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1950-51 Theatre Catalog, 9th Edition, Page 23 (3)

1950-51 Theatre Catalog, 9th Edition
1950-51 Theatre Catalog
1950-51 Theatre Catalog, 9th Edition, Page 23
Page 23

1950-51 Theatre Catalog, 9th Edition, Page 23

HERE THE DISPLAY IS LIGHTED IN FRONT with a uniform tone of color. A combination of blue and gold fluorescent lamps is used which produces

a color mixture pleasing to patrons' complexions.

made more uniform by using reflectors to direct light to the far side. Placing lamps close to the surface creates a line of high brightness near the lamps, and the rest of the surface is relatively dark.

Uniformity is desirable in the auditorium to reduce distraction from the picture. In the foyer, uniform wall lighting, might, for example, be used as a setting for a spotlighted poster panel or decorative feature. In the lobby, variations leading to high brightness may be more appropriate to create lines of light for attention and to help pull patrons into the area.

Variations lend interest and help break up surfaces which might otherwise tend to be monotonous. Coffers with blue and gold fluorescent lamps, to take a case in point, can create a subtle, decorative color pattern, and the mixture of light is flattering to patrons complexions Large ceiling areas can be given new life by using spotlights with tinted color roundels, as contrasted with the usual continuous cove lighting.

Colored light on surfaces of the same color provides intense saturation and brightness that is difficult to achieve in any other way. Such colors, of course, are best for accents rather than large areas, Spotlights on posters offer opportunities for increased attention and unusual effects. Tints are generally better than saturated colors.

Color Modeling

Such effects range from the subtle methods used on the stage to mold


While the effect of

actors faces and create depth in scenery to strange and bizarre treatments of conventional or abstract forms.

Panels carved in has-relief give a greater feeling of form with different colors from opposite sides. Such treatments might be used either on ceilings or walls. Here, again, combinations of colors can be chosen to achieve a mixture of reflected light that gives both patrons and room decorations a pleasant

g appearance.

Silhouette Lighting

This can be used to emphasize form, such as colored backgrounds to set off plantings, statuary, free standing letters for signs, and to emphasize the texture of decorative screens and wall treatments. Best results are generally obtained when the background is smooth in brightness, texture, and in contrasting color to the object in front.

Lighting for Texture

Rough surfaces such as striated or sand blasted plywood, coarse-woven fabrics, and embossed papers respond well to light at a grazing angle. This application requires equipment with good optical control, such as projector or reflector filament lamps, or duorescent lamps in wide reflectors of properly curved, polished metal.

Shiny surfaces, such as ceramic tile, embossed metals, brushed metals, leaves of plants, candy wrappings, and configurated glass or plastic take on sparkle when lighted by bright, concentrated light sources such as clear filament

this lighting by. itseltgis flat, such a treatment is useful as a4 base upon which variations in color and brightness can be superimposed. The final effect should prove to be soit, rather than sharp and dramatic.

lamps or projector spotlights. The same may be said for translucent materials lighted from behind as well as opaque ones lighted from the front.

Patterns in Brightness

A popular concept in marquee lighting involves the use of lines of light, such as nuorescent luminaries leading to the lobby. Such a treatment might be extended into the foyer and even into the auditorium, stepping the brightness down to adapt patronsi eyes gradually to lower levels of illuminations in the auditorium.

Also popular is a pattern of downlights in a regular or irregular arrangement to give sparkle and to create a dramatic effect. These might have the bottoms of refiector lamps exposed under the marquee and in the lobby, but shielded in foyer and auditorium.

Lengthswise rows in a narrow space tend to emphasize its length, while crosswise rows create the effect of greater width. A pattern of short cross-wise rows becomes visually a long element and, to some extent, combines the two effects. Such patterns could well be interrupted at the refreshment stand to give it additional emphasis.


Edge-lighting is a familiar technique for dramatic, decorative elements, signs and even fairly large-scale murals. Best results are obtained when the indentations in the sheet of plastic or glass near the lamp are shallow but become progressively deeper toward the un
1950-51 Theatre Catalog, 9th Edition, Page 23