10
Elevations

Which comes first, the elevations or the floor plan? Should the plan be completed before starting the elevations, or vice versa? Although the floor plan and elevation are separate drawings and are sometimes at different scales, the safest way out of a prolonged discussion is to assume that they are developed simultaneously. This is true in most cases for there is a continual cross-reference between the plan and the elevation before either reaches its final form.

The term elevation applies to all views seen in a horizontal direction. A front view of the set is an elevation. Because the elevation of an assembled set has little value as a working drawing, the stage designer uses another technique. Compared to the floor plan, which is an assembled section showing the relation of the many parts, the elevation drawings are, in a sense, disassembled or dismantled views. The set is taken apart, flattened out, and each piece of scenery is shown in front view at a scale of ½" = 1'0". Starting with the right return, the scenery is laid out in order, piece by piece, to the left return. All the pieces are shown in true size and shape.

A solid line marks open joints or edges between walls. In effect each flat wall surface or unit of scenery is an outline. The outline may include a large area involving a major portion of the scene or may merely mark off a small jog in the wall.

For special reasons, it may be necessary to indicate a covered joint, or the line, where two or more wings are hinged together to make up a flat wall surface. The covered joint is indicated with a dotted line and a note to hinge and to dutchman, or cover, the joint. Normally, this isn't necessary as the carpenter decides just how an oversized surface will be subdivided. His decision as to how it is to be made is guided by such technical considerations as the size of the stage, the method of handling the sets, and if the scenery has to be transported, the nature of the transportation. The standard maximum wing width of 5'9" is based on the height of a baggage car door. If the scenery is moving by truck, or not traveling at all, the maximum standard width can vary accordingly.

Designers vary in the amount of detail they show at ½" scale. Although the decorative trim and other details are better shown at a larger scale, it is sometimes wise to at least sketch a portion of the detail on the ½" elevations. It not only shows the trim in assembled view but also gives the carpenter some idea of any special construction that might be needed. Because of the light wood frame and canvas

-57-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Sceno-Graphic Techniques
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Preface vii
  • Part One - The Language of Lines 1
  • 1 - Introduction 3
  • 2 - Tooling Up 5
  • 3 - Viewpoint 11
  • 4 - Thick And Thin of It 16
  • 5 - Inside Story 20
  • 6 - Feet And Inches 24
  • 7 - Another Angle 32
  • 8 - Pictorials 38
  • 9 - Floor Plans 45
  • 10 - Elevations 57
  • Part Two - Graphic Solutions 71
  • 11 - Space Patterns 73
  • 12 - Surfaces 74
  • 13 - True Length And Shape 80
  • 14 - Examples 88
  • 15 - Problems 92
  • Part Three - Perspective in the Theatre 99
  • 16 - Two- Dimensional Perspective 101
  • 17 - The Graphics Of Two- Dimensional Perspective 106
  • 18 - Perspective Floor Grid And Designer's Sketch 112
  • 19 - Three- Dimensional Perspective 123
  • 20 - Three- Dimensional Foreshortening 138
  • 21 - Extreme Viewpoints 142
  • 22 - Problems 147
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 150

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.