Introduction

Lighting is an interesting design discipline as it combines highly technical elements with highly creative elements.

In creating lighting, there are four main factors to consider:

Illumination. Being able to see the performers and stage elements as much, or as little, as desired.
Focus. Directing the audience’s attention either towards where you want them to look, or away from where you don’t want them to look. Also contributes to the overall composition of the scene by revealing the set in a controlled manner.
Location, season and time of day. Indicating night or day, interior or exterior, a bright summer morning or a cold winter afternoon.
Mood. Lighting can reinforce or undermine the mood of the performances, to create added meaning.

To achieve these things, you use the following qualities of light:

Intensity. The level of brightness of a light, from off (0%) to full (100%).
Colour. Created by the colour of the light source or by adding a colour filter (“gel”).
Angle. Position of the light in relation to the subject. A light from directly in front of the subject will obviously create a different effect to a light from behind.
Beam attributes. Aspects such as focus (whether the beam has a sharp or soft edge), shape of the beam, and gobos.

Useful terms to know

Rig. To hang lights in their position on lighting bars or in other specified positions.

Focus. To set the position and beam attributes of the light.

Plot. To record the lighting states into a computerised lighting desk, and mark the cue points into a script.

Flood. To make a beam of light wider.

Spot. To make a beam of light narrower.

Special. A light used for one specific purpose.

Wash. Light that covers (or “washes”) the entire stage/area. Generally made up of light from several sources, focused to blend together evenly.

Colour

A wash often consists of lights of a slightly different colour. Often, a lighting designer will employ a range of different colours on different angles to assist in creating depth.

The chosen colours will often become more saturated as the lighting angle moves further upstage. Frontlight is generally in a pale tint so as not to distort skin tone, while backlight will often be deeper as the audience cannot see where it hits the skin of the performer. Care should be taken when mixing colours to avoid unattractive colour combinations and coloured shadows (except where desired). Prior to rigging, lighting tests may be necessary to ensure that set or costume colours are not unintentionally distorted. For a fun example of how coloured items can be distorted by coloured light, check out the cube illusion here.

Colour can be added to the lights either by using a colour filter known as a gel in the case of generic lights, or through programming in the case of the LED strips and moving lights. An advantage of the LED strips and moving lights is there ability to change colour at the press of a button, so can be any colour at any point of the show.

Lighting angles

The angle of a light refers to its position in relation to its subject. The lighting angle determines what parts of the subject are lit or shadowed, and this creates an effect known as modelling. Modelling is the term used to describe lighting that makes the form of the subject stand out in three dimensional space, and is a key goal of lighting for live performance. To achieve modelling, the lighting designer will generally use several lights of different angles and colours. In picking angles for lighting, the lighting designer will consider aesthetics, the available lighting positions, use of colour, and motivation of light sources.

Below are some examples of how lighting angles are commonly used, but it is important to note that there are no hard and fast rules.

Frontlight. Can be straight on or at a 45 degree angle to the subject (when used in a pair). Provides basic illumination of the face of a performer or surface of a set piece. When frontlight is stronger than other lighting angles, the subject can appear flat, as it minimises the shadows visible to the audience. Colours used in frontlight are generally light tints, so as not to distort skin tone.

Toplight. Used in a wash to soften shadows on the floor, create depth, and fill out the picture without lighting the upstage surface. Strong toplight can create a shadowed eye socket or can be motivated by an overhead lighting source, like the sun at noon or fluorescent lighting in an office.

Sidelight. Picks out the subject from the background by lighting them, but not the area upstage of them. Very commonly used in dance to highlight physique. Ranges from high sides (at grid height) through to “shins” (at floor level). Casts a shadow on the opposite side of stage from the source, which can be masked or used for effect.

Backlight. Used as part of a wash to add a halo effect and dimension, or on its own to create a subject that is imposing or unknown. It is also a useful way to colour the stage surface without greatly affecting skin tone.

Footlight. Footlights fill out the downstage edge or get light under hat brims. Strong footlights cast large shadows on the upstage wall to create interesting effects.

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