn out and there are things I want to talk about but cannot in a public forum. One day, promise, but for now, things are better left unsaid.

So, what have I been up to? Well, The Cherry Orchard is over and done with and I'm trying to get CTC's The Little Mermaid ready to open on Monday. OMG, on Monday. And then I have a week to do all the stuff for CTC's The Legend of Sleepy Hollow... oy vey. Things for Mermaid have been going well. I carved a statue for the show. Yes, see the pictures below of Horatio in progress:


Step One, Draw him out on pink foam.
Step two, Cut out his basic form.
Step Three, Start to carve on the Z-axis... and freak out a bit.
Step Five, Continue to carve and question what you're doing.
Step, um, nine? Chisel his face with a hot knife and make him look weird... Are those Mick Jager's lips?

Look! He's done! And still slightly pink. But you can see how he turned out. :) These two lovely friends of his are Brendan North as the Prince and Sarah Thermond as The Little Mermaid.

Here is a picture of part of the set:


Overall, I'm pretty happy with the show. The crunch of time and energy has been trying, but that's what theatre is all about. And, damn, designing for a touring show is hard. :( But I suppose I will get the hang of it. I hope so, because otherwise the rest of the season at CTC is going to feel like a constant up hill battle. And, for reasons best unsaid, I'm very done with uphill battles in theatre.

I just want to work in this business I love, creating amazing art in a collaborative way, and with people that are generous and awesome. Sure, things go wrong; we're only human. But let's not stab each other in the back. Okay? Thanks. More blog updates soon. Maybe even something of substance... I'm working on it. ;)

Sunday, September 25, 2011

Work Where You Live & Live Where You Work

Okay, The Cherry Orchard opened on Friday and I have finally been able to stop driving to and from Martinez. The one thing I realized during this process is that commuting to and from theatre is not fun, especially when you are the only crew and you are holding down another job.

This was my commute

View Larger Map

It takes 1 hour 14 minutes according to Google, but really, it's an hour. But when you add in traffic... one day it took me almost 2.5 hours to get there. And on the way home I had to stop at a sketchy gas station, at midnight, to get gas because I wasn't sure I would make it home otherwise. Not cool.

So, while it might seem great to get a professional gig and some extra money, I think when I factor in what I spent on gas and the amount of years shaved off my life from the stress, was it worth it? Probably not. And despite realizing this during the project, I had made a commitment to the show and what's done is done. So I put in my all, or as much of my all as I could spare as I got back to work at CTC and chalked it up to a lesson learned.

Next up: CTC's The Little Mermaid. I have had some trouble wrapping my head around making a touring set, but I'm going to make it happen. And it will be great! Pictures to come after final approval tomorrow.


For those of you who may not have seen them on Facebook: Some photos from my phone of The Cherry Orchard & process for the cyc:

Raw Materials for the cyc.

One garland done.

Many garlands hanging in my window.

First part of the install... I did not have enough, even with the store-bought ones added in.

Not quite done, but you can see where it was going.

Pretty much done, though there was still work to finesse some stuff.

Monday, September 12, 2011

Making Prop Money

Okay, one of my biggest pet peeves as a designer and as an audience member is prop money. I don't know if it is because it's just left to the last minute or proppers assume that the 30 foot rule will absolve them of all sins, but too many times I see prop money the wrong size, the wrong color, the wrong everything. And, yes, I'm likely a bit pickier than your average audience member, but you could have a numismatist sitting in the audience. (Yes, go look it up.)

The first thing to consider when setting out to make realistic prop bills is color and size. I find that the worst prop money I've seen on stage is often the wrong color, even American Bills have a specific kind of green. And European bills, while not always a known entity to your audience, have a certain look (often more colorful) and are bigger than we're used to (well, unless it is the Euro, then it's pretty much the same size).

The reason I am thinking about this is that I just finished a bundle of rubles for The Cherry Orchard and had to go in search of some images that would work for turn of the century Russian money. But Google-searching for an image of a Russian Ruble is not as easy as so many of my generation seem to think it is. As is with any image you want to print rather than see on your screen, you must must must pay attention to the size and resolution of the image. How many times have you taken a picture off the internet that seems big enough, only to print it out and it be the size of a postage stamp. Or all pixelated and ugly. That, my friends, is because of the resolution of the image. So, here are a few things to know and do when making prop money:

1. Get a hold of the real thing. Yes, if you can scan a real bill, you are in luck. Scan it with a high resolution (pixels per inch). At least 150 dpi, but if you can, go up to 300 dpi. This is the magic number that graphic designers for print like because it gives them enough pixels per inch to resize, but isn't so big that the computer freaks out about the file size.

