Theatre Design & Technology - Oct 1972 - 18

nant point A. Its trichromatic coefficients are: the value

produce a pure, white light. Should a line drawn between
opposites appear to be to the right of the illuminant
point, then the mixing colors would be warmer. Should
that line be to the left, the mixing would result in something cooler. If above the illuminant point, the line would
suggest a mixture that is more yellow or greenish. If below
the point, a more magenta or purple mixture. The spectral
color toward which admixture leans is indicated by a line
at right angles to the line between the complements drawn

of x = 0.4476, the value of y = 0.4075. Since all other
colors are related to it identify it with a circle. Figure 5
shows a few colors plotted on it, the trichromatic coefficients taken from the appendix.
The following information can be obtained from reading the diagram:

from the illuminant point to the locus of spectral colors.

III
Brightness is perceived by the eye in a very definite
pattern known as the visibility curve. This curve shown in
Figure 6 indicates the relative brightness of the spectral
colors. Note that maximum visibility occurs somewhere in
the region of the yellow-green area of the spectrum. In
adopting color standards, the I nternational Commission
On Illumination agreed that the visibility curve for the
normal eye so closely matches the spectral curve for the
tristimulus value of Y that the brightness of a sample can
be taken directly from this value. Brightness figures are
provided in the appendix. The value of Y is rendered in
four digits following a decimal point. By moving the point
to the right two places, the brightness percentage is ob-

Figure 5

tained. For example, Brigham #64, Light Red has a
brightness of 23.79%.

color purity or saturation - the pure colors occur
near the locus of spectral colors. Less saturated
colors created by greater admixture of wavelengths
are located closer to the illuminant point.

IV

complementary colors - complements are those
colors which are directly opposite each other with
reference to the illuminant point. Thus, a line drawn
from one color through the illuminant point directly to another on the opposite side identifies a
pair of complementary colors. If projected from
separate sources to a common surface, they will produce white light.
chromaticity - the position of the color on the diagram establishes its chromaticity. A line from the
illuminant point through a color's position to the
spectrum locus identifies its spectral hue, except for
the unreal colors. The realm of these is circumscribed by a triangle (shown with dotted lines in
figure 4) at the bottom of the chromaticity diagram.

Color media listing in the appendix is organized according to the percentage of transmission. Grouped by spectral
color, samples of highest intensity are listed first. These
same filters are also the most impure.
The degrees of color purity may be categorized into
four groups, pale colors, pastel colors, rich colors and dark
colors. No color filter manufactured for stage lighting
transmits more than 90% of the Iight passed through it,
therefore, Group I, pale colors are those which transmit

(

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18

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7

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The value of the chromaticity diagram is its use in
selecti ng co lors for Iighti ng acti ng areas. I t is suggested
that one begin by thinking in terms of producing white
Iight. Having plotted a master diagram of all the colors,
study the possible complementary pairs. Decide on colors
wh ich in themselves connote the mood and atmosphere
that seems suited to the play. Should the contrast between complementary pairs be too strong or true white
light be unsuited for the general toning of the acting area,
then study the complements that are not directly opposite
in relation to the illuminant point. The search would be
concerned with identifying combinations that would not

I

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to

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5

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I





Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1972

Contents
Theatre Design & Technology - Oct 1972 - 1
Theatre Design & Technology - Oct 1972 - 2
Theatre Design & Technology - Oct 1972 - 3
Theatre Design & Technology - Oct 1972 - Contents
Theatre Design & Technology - Oct 1972 - 5
Theatre Design & Technology - Oct 1972 - 6
Theatre Design & Technology - Oct 1972 - 7
Theatre Design & Technology - Oct 1972 - 8
Theatre Design & Technology - Oct 1972 - 9
Theatre Design & Technology - Oct 1972 - 10
Theatre Design & Technology - Oct 1972 - 11
Theatre Design & Technology - Oct 1972 - 12
Theatre Design & Technology - Oct 1972 - 13
Theatre Design & Technology - Oct 1972 - 14
Theatre Design & Technology - Oct 1972 - 15
Theatre Design & Technology - Oct 1972 - 16
Theatre Design & Technology - Oct 1972 - 17
Theatre Design & Technology - Oct 1972 - 18
Theatre Design & Technology - Oct 1972 - 19
Theatre Design & Technology - Oct 1972 - 20
Theatre Design & Technology - Oct 1972 - 21
Theatre Design & Technology - Oct 1972 - 22
Theatre Design & Technology - Oct 1972 - 23
Theatre Design & Technology - Oct 1972 - 24
Theatre Design & Technology - Oct 1972 - 25
Theatre Design & Technology - Oct 1972 - 26
Theatre Design & Technology - Oct 1972 - 27
Theatre Design & Technology - Oct 1972 - 28
Theatre Design & Technology - Oct 1972 - 29
Theatre Design & Technology - Oct 1972 - 30
Theatre Design & Technology - Oct 1972 - 31
Theatre Design & Technology - Oct 1972 - 32
Theatre Design & Technology - Oct 1972 - 33
Theatre Design & Technology - Oct 1972 - 34
Theatre Design & Technology - Oct 1972 - 35
Theatre Design & Technology - Oct 1972 - 36
Theatre Design & Technology - Oct 1972 - 37
Theatre Design & Technology - Oct 1972 - 38
Theatre Design & Technology - Oct 1972 - 39
Theatre Design & Technology - Oct 1972 - 40
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