DRAMA 101, INTRODUCTION TO THEATRE, MODULE 1 - Model Builder

Summary

Highlights

• Steven Kemp transitioned his childhood passion for model planes and ships into a successful career in theater set model building. 🚀
• The creation of models starts from simple 2D sketches, transforming into detailed, museum-quality 3D models. 🖼️
• Kemp's models play a pivotal role in design meetings, serving as a focal point to visualize the director's vision for the stage. 🤝
• Digital advancements are enhancing model building, allowing for more interactive experiences with tools like 3D computer environments. 🖥️
• Kemp's flexibility in adapting to different designers' styles is crucial in his successful collaborations in the theatrical world. 🎨

Key Takeaways

• Steven Kemp is a seasoned model builder who finds immense joy in detailing and creating models that represent set designs. 🎨
• Models serve as crucial communication tools in theater production, helping to visualize and refine designs before the actual set construction. 🛠️
• The transition from sketches to polished models involves creativity and technological enhancements, like Photoshop and 3D modeling. 💻
• Theater set modeling has evolved, integrating digital technology for virtual walkthroughs, although physical models still hold an essential place in design meetings. 🏗️
• Collaborating with experienced designers like David Gallo enriches the model-building process with diverse sketches and visions. 🎭

Overview

Chapters

• 00:00 - 01:00: Introduction to Model Building The chapter introduces the necessity and purpose of models in design and communication. Steven Kemp, a model builder, emphasizes that models are essential tools for showing projections and designs. They serve as a primary communication medium with stakeholders, particularly benefiting directors who are deeply involved in the design process.
• 01:00 - 02:30: Career Beginnings and Influences The chapter discusses the early career beginnings and influences of the person in focus. It highlights their passion and skills in model building, which began at a young age of seven. This interest in constructing models, including military models of planes, ships, and tanks, likely played a significant role in shaping their career and creativity in later life. The chapter emphasizes their ability to visualize designs in 3D space, from sketches to polished models, aimed at effectively communicating design concepts to others.
• 02:30 - 04:30: Collaboration with David Gallo The chapter titled 'Collaboration with David Gallo' delves into the speaker's early passion for intricate detail and diorama creation, which led them to a career in set design. This interest began in high school theater, where they were involved in set construction and model building. The speaker's enthusiasm for design was further nurtured in undergraduate studies through a hands-on program that deepened their skills and interest in the field.
• 04:30 - 06:00: The Importance of Models in Design The chapter discusses the significance of models in design, emphasizing the practical experience gained at the La Jolla Playhouse. The author highlights the mentorship and collaboration with David Gallo. Gallo provides rough sketches, including exploded views, which allow for hands-on model creation. This interaction illustrates the importance of models as tangible representations in the design process.
• 06:00 - 08:30: Technological Advancements in Theater The chapter discusses the process of taking initial design sketches and refining them using technology. It explains how designs are polished through computer software, like Photoshop, to better represent the designer's vision. The use of white models is also mentioned as part of the creative process in theater production.
• 08:30 - 10:30: Role as an Associate Designer This chapter explains the role of an Associate Designer, which involves taking original sketches created by the lead designer, David, and transforming them into three-dimensional models. An example discussed is the scene of the Lemur village. The process includes not only drafting these sketches but also creating paint elevations, which contribute to the final model known as the white model.

