Theatre Design & Technology - Dec 1974 - 10

between one eye and the other. I did the experiment
in dayl ight, incandescent light, and flourescent Iig ht
because the color temperature of the light influenced
the effect.
From my Journal, October: I stopped painting in the spring
because I could not compromise with the painting. There was
no one else responsible for what resulted, and the diminution
of my capabilities forced me to stop work. I was willing to
compromise my work for the theatre but a stricter morality
ruled over my painting.

My original feelings, on being told that part of my eye
would be removed, that my eye would be opened and the lens
removed, were sexual. It was as if I were to be castrated. My
eyes, so much a part of my life, probably more so than my
sexual organs, were going to be changed. This realization
evoked more self pity than almost any other part of the whole
experience.
From my Journal, January: It is strange to walk into a theatre
where they are setting up scenery I have designed knowing
that I am unable see a certain amount of the work I have done
and that has been done for me. I know problems will arise that
I'll be unable to see, and therefore, to answer. Such things as
two battens fouled in the flies, which I strain to see, disappear
into a black void. Details of painting, that I'd have seen from
the house in the past fade into a vague general impression. By
contrast I notice that anything shiny a shiny object,
material, or translucency, in fact anything with a light
producing or reflecting source - appears far more prominent
than previously. Each such object has a halo around it and
takes up an inordinate amount of space in the total picttire.
Consequently the lighting balance in a scene with a shiny area,
as I perceive it. must be completely distorted.

I am afraid to propose a correction, to say anything to the
lighting designer or the costume designer. I just hope, and ask
those working with me to tell me exactly what they think about
what they see on stage. I hope their judgments will be close to
my own, because sometimes I accept their suggestions even
though I can't see what they are talking about. I am very
dependent on others and this further reduces the artistry
involved in my designing.

My Color Aid swatches had 24 hues. Each hue
was then mixed with white to produce four degrees
of tints, and then also mixed with its compliment to
produce three degrees of shade. Starting with a gray
scale of one through eight, I found that I was getting
the best balance with 1 and 3, 2 and 4, 3 and 5, etc.,
looking at the darker gray with the aphakic eye and
the lighter gray with the phakic one (whose lens was
by this time somewhat clouded).
Working with the red hue, I matched it most
closely with Red-Violet-Red tint 1 in sun light, and
with Red tint 2 in incandescent light. Using a blue
hue primary as the basic color, the sunlight match
was Blue-Violet-Blue tint 3, and the incandescent
match was Blue-Violet-Blue tint 2. These are remarkably different colors when seen by the normal
eye and offer good examples of the extremes I found
as I went through my testing.
From my Journal, January: The lights at night are very
beautiful, magnified with tremendous halos. The darker the
night, the larger the halos. Everything is much like a rainy
night in the city, when lights are reflected in sidewalks and
puddles so you get a multiplying effect of the liqhts. This is
the way nighttime seems to me now. I've stopped driving at

10

~

night because I see so many haloes that it's impossible for me
to determine how many cars are near me or where they are
going. And even though this is annoying, it is beautiful, though
I curse the reason for it.

I was only getting so-so results from testing
colored gels over my aphakic eye. Brigham #57 in
sunlight, Roscolene #802 for interior light gave me
only an appoximation of what I thought the color
balance should be. Roscolar #902 worked similarly,
meaning not too well, as a combined interior-exterior
color. I was not exploring the more unusual filters
because I had no idea how extreme the filtering
would need to be. Roscolar #982 finally came close to
providing a good balance. A chocolate brown, it was
the right color, though a shade or two too deep. I had
never imagined the human lens would act as a filter
to th is extent!
From my Journal, February: A designer needs his eyes to
decide matters of taste. Faulty vision doesn't deter my ability
to design basic shapes, to organize movement, to work with
scale, or to work with large basic concepts that are involved in
designing a production. But the small decisions, such as
pattern or color in a fabric, are difficult when everything looks
blurred.

