Theatre Design & Technology - Winter 2001 - 70

designers can use this book as a primer for learning about our
colleagues on the other side of the Atlantic. I also appreciated the
listing of lighting resources, the fairly comprehensive glossary and
the bibliography included at the back of the book.
Light Fantastic includes a discussion on color theory
that is about as comprehensive as any you'll see in a general
lighting reference. Other color highlights include an in depth
discussion of basic color terminology, psychological and
physiological implications of color (several easily understood
tables illustrate color associations), a detailed look at Planck's
Curve, a look at color rendering indexes (CRI), and a host of
colored illustrations and photographs (many illustrating the
effects of additive and subtractive mixing). Other technical elements that are well handled in the book include a
comprehensive look at optics, light sources (discussed in terms of European standards), control
(including schematics of today's more complex
control systems), color filters and lighting fixtures.
In each of these discussions many beautiful, fullcolor photographs and diagrams are offered as examples. There are even color photographs of the
inner-workings of various moving lights such as
the Vari*lite VL5. Keller also looks at less conventional practices, including discussions of high intensity discharge lamps (HID), fluorescent lamps,
fibre optics and the newly developed sulfur lamp.
He even provides spectral distribution diagrams of
various light sources. Projection, too, is treated in
a fair amount of detail, including the formulas for
determining keystone distortion and calculating
image sizes when projecting onto a screen or scenic background. On the more unusual side, Keller
describes how he created several special effects
lighting solutions.
Keller's discussions of design include information related to choice of fixtures and light
source, hanging positions, design process and execution. He provides information relating to the
evolution of a design and the effects of plotting the
production. For cross-referencing purposes he
also illustrates several graphics standards-CIE
(European), USITT and others-for lighting fixtures. Keller also discusses the 1:4 scale model
theatres that are common to opera production in
Europe. Among his discussion of distribution are
two excellent photo-essays. The first shows the effects of angle and light on an abstracted actor's
face. The second contains photographs of a scale
model room and three-dimensional human figure
so that one can study the effects of angled light
over the entire body. Finally, Keller provides studies of several different light cues from a production of Die Legende vom armen Heinrich that he
designed. For each cue he provides a production
photograph, a simplified plot of those lighting fixtures utilized within the cue and a cue sheet with
the level settings. Due to the lack of a notation and

different European plotting conventions (they generally provide for color, DMX address and circuit) it may take a few minutes to decipher some of the specific information related to
the plot, but on the whole these examples provide an excellent
manner of documenting these design moments. Beautiful production photographs help to illustrate many of the design principles discussed throughout the book.
In summary, Light Fantastic is an excellent overall lighting reference that also provides a wealth of inspiring images
and commentary.
Reviewed by Richard E. Dunham,
Assistant Professor, University of Georgia, Athens

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2001