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Sdited bij Colhtf dfarriman
Sets For Contrasting Color Treatments
A Moving Picture World Prese ntation Devised hy Colhy Harriman
SOME of the most effective stage settings which we have seen are those which are strictly in a contrasted treatment and violate what we term the rules for a realistic scenic and color treatment.
Photographic lighting is playing such a vital part in our various stage productions today that a producer is considered a back number if he persists in following in the old line and does not have the courage to atempt vivid lighting schemes and contrasting color combinations.
We are submitting two examples of the contrasted setting which depends not so much on its artistic detail as it does on the outline of the various units so the proper base may be available for suitable lighting treatments.
Example Shown Here
In plate one of the accompanying sketches we have an example which is dominated by three colors, the primaries, red, green and blue.
All of the units may be masks and not painted in detail. If they are given a neutral color this will suffice. The unit marked 1, should be toned a rich magenta with the thickness piece marked 2, a deep blue. The pyramids 3, should be a deeper blue green with a black on 4. The tree in the foreground 5, should be toned a green. The tree row back of this marked 6, a green blue. The sky marked 7, should be a deep blue and the shadows marked 8, should be in black. This is a photographic treatment.
For a matter of contrasts. Make the tree red; the arch blue and the sky a green; and you will be elated with the beauty of this setting.
Another Color Idea
The second plate shows a scene that is more or less realistic, but one which will lend itself to a blending of several color changes. It consists of a few cut-out trees and some mountain and rock rows. The trees marked 1, should be a green black; the distant mountain marked 2, a snow white. The mountain 3, in front of it, should be a red and orange.
The row marked 4, should be green blue ; the strip of water marked 5, toned a yellow or straw and the foreground marked 6, toned a light blue. The sky at 7 should be given a vivid sunset color with an amber and rose sun box.
If the colors change in harmony from the high noon to the sunset and then to darkness with the various blue and green blue silhouettes, the scene will appear to change in its form and general contour.
Contrast in lighting is really the secret to effective stage settings in the present scheme of things.
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