I sometimes think that many designers might not be
stopped by this difficulty because they have long ago come to
grips with many decisions of taste. They have reduced
selections of color and texture and fabric to a familiar
vocabulary. Moreoever certain architects use the same colors
and textures in every building. There are designers known for
doing gray sets, or using scrim, or fancying a certain type of
velour turned in a certain direction. Although I'd be having an
easier time now, with my inadequate vision, if I were one of
them, I feel there is something at fault with the designer who
works this way, and with his designs. Of course each of us is
naturally limited by his aesthetic ability, but the designer who
further restricts himself is surely often working to the
disadvantage of a production.
It is difficult to have to make decisions of taste constantly.
After all, taste is such an amorphous thing. It is an ability that
we gain through contacts with people and events which lead us
to believe that certain colors or shapes or textures or
combinations are more pleasing than others. Since taste is
really a matter of an educated limitation of our visual
vocabulary, the designer who works with taste may be the most
limited of all designers.

When I was being fitted with contact lenses which
would restore perfect focus from infinity to near
reading distance, the doctor fitted me with a
brownish lens and it immediately felt like the right
color. Subsequently I've used lenses from other
manufacturers which were of slightly different color
and noticed no real change in my color perception. I
don't even perceive an imbalance when I wear
slightly different colored lenses in each eye.
From my Journal, March: Maybe! am oversensitive, but I am
interested in other people's reactions to the news that I'm
having eye trouble. Other designers tend to avoid me, as if my
condition were catching. One designer immediately went off to
have his own eyes examined; to be sure that he was all right.

With the brownish contact lenses in both eyes
there was one final test I had been saving for myself.
I got out my volumes of Interaction of Color by

THEATRE DESIGN AND TECHNOLOGY

DECEMBER. 1974



Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1974

Contents
Theatre Design & Technology - Dec 1974 - 1
Theatre Design & Technology - Dec 1974 - 2
Theatre Design & Technology - Dec 1974 - 3
Theatre Design & Technology - Dec 1974 - Contents
Theatre Design & Technology - Dec 1974 - 5
Theatre Design & Technology - Dec 1974 - 6
Theatre Design & Technology - Dec 1974 - 7
Theatre Design & Technology - Dec 1974 - 8
Theatre Design & Technology - Dec 1974 - 9
Theatre Design & Technology - Dec 1974 - 10
Theatre Design & Technology - Dec 1974 - 11
Theatre Design & Technology - Dec 1974 - 12
Theatre Design & Technology - Dec 1974 - 13
Theatre Design & Technology - Dec 1974 - 14
Theatre Design & Technology - Dec 1974 - 15
Theatre Design & Technology - Dec 1974 - 16
Theatre Design & Technology - Dec 1974 - 17
Theatre Design & Technology - Dec 1974 - 18
Theatre Design & Technology - Dec 1974 - 19
Theatre Design & Technology - Dec 1974 - 20
Theatre Design & Technology - Dec 1974 - 21
Theatre Design & Technology - Dec 1974 - 22
Theatre Design & Technology - Dec 1974 - 23
Theatre Design & Technology - Dec 1974 - 24
Theatre Design & Technology - Dec 1974 - 25
Theatre Design & Technology - Dec 1974 - 26
Theatre Design & Technology - Dec 1974 - 27
Theatre Design & Technology - Dec 1974 - 28
Theatre Design & Technology - Dec 1974 - 29
Theatre Design & Technology - Dec 1974 - 30
Theatre Design & Technology - Dec 1974 - 31
Theatre Design & Technology - Dec 1974 - 32
Theatre Design & Technology - Dec 1974 - 33
Theatre Design & Technology - Dec 1974 - 34
Theatre Design & Technology - Dec 1974 - 35
Theatre Design & Technology - Dec 1974 - 36
Theatre Design & Technology - Dec 1974 - 37
Theatre Design & Technology - Dec 1974 - 38
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