💡Lighting Design for Stage Unit 2 – Light Properties, Color, and Perception

What's Light Anyway?

• Light is a form of electromagnetic radiation that travels in waves and consists of photons
• Visible light occupies a small portion of the electromagnetic spectrum, with wavelengths between approximately 380 and 700 nanometers
  • Wavelengths shorter than visible light include ultraviolet (UV) radiation, X-rays, and gamma rays
  • Wavelengths longer than visible light include infrared (IR) radiation, microwaves, and radio waves
• Light exhibits properties of both waves and particles, a concept known as wave-particle duality
• The speed of light in a vacuum is a constant, approximately 299,792,458 meters per second (m/s)
• Light can be reflected, refracted, absorbed, or transmitted when it interacts with matter
• The color of light is determined by its wavelength, with shorter wavelengths appearing blue and longer wavelengths appearing red
• Light intensity is measured in candela (cd), which represents the luminous intensity of a light source in a specific direction

The Color Spectrum: More Than a Rainbow

• The visible color spectrum ranges from violet (shortest wavelength) to red (longest wavelength)
  • The order of colors in the spectrum is often remembered using the mnemonic "ROY G. BIV" (Red, Orange, Yellow, Green, Blue, Indigo, Violet)
• Each color corresponds to a specific range of wavelengths, with some overlap between adjacent colors
• White light is a combination of all colors in the visible spectrum, while black is the absence of visible light
• The color of an object is determined by the wavelengths of light it reflects or emits
  • For example, a red apple appears red because it reflects red light and absorbs other colors
• The human eye is most sensitive to green light, which falls in the middle of the visible spectrum
• Spectral colors are pure, single-wavelength colors that cannot be created by mixing other colors
• Non-spectral colors, such as magenta and pink, are created by combining different wavelengths of light

How We See: The Eye-Brain Connection

• The human eye is a complex organ that converts light into electrical signals that the brain interprets as images
• Light enters the eye through the cornea, a transparent protective layer, and then passes through the pupil, which is surrounded by the iris
  • The iris controls the amount of light entering the eye by adjusting the size of the pupil
• The lens, located behind the pupil, focuses light onto the retina, a light-sensitive layer at the back of the eye
  • The lens can change shape to focus on objects at different distances, a process called accommodation
• The retina contains two types of photoreceptor cells: rods and cones
  • Rods are sensitive to low light levels and are responsible for peripheral and night vision
  • Cones are responsible for color vision and detailed central vision, and are concentrated in the fovea, the central part of the retina
• There are three types of cones, each sensitive to a different range of wavelengths: short (blue), medium (green), and long (red)
• The brain processes the electrical signals from the retina to create the perception of color, depth, and motion

Mixing It Up: Additive vs. Subtractive Color

• Additive color mixing involves combining different colored lights to create new colors
  • The primary colors in additive mixing are red, green, and blue (RGB)
  • Combining equal amounts of red, green, and blue light creates white light
  • Additive color mixing is used in digital displays (computer monitors, televisions, and smartphones)
• Subtractive color mixing involves the absorption of certain wavelengths of light by pigments or filters
  • The primary colors in subtractive mixing are cyan, magenta, and yellow (CMY)
  • Combining equal amounts of cyan, magenta, and yellow pigments or filters theoretically creates black, but in practice often results in a dark brown due to imperfections in the pigments
  • Subtractive color mixing is used in printing, painting, and color filters for stage lighting
• The secondary colors in additive mixing (cyan, magenta, and yellow) are the primary colors in subtractive mixing, and vice versa
• Understanding the differences between additive and subtractive color mixing is essential for lighting designers to effectively create and control color on stage

Light Sources: From Candles to LEDs

• Throughout history, various light sources have been used in theater, each with its own characteristics and limitations
• Candles and oil lamps were early light sources, providing a warm, flickering light but with limited control and potential fire hazards
• Gas lighting, introduced in the early 19th century, allowed for brighter and more controllable light but still posed safety risks
• Incandescent lamps, invented by Thomas Edison in 1879, revolutionized stage lighting by providing a bright, consistent light source
  • Incandescent lamps produce light by heating a tungsten filament until it glows, emitting a continuous spectrum of colors
  • However, incandescent lamps are inefficient, converting only about 10% of the energy they consume into visible light, with the rest released as heat
• Halogen lamps are an improved version of incandescent lamps, using a halogen gas to extend the life of the tungsten filament and produce a brighter, whiter light
• Fluorescent lamps, which use electricity to excite mercury vapor and produce UV light that is then converted to visible light by a phosphor coating, are more energy-efficient than incandescent lamps but have limitations in color rendering and dimming capabilities
• Light Emitting Diodes (LEDs) are the most recent innovation in stage lighting, offering high energy efficiency, long life, and precise color control
  • LEDs produce light through electroluminescence, which occurs when electricity is applied to a semiconductor material
  • LED fixtures can create a wide range of colors by combining red, green, and blue LEDs or by using white LEDs with color filters
  • The compact size and low heat output of LEDs allow for more flexible and creative lighting designs

