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	WPI Technical Theatre Handbook: Color
	Color Choosing colors for costume elements requires a careful balancing of artistic qualities, physical properties, and psychological association. In keeping with the theme of this book, the artistic aspect will not be stressed. Additionally, the psychological aspect is a design issue, and as such, it is covered in a later section. Since it is rare for the stage to be lit with perfectly white light, the interaction of lighting color and costume color must be considered. To understand how colors of light and colors of costume elements will interact, basic theories of both must be understood. A pigment can either reflect or absorb colors of light. A color will appear more brilliant when lit by a light of its own color. For example, if a red costume is lit with red light, the costume will appear as a very brilliant red. Similarly, if a color is lit with its complementary colors of light, it will appear very dark, as the light is mostly absorbed. Often it is difficult or impossible to find fabric in the desired color. When this is the case, dyes can be used to color material to almost any shade. Several brands of commercial dyes are available, such as the infamous RIT dye. Most come in powder form, requiring mixing with water before use. If several colors of the same dye type are available, they can be mixed to form new colors. Dyes mix by what is known as the subtractive mixing process. If the three primary dye colors (red, blue and yellow) are mixed in equal quantities, black is the result. Secondary colors (green, magenta and orange) by mixing the primaries. Still more colors can be formed by mixing the secondaries with themselves, or with the primaries. There are an infinite number of colors that can be created with this scheme. Figure 2.2 depicts the mixing of primary colors to obtain secondary colors. Figure 2.2: Subtractive mixing of the primary and secondary pigment and dye colors. Use of information in this document implies understanding and agreement with the copyright and terms of use. Specifically, no warranty is expressed or implied regarding the accuracy of the information contained within. YOU USE THIS INFORMATION AT YOUR OWN RISK. All trademarks are property of their respective owners. You must obtain permission from the author before using the contents of The Handbook for anything other than private use.	Table of Contents [Whole book in PDF 5.3MB] Contents Introduction Goals Sources Methods Conclusions Costumes Introduction Procurement Fabrics Color Patterns Fitting Rehearsal Clothing Design How to Begin Color Practicality Documents The Set Introduction Set Pieces Platforms Flats Stairs Rakes Other Structures Floor Coverings Construction Materials Tools Finishing Painting Types of Paint Mixing Paints Applying Paint Draperies Design How to Begin Documents Computer-Aided Design A Typical Set Construction at WPI Rigging Introduction Common Rigging Hardware Rope Wire Rope Thimbles, Wire Rope Clips, and Swages Shackles, Turnbuckles and Hooks Chain & Rapid Links Slings Fly Methods Non-Counterweighted Pulley Systems Counterweighted Fly Systems Lifts Chain Motors Flying Set Pieces Lighting Introduction Lighting Instruments Scoops Cyclorama Lights Parabolic Reflector Cans Fresnel Spotlights Ellipsoidal Reflector Spotlights Automated Instruments Color Color Theory Primary, Secondary and Complementary Colors of Light Light Mixing Practical Use of Color Glass, Gelatine and Plastics Dichroic Color Filters Patterns Dimmers Dimmer History Cables and Connectors Lighting Boards Control Design Washes Specials Cyclorama Lighting Color Lighting Angle Simulating Exteriors Lighting Design Paperwork Shop Order Instrument Plots Focus Sheets Computer-Aided Lighting Design A Typical Lighting Hang at WPI Audio Introduction Input Microphones Converting Sound to Electricity Directionality Analog Tape Digital Audio Tape (DAT) Compact Disc (CD) Mini-Disc (MD) Digital Samplers Computer Sound Cards Mixing Boards Signal Processing Equipment Equalizers Compressors and Limiters Noise Gates Effects Processors Output Power Amplifiers Speakers Crossovers Cabling and Connectors Line-Level Speaker-Level Automation Design Creating and Obtaining Effects Editing and Processing Effects Designing the Sound System The Input Section Signal Processing The Output Section A Typical Audio Setup at WPI Power Introduction Basic Theory Power Feeds Power Distribution Boxes Power Protection Important Considerations Special Effects Introduction Animated Costuming Smoke and Fog Pyrotechnics Acknowledgements References List of Figures Index About this document ...

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