DRAMA 101, INTRODUCTION TO THEATRE, MODULE 1 - Model Builder Transcription

• 00:00 - 00:30 This is why we have to have models. We have to have some other representation of being able to show someone exactly where things are going to be. Hi, I'm Steven Kemp, I'm a model builder. [MUSIC] A model is one of our main communication tools to everyone. He's going to be interested to, to knowing about the design, and especially to the director being the number one
• 00:30 - 01:00 person we want to show this tool to. And so it can be anything from a small visual representation of, of what this 2D sketch is going to look like in 3D space. And it can go all the way from that all the way to a fully polished, you know, museum quality, beautiful color model. The, the idea is is just how best to to show these people, you know, what our design is going to look like on stage. I've been building models since I was seven years old. Doing military models planes, ships, tanks all those kind of things.
• 01:00 - 01:30 And I had always just really enjoyed that, that detail. The level of detail and creating dioramas and creating life in miniature. And so, when realizing that there was this job in set design that incorporates model building, I was very excited. Being in theater in, in high school, I was doing a lot of the set construction, and my teachers got me into doing some, some model building for some of the sets, and getting into the design, and that got me excited. And then, in undergrad, I had a great program where I was able to to get a little more hands on and by by taking
• 01:30 - 02:00 that into, working at the La Jolla Playhouse as a resident assistant. And, and meeting David Gallo and having him look at my models and, and look at my designs, and then be able to bring me in to work for him, for, for all of his productions. With, with David, he gives me some rough sketches and of varying degrees. A lot of times he'll give me an exploded view of something that, that almost, you know, you can take and fold right up and all of a sudden you've, you've got a model in front of you.
• 02:00 - 02:30 and a lot of other times you get some sketches that you then, we, we take, we polish up, we start putting it into the computer, we start photoshopping things, you know, and kind of taking that design and kind of making it more of what's really in his head. Working with him as much as I do, I know what he's going for, and so then I can kind of finish off... Exactly what he is trying to create and that we can get that into the model. This is a good example of just a simple white model and this is actually a
• 02:30 - 03:00 combination of just taking a the, the drafting the original sketches that David produces and and then just kind of extruding that into three dimension. This is an example of one of the other drafts in the, the scene, the Lemur village, you know of the, another drop in the show. And so this is a sketch that, that Dave created for this drop, and then we'll take it and then we have these these paint elevations. And this is actually going to stay in the model here for the, the white model.
• 03:00 - 03:30 But we have the color paint elevation that will eventually be handed off to the shop for, well what this one will end up actually looking like in the show. A lot of times, at the meetings, I mean, the model is a very important piece of the meeting, of the design, when it becomes a kind of focal point of the communication of showing people that, you know, here is where we're heading. Looking to do and here it is in this, you know perfectly scaled environment so that we know that this is how will look on stage if we continue on course.
• 03:30 - 04:00 So we've got our quarter inch model of Minthis here which was actually created later in the process which was kind of unique. It was more of, of just there for us as staging. As you see it still has a, a ground plan printed on the floors. So we weren't trying to represent the actual floor finish that we would have. But, this is, is fully rigged to show our spinning columns, and our, our tracking walls, you know. So the, the technology of our the, the actual production is shown here in scale. Trying to show exactly how this would
• 04:00 - 04:30 work, so we can configure all of the, the scenes. I find one of the most exciting things about model building, and theater in general, is that. Yeah, so you never know, you know where you're going to, to go with this set and the different materials that can be used. And the, the theater, I mean the, I think a very important thing with model making is, is just, you know how resourceful are you, how, how do you see, you know this bead and how do you make that into the stair rail, you know. Being able to take everyday items that we're seeing and then, and see them in
• 04:30 - 05:00 scale, and the simplest thing can, can make it into the model and with a little bit of paint. it becomes something completely different. And, and becomes very fun in that sense. You know being that it, that a model is a communication tool there, there is always, depending on the complexity of the design, there's, there's definitely a huge component of it, of how do you present these different scenes. For a, a 3D physical model to be able to, to get your hands in it, move things around and in, in a meeting be able to like tear a wall out and just say no, no,
• 05:00 - 05:30 we're going to, we're going to move this over here. You know, being able to really craft the space in that way usually people visualize much, much more of what's going to end up on stage. And that can be done in the computer now as well, which we're getting into, being able to spin someone around a 3D environment and walk them through, send them videos of, of someone walking through a space. It's still, I think, very new in the theatrical world. It's obviously not new in selling people in the commercial world and in
• 05:30 - 06:00 architecture. But, but for us I think it still has so much value in, in the speed at which we can do it and the, the accuracy of it and being able to really see from each seat what is going to be on stage. Showing, you know, a, a Broadway set in full motion is extremely difficult to, to rig up in a model. You know, it always makes meetings go on [LAUGH] three hours longer than they need to as you're setting up the 20 seats. Whereas if we can just press a button and you can, go through all these different
• 06:00 - 06:30 scene changes much more easily in this computer program. Just the range of different shows that David gets to do is, so much fun being able to continually change the style of everything that you're working on. Coming from a similar background and being a set designer myself as well, and you know the process, you know how it is getting on stage, so... You're taking his vision and you're realizing this work on stage. So I'm taking all of my knowledge and my design sensibility and layering that into his vision and, and getting that out there.
• 06:30 - 07:00 I try to be as malleable as possible, I try to, you know to take on their design sensibility, their aesthetic. You know obviously, you're creating their vision. So as an associate designer, you are going to be taking their ideas and you are continuing as what they are trying to get on stage. [MUSIC].