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Pada saat dimulainya proyek dan seluruh parameter yang harus diketahui dan lingkungan dan

konteks menetapkan bahwa menawarkan alat yang paling cocok untuk membuat dan menilai

keputusan. Konteks buku ini, adalah untuk membangun sampai sejauh mana alat-alat digital dapat

membantu proses. Meskipun mungkin bahwa penyebaran mereka ditinjau dan diubah sebagaiproyek berlangsung tidak bijaksana hanya untuk mulai dengan duduk di depan program favorit

Anda dan asumsi kreativitas akan mengalir. Dua sikap yang tampaknya saling bertentangan perlu

ditangani sepanjang proses desain dan disimpan tegas dalam pikiran oleh perancang.

Dalam gambaran yang sangat baik tentang pemodelan digital Petrus Weishar (1998) mengamati

bahwa dalam menciptakan dunia maya untuk berbagai keperluan (desain produk, pembuatan

game, dll) seorang desainer digital harus berpikir seperti seorang desainer ditetapkan. Kami telah

bersusah payah untuk menunjukkan bahwa pencipta alam imajiner tidak membuat mereka untuk

tinggal di nyata melainkan untuk menawarkan penampilan atau ilusi realitas. Anda harus

mempertimbangkan apa yang bisa dan tidak terlihat, apa yang perlu 3D dan apa yang bisadipalsukan. Sebuah cut-out dari sebuah pilar dengan tekstur diterapkan, misalnya, daripada benda

bulat sepenuhnya masih akan terlihat seperti pilar 3D di gambar. Hal ini berguna untuk desainer

ditetapkan sebagai pendekatan yang dibutuhkan oleh pemodelan dunia maya untuk komputer

setara dengan pendekatan yang diperlukan dalam menciptakan dunia untuk panggung, yang tentu

saja sama-sama tidak nyata. Namun, ini juga mungkin bagi seorang desainer menggunakan

komputer, karena itu untuk pembuat model kartu, untuk terlibat dalam penciptaan mereka sejauh

mereka mungkin lupa bahwa tujuannya adalah untuk menggambarkan sesuatu yang adalah untuk

melayani tujuan yang berbeda. Model komputer bukanlah tujuan itu sendiri, melainkan

merupakan sarana untuk menguji dan mengkomunikasikan ide-ide visual dan spasial akhirnya

dirancang untuk media yang berbeda.

Jadi desainer teater perlu mempertimbangkan pengalaman bekerja dengan perangkat digital

versus tekanan untuk menyelesaikan proyek. Pengalaman tidak hanya membatasi dan

menghalangi pengembangan kreatif tetapi pada terburuk itu dapat membuat kesalahan yang tidak

mudah untuk pulih dari.

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While it is appealing to think of the design process as simply one of accessing creative flair, all

designers, in every discipline, are aware that their task is as much about problem solving and

accurate decision making as it is about artistic vision. At the commencement of and throughout

any project the parameters must be known and an environment and context established that offerthe most suitable tools for making and assessing decisions. The first of these, in the context of this

book, is to establish to what extent digital tools may assist the process. While it may be that their

deployment is reviewed and changed as the project progresses it is unwise to simply start by

sitting in front of your favourite program and assuming the creativity will flow.

Two apparently conflicting attitudes need to be addressed throughout the design process and kept

firmly in mind by the designer. In his excellent overview of digital modelling Peter Weishar (1998)

observes that in creating virtual worlds for many purposes (product design, games creation, etc.) a

digital designer must think like a set designer. We have been at pains to point out that the creator

of imaginary realms is not making them to be lived in for real but rather to offer the appearance or

illusion of reality. You must consider what is and is not seen, what needs to be 3D and what can be

falsified. A cut-out of a pillar with a texture applied, for example, rather than a fully rounded

object will still look like a 3D pillar in the image. This is useful for the set designer as the approach

required by modelling virtual worlds for the computer is equivalent to the approach needed in

creating worlds for the stage, which are of course equally unreal. However, it is also possible for a

designer using the computer, as it is for a card model maker, to become involved in their creation

to the extent that they may forget that its purpose is to illustrate something that is to serve a

different purpose. The computer model is not an end in itself, rather it is a means to test and

communicate visual and spatial ideas ultimately designed for a different medium. These positions

should be constantly in the mind of the designer. While this book focuses on creating digital

models it is not our intention to suggest their use to the exclusion of more traditional approaches

and, in planning a project, an initial assessment of the value of the computer and traditional

methods of working should be made.

So the theatre designer needs to consider the experience of working with the digital tools versus

the pressure to complete the project. Most modelling programs, even the simplest, take some

time to learn and certainly require practice to use with any sophistication and ease. Inexperiencemay not only restrict and frustrate creative development but at worst it may create errors that are

not easy to recover from. The designer is in dialogue with the computer but if the conversation is

stilted it is unlikely that poetry will be made. Therefore the first few projects undertaken using

computer modelling should be free of unnecessary pressure perhaps there is an extended

development period, or you are working with a text or director with whom you feel comfortable.

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Ideally, a computer model can be made alongside a traditional one, each informing the other, and

the card model can act as a safety net for the digital sibling. It is worth considering the

collaborative context of the work. Working with a director who is unused to reviewing computer

models may lead to miscommunication or false expectations. Likewise a lighting designer may beoffended when they see the initial set design that includes lighting states, little realizing that this

approach is almost inevitable in the digital model. What is important is that the production team

understand the opportunities and limitations of the medium and do not have overly positive or

negative preconceptions.

Certain designs lend themselves far more to digital approaches than do others. Projects that are

likely to utilize modern materials and forms, for example geometric shapes, projection and kinetics,

are more sensibly approached in the digital model, where the modelling and rendering process are

likely to produce a more convincing result than traditional techniques. Designs that are likely to

draw on chaotic and run-down or organic forms may be better served using card, fimo, balsa and

fabric. Although, as a coda to this, look at the work of Roma Patel, currently on the Web site http:/

/www.digitalsetdesign.com/ (particularly the production of Amedee), which illustrates a very

textured feel to the world she has created. Certainly, unless the project is very large, requiring

many repeated elements, it is likely that ground plans will be produced as quickly and accurately

by hand as by a program. Ultimately, there is likely to be some cross-over between methods and a

design studio needs to be established that allows for portability between physical and digital

domains.

There is no doubt that computer images can be beguiling and engaging. They allow for animated

walk-through of the environment, display of lighting effects and even smoke, and a high-quality

final image. They indicate high-tech sophistication and high-level production values. The look and

the nature of this work can send certain messages to the producer or client and, in the more

commercial sector, this might be an important signifier, winning confidence and contracts if used

well. For these purposes high-quality rendering and a good use of presentation software is

necessary.

When you decide to use digital tools on a project the following management strategies and

problems need to be considered.