2. If you don't have the actual bill, by all means, do an image search. But PAY ATTENTION TO THE SIZE of the image. Do this: Google image search "Russian Ruble." You will probably get this picture as your first result:



When you moused over it, more info should have popped up that told you what size the source image is. In this case "700 x 303" . That means that the image is 700 pixels by 303 pixels. Sounds pretty good (and if you follow the link and then right click "show image in new screen" you can see that it is a pretty good-sized image.) But, you are not out of the woods yet. If you copy the image into a photo-editing program, like Photoshop, you will have even more info to determine whether this image is worthwhile.

3. Once you save the image (right click>save as) open it in Photoshop. Go to Edit>Image size. Look at the info that is there. There will be a place where it tells you the resolution, at the bottom of the dialogue box.



The number in that box tells you how clear and crisp your picture will be when you print it. (Okay, little known fact to non-computer geeks and graphics people of the web: your computer monitor of non high-def fame will display beautiful, crisp images with a DPI as small as 72. And the lower your DPI, the smaller your file. So most web people [and programs that compress images for people who don't know what they are doing] save their images to be published on the web at 72 DPI. Do not let the pixels on the screen fool you.) Okay, so you now know that this image has a 72 DPI... is all lost? Not necessarily.

4. The next thing you need to worry about is the printable dimensions of your money. Look at the size of the image, which is just above your DPI in inches and a little further above in pixels.



Now, you need to know or decide what size your bills need to actually be. Because if your bills need to be 9" x 4", then you're going to have super pixelated bills on stage. But if you're making these for a performance where the nearest audience member is thirty feet away, that might be okay. However, if you want an image for your bill that isn't going to look like a weird Magic Eye puzzle, then you need to find a better image.

5. So, google images has come a long way in the last few years and now it allows you to sort through images by size as well as relevance. So if you go back to your original google image search of "Russian Ruble" you'll see on the left side options to choose size. Obviously, click on "Large" rather than "Any size" because Bigger is Better! In this case, I'm going to talk about the fourth image result:



Because it has a very important element that you may not have thought about when planning to make your prop money: The back of the bill. Yes, money is two sided. And yes, you should strive to have the matching artwork for the same bill on both sides of your prop bill. Obviously, you are not always so lucky, so you can fake it with two different bill images and some time spent in Photoshop, but let's assume you get as lucky as I did and get a large enough digital image of both sides of your bill. Hooray!

6. So, download it and open it in your image software and look at your image size. What do you see?




Yep, that's right, the resolution is 72 DPI. But what else do you see? The dimension of the image is 12"x12". I don't know about you, but a 12" long bill seems a little beyond the large scale of European bills. For whatever reason, when this image was created, it was compressed to 72 DPI, but the image dimensions blew up. This means if you printed it out on your printer, it would be bigger than sheet of paper but be pixelated. And this will work in your favor.

6. You can change the resolution of an image like this (where the actual dimensions are much larger than the dimensions you need but the resolution is too low). Do that. Type in 300 into the resolution box instead of 72. You'll notice that the pixel size changed (because you've told the computer that per square inch, you want to have 300 pixels, not 72... this is not hard math). But before you close the box, you also have to change your width dimension. In this case, I changed it to 7" because I feel like that will give me the right size bill (give or take some centimeters). Note: you only have to change either the height or the width dimension because Photoshop assumes that you want to proportionately scale your image, and so it links them and changes them as you like.



7. Okay, now that you've done this, you're ready to crop your images so that you will have two different documents, one with the front of your bill and one with the back. If you don't know how to do this, get Photoshop for Dummies. And now, all you have to do is create two identical-sized images in, one of the back and one of the front, that you can print back to back on a piece of paper. When you cut apart these two sides of the bill you can actually print two bills per page, so I ended up stacking my fronts and backs:



(PS. I changed the DPI for this image to 72 because otherwise it would have taken an hour to upload. So, don't try to cheat and use it.)

