Theatre Design & Technology - Spring 1982 - 10

Recommendations for Standard Graphic Language in Scenic

There are two primary needs for standardized graphic language in the technical theatre industry. Theatre work is performed in a condensed time span that prohibits inefficient
communication. The need for a standardized language to
achieve effective communication is intensified by the mobility of
the members of the trade. Professional (and some educational)
designers and technicians frequently work by mail or telephone
and travel from theatre to theatre or shop to shop. Their
drawings must be meaningful to the members of each staff with
whom they work. The most effective manner to attain that
meaning is with a common graphic language. The second need
for a consistent graphic language is of importance to educators
preparing students for entry into the profession of scenic design
or technical theatre. Lacking published standards, the educator
can only assume a graphic language that is acceptable to the
industry. If his/her assumptions are incorrect, he/she may
provide improper training to students and hamper their professional growth.
A standard is an example for comparison and an authority
which serves as a model. The word, graphic, implies the
presentation of a picture described in sufficient detail to meet the
intended needs. In combination these two words depict the
purpose of this project: to present a series of models which may
be used to aid the scenic drafter. Typically, graphic standards
are begun when individuals or groups start to codify the existing
practice. Usually, it is felt that any new standard should have a
basis in established drafting methods if it is to have value.
ObViously, the theatre has arrived at this point without a uniform
drafting method, and some see no need for establishing a
consistent mode. However, an agreed upon set of standards,
like those of other industries, would tend to improve the efficient
use of graphic materials in the theatre.
The Graphics Standard Board of USITI's Education Commission has been empowered by the Commission to devise a set of
graphic standards for recommendation to the USITI membership as the standard graphic language for theatrical production.
Standards will be recommended in the area of (1) Scenic Design
and Technical Production, (2) Lighting Design, (3) Audio Design.
The initial effort of the Graphics Standard Board has been in
the area of Scenic Design and Technical Production. The board
members have examined studies in this area conducted by Don
Calvert, Harvey Sweet, Stephan M. Zapytowski, Sr., and others
and have used these studies as the basis for the following
recommendations.
GENERAL DESCRIPTION The concept of a standard must
evolve from a logical basis. In this case, that basis is rooted in
the only inflexible rule of technical drawing: that any graphic
communication must be clear, consistent and efficient. While
these recommendations will not include specific guidelines for
the spacing of objects on each plate, any graphic presentation
should adhere to the general recommendation of clarity-do not
crowd nor unevenly space individual items on a plate. Equally
important, all line weights, line types, symbols, conventions, and
lettering should be consistent from plate to plate and in a given
set of drawings. This does not mean that everyone will be
expected to letter in the same manner, nor draw their arrowheads in precisely the same way. It means that each drafter
should be able to establish his "style" within the gUidelines of
the recommended standards and conform to that style throughout the drawings for a particular project or production. Finally,
the standards and symbols used in any recommended guide
should be efficient-both in ease of drawing, and in ease of
comprehension for the reader.
GROUND PLAN A great deal of drawing technical theatre,
both in presentation and symbology, is directly related to the
drawing of the floor plan or ground plan. The specific definition

of the ground plan is as follows: A floor or ground plan is a
horizontal offset section with the cutting phase passing at
whatever level, normally a height of 4' -0" above the stage floor,
is required to produce the most descriptive view of the set.
LINE WEIGHTS The USITI recommends a modified ANSI
standard two thickness line system. The approved line weights
are as follows:
Pen: Thin: .010" to .0125" width. (ANSI standard = .016")
Thick: .020" to .025" width. (ANSI standard = .032")
Pencil: Thin: .3MM
Thick: .5MM
In either pen or pencil, an extra thick line, .035" to .040"
(.9MM) may be infrequently used, as necessary, for emphasis (plate border, suitable section cutting plane line, etc.)
CONVENTIONS There are a number of standard theatrical
units such as chandeliers, shelves and fireplaces that, because
of their varying styles and sizes, should not be represented by
standard symbols, but need to be easily and repetitively drawn.
The drawing of these items should subscribe to the general
guideline offered under the definition of the ground plan. In
general, shelves, fireplaces and similar items should be drawn
using a sectional cutting plane 4'-0" above the stage floor unless
another view would be more descriptive. An item such as a
chandelier should be indicated by a circle utilizing a hidden line
as it is not at the previously indicated 4' -0" cutting plane height.
The circle should be drawn, in scale, the diameter of the
chandelier at its widest point. The graphic should be placed in its
proper position on the floor plan. Other suspended objects such
as beams, drops not in contact with the stage floor (e.g., an Act
II drop on an Act I floor plan, etc.) would be drawn in their
appropriate outline using the hidden line type.

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Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1982

Contents
Theatre Design & Technology - Spring 1982 - 1
Theatre Design & Technology - Spring 1982 - 2
Theatre Design & Technology - Spring 1982 - 3
Theatre Design & Technology - Spring 1982 - Contents
Theatre Design & Technology - Spring 1982 - 5
Theatre Design & Technology - Spring 1982 - 6
Theatre Design & Technology - Spring 1982 - 7
Theatre Design & Technology - Spring 1982 - 8
Theatre Design & Technology - Spring 1982 - 9
Theatre Design & Technology - Spring 1982 - 10
Theatre Design & Technology - Spring 1982 - 11
Theatre Design & Technology - Spring 1982 - 12
Theatre Design & Technology - Spring 1982 - 13
Theatre Design & Technology - Spring 1982 - 14
Theatre Design & Technology - Spring 1982 - 15
Theatre Design & Technology - Spring 1982 - 16
Theatre Design & Technology - Spring 1982 - 17
Theatre Design & Technology - Spring 1982 - 18
Theatre Design & Technology - Spring 1982 - 19
Theatre Design & Technology - Spring 1982 - 20
Theatre Design & Technology - Spring 1982 - 21
Theatre Design & Technology - Spring 1982 - 22
Theatre Design & Technology - Spring 1982 - 23
Theatre Design & Technology - Spring 1982 - 24
Theatre Design & Technology - Spring 1982 - 25
Theatre Design & Technology - Spring 1982 - 26
Theatre Design & Technology - Spring 1982 - 27
Theatre Design & Technology - Spring 1982 - 28
Theatre Design & Technology - Spring 1982 - 29
Theatre Design & Technology - Spring 1982 - 30
Theatre Design & Technology - Spring 1982 - 31
Theatre Design & Technology - Spring 1982 - 32
Theatre Design & Technology - Spring 1982 - 33
Theatre Design & Technology - Spring 1982 - 34
Theatre Design & Technology - Spring 1982 - 35
Theatre Design & Technology - Spring 1982 - 36
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
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