Manipulating Light: Intensity, Direction, and Quality

• Lighting designers use various tools and techniques to control the intensity, direction, and quality of light on stage
• Intensity refers to the brightness of the light, which can be controlled using dimmers or by adjusting the distance between the light source and the subject
  • Dimmers, whether mechanical or electronic, allow for smooth transitions between light levels and can create dramatic effects
• Direction refers to the angle and position of the light source relative to the subject
  • Frontlight illuminates the subject from the front, providing even, flat lighting
  • Sidelight comes from the sides, creating depth and emphasizing texture and form
  • Backlight comes from behind the subject, separating them from the background and creating a sense of depth
  • Downlight and uplight refer to light coming from above or below the subject, respectively
• The quality of light refers to its hardness or softness, which is determined by the size and distance of the light source
  • Hard light comes from a small, distant source and creates sharp, well-defined shadows
  • Soft light comes from a large, diffused source and creates gentle, gradual shadows
  • The quality of light can be controlled using diffusion materials, such as gels or frosted glass, or by bouncing light off reflective surfaces
• Gobos (short for "go-between") are metal or glass templates placed in front of a light source to create patterns or shapes on the stage
• Barn doors are adjustable metal flaps attached to a lighting fixture that allow for precise control of the beam shape and size

Color Theory on Stage: Creating Mood and Atmosphere

• Color is a powerful tool for conveying emotion, setting the tone, and directing the audience's attention in stage lighting design
• The psychology of color associates certain colors with specific moods and feelings
  • Red is often associated with passion, anger, or danger
  • Blue can evoke calmness, sadness, or coldness
  • Green is linked to nature, growth, and envy
  • Yellow is associated with happiness, energy, and caution
  • Purple can suggest royalty, mystery, or spirituality
• Color temperature describes the perceived warmth or coolness of a light source, measured in Kelvin (K)
  • Lower color temperatures (2700-3500K) appear warm and inviting, while higher color temperatures (5000K and above) appear cool and clinical
• The color palette of a lighting design should support the overall artistic vision of the production, considering factors such as the time period, location, and themes of the play
• Contrasting colors can be used to create visual interest and guide the audience's focus
  • Complementary colors, which are opposite each other on the color wheel (e.g., red and green, blue and orange), create strong contrast and visual tension
  • Analogous colors, which are adjacent on the color wheel (e.g., blue, green, and yellow), create harmonious and unified compositions
• Color can also be used to differentiate between scenes, locations, or characters, helping the audience follow the narrative and understand relationships

Practical Applications: Lighting Design Techniques

• Lighting designers use a combination of technical knowledge, artistic vision, and collaboration with the director and other members of the creative team to develop effective lighting designs
• The lighting plot is a technical drawing that shows the location, type, and orientation of each lighting fixture, as well as any additional equipment such as gobos or color filters
  • Lighting plots are created using specialized software (Vectorworks or AutoCAD) and serve as a blueprint for the lighting setup
• The cue sheet is a document that lists each lighting change (cue) in the show, including the timing, duration, and description of the desired effect
  • Cues are typically triggered by specific moments in the script, music, or choreography
• Lighting designers work closely with the director to establish the overall visual style and emotional arc of the production
  • This collaboration involves discussing the themes, moods, and key moments of the play, as well as practical considerations such as scene transitions and actor movement
• During the technical rehearsal process, lighting designers refine and adjust their designs based on feedback from the director and their own observations
  • This iterative process ensures that the lighting supports and enhances the storytelling without distracting from the performances
• Effective lighting design requires a balance of artistic creativity and technical precision
  • Designers must have a strong understanding of the capabilities and limitations of their equipment, as well as the principles of color theory, composition, and human perception
  • At the same time, they must be able to think abstractly and emotionally, using light to create meaning, evoke feelings, and transport the audience into the world of the play