8. With two images, one front and one back, you just have to do one simple thing: print one side of the image in photo shop (don't worry about resizing the image or canvas to match your paper size because Photoshop is cool and will automatically center your image, and you want it to do that because when you print on the other side of the paper, your back image will be automatically centered). Once you print the first side, flip over, rotate, whatever it is you need to do with your printer to print on the backside so you get a double sided piece of prop money which, once you cut away the paper border, looks awesome.

A few final thoughts:

REPLACE YOUR INK CARTRIDGES! I worked on a production once where the American dollar bill used to create the bills on stage was printed with a printer that was running out of color ink. The bills looked teal. Check your colors, please. Especially when you're trying to duplicate American Money.

NULL AND VOID THE BILL! You can see on the example image I used it has a big ol' stamp that says "Speciman" and the web address of the company I pulled it from. The company that uploaded it did that so no one could try to counterfeit with it. If you come across an image (or you scan your own bill) that does not have a watermark on it, put something on it that, when the Feds look closely at your fake bills, won't lead anyone to think you were trying to get rich quick with your Canon printer and Google image search. I knew one prop designer who changed the blurb about the American bill being legal tender into a statement that said the "bill" was intended for theatrical use only. DO THIS! It saves your butt! Especially with American currency.




AGE YOUR MONEY! Have a big party while you're watching TV where you crumple up ever last bill that you've cut down and then uncrumpled them (unless you need crumpled bills) because, trust me, unless you have to have crisp bank bills (and I hope you don't because those are really hard to replicate) your crumpled and then uncrumpled bill will look so much more realistic (and it breaks down the paper you printed it on because, well, printer paper and the paper they print money on is different. Go figure.).




USE PARCHMENT PAPER! Go to the office supply store, go to the resume and nice paper section, buy a box of parchment paper. Trust me. The base paper of any bill around the world is not 92bright copy paper. It is usually fiber based and off-white. Save yourself the tea-staining headache and start with an off-white paper that already has some texture to it. Trust me.

Any questions? Let me know and I'd be happy to help.

Thursday, September 8, 2011

The Blossom Cyc or Reality vs. The Dream

Okay, so I haven't updated for a while not because I've been putting it off but because I've been hunched over a sewing machine making paper flower garlands for The Cherry Orchard. This past weekend I had made enough (9) in order to determine what I thought I would need in order to complete a 20' curtain. By my estimation: 125 garlands total. And I have been completing about 3-7 a day. Yeah, you do the math and say what I said: Ummmm, what was I thinking?

So, the reality of the situation is while I'd like to make an entire 20' curtain made up of my garlands:



I have to supplement what I've done with something prefabricated. I think I've found some options, though the colors are wrong wrong wrong. And with all this paper I fear that the set is going to burst into flames... But whatever.

Then today I came across a blog post about a flower curtain which is a far more remarkable version of what I envisioned, but still awesome:


No Betweens, 1996, sculpture | silk, cotton, polyester, and thread, by Jim Hodges


Source: http://www.sfmoma.org/explore/collection/artwork/20917##ixzz1XPwk0R23
San Francisco Museum of Modern Art


And it is at the San Francisco Museum of Modern Art!

Anyway, what this all boils down to is that, while I wish I had more time and more labor and more money in order to create this curtain of flowers like this image (and maybe it is a good thing I didn't see this image until after I'd started in this vein), it's the sad truth about theatre that the artistic vision is often watered down due to the lack of those things. Nevertheless, I have faith that my design for The Cherry Orchard will rock socks, if and when it gets built. :)

Friday, August 26, 2011

Procrastination

Okay, if Josy is reading this, I promise I'm doing work.

No, seriously, I've been putting off Cherry Orchard stuff like I just don't have a deadline. For the record, I do have a deadline and it is Monday afternoon when I drive to Antioch for the first read through.

This is pretty par for the course for me. At UNCG I put off doing work until the last minute too. It was this weird desire to feel rushed and stressed in order to get stuff done that I think grew out of my busy, hectic life in high school and, especially, Grinnell.

And now that I have nothing else to do but this design, I am sitting on my hands and dragging my feet. (And watching lots of stupid TV on-Demand.) One of these days I have a feeling that this is going to bite me in the butt. Fortunately there isn't much more that has to be done with the design. The prelim drawing was approved, I just need to get a floor plan together and working drawings from which to build. And since there are only 4 set pieces, which are all identical, I think that will be pretty easy.

In the meantime, does anyone have any thoughts on putting a chandelier on a traveler?

Thursday, August 18, 2011

A Blossom Cyc?

Hello! Two posts in one week! It's because I have been busy busy busy trying to make headway on this design for The Cherry Orchard. Keep in mind, it's hard to be that bus or productive (or excited) when I only have one floor plan out of two for the spaces the show is performing in. And no sections. And no idea what space #1 looks like (that's right, I have no idea what the first space the show is performing in looks like... wah-wah).

BUT! I have done some sketches. Based off of this research image of a Victorian sun room:



I like it because it's open and airy and has an linear quality that evokes the idea that the house is made of those taut strings that snap at the end of Act II.
And so I rough-sketched this:



And, though you may not be able to see it, have been toying with the idea of a cyc (that's short for cyclorama) that is composed of "cherry blossoms."

I've since sent my sketches and thoughts off to the director, and now I wait. Fortunately I have a walk through scheduled at theatre #1 on Tuesday, so that will also answer a lot of questions, and potentially dash some of my hopes and dreams. So woo?

In other news, I'm also updating my website with my big paint show for CTC. And just realized I never got photos up for Orpheus Descending. Must go remedy that now. Or after lunch. :)

Monday, August 15, 2011

The Horse and the Cherry Tree

In many things, once you fall off the horse, it is hard to get back on. You beat yourself up for faltering, you feel embarrassed that you didn't get back up sooner, etc. That's how I feel about this blog. What started as a creative outlet for writing during the spring semester of my second year at grad school has turned into something I dread sitting down to write. In part because I'm embarrassed that I have been away so long, and because all I can think about are things to complain about.

Well, it's time to "Suck it up, Buttercup" as my friends at CTC are want to say. Okay.

So, what have I been up to lately? A whole lot of not much. CTC is on summer hiatus Aug 3 to Sept 16th. So for 6 weeks I am left to my own devices and unemployment. I did manage to snag a job at Hapgood Theatre in Martinez/Antioch, about 1.5 hours north of here. It's a bit of a stretch, but it's for The Cherry Orchard and after my design for The Seagull a couple of years ago, I was more than happy to make arrangements to make it happen. It will be a bit of juggling because the show opens a week after I'm back at CTC. But I'm a masterful organizer, so I'm going to make it happen and not let either theatre company down.

This also means that I'm racking my brains for ideas for the show. The time period is staying the same, but the directer wants to strip it down. (She really liked my design for The Seagull.) I have the added bonus of having to move the piece from the theatre in Martinez to a theatre in Antioch... so it can't be anything too big or complicated. I've got some great ideas swirling in my brain, but my big thing right now is trying to get up there to see the spaces in question. [Update: Not happening until next week... we're going to start drawing tomorrow w/ no idea whatsoever about the spaces. Check!]

So, my ideas about The Cherry Orchard include focusing on windows, and the way that they denote looking in and out. And the fact that they can indicate an interior/house/exterior without being very heavy visually or in real life (remember, changeover). For me, The Cherry Orchard's surrealist feeling is epitomized in the sound of string breaking that happens in Act II. I want to know if I can include that in the design. Perhaps there are intentional strings hanging the windows in place and indicating the wall expanse that they are floating in. Perhaps there is a sense of the trees, or the linear qualities of the trees, indicated by taut rope. I'm not sure. The one thing I am sure of, which is both good and kind of saddening, is that Chekov didn't set any of the scenes in the cherry orchard. So, while it feels like the orchard should somehow be visible, the fact that Chekov doesn't show it to the audience is significant. This is because the orchard only exists as each character describes it. And it means something different to each one. It represents hope and longing and the past and the future (once it is torn down) differently to each character. So if I tried to visualize the orchard, I would be taking away the ephemera that it represents. Thus, no cherry orchard in The Cherry Orchard. At least not directly.

Like I said, sketching will begin in earnest tomorrow. I've got lots of research images. But I will leave you with one that is both research and inspirational: