Lighting Design Handbook, , McGraw-Hill Ryerson, Limited, 1990, 0070684812, 9780070684812, 458 pages. .

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This will be the first ever comprehensive handbook on nearly every aspect of lighting technology, design, and the professional practice of lighting design. Richly illustrated with hundred of photos and lighting plots, including a 16-page colour insert demonstrating the principles of colour in lighting design.

Lee Watson and his Lighting Design Handbook were both ahead of their time and behind the times. A brilliant Lighting Designer Lee's credits spanned 15 Broadway productions in the mid 1950s and early 1960s and then brought the art of lighting design to Operas, Industrial shows, and the Seattle World's Fair.

If you are looking for a book on how to program modern moving light shows avoid this book as it is way behind the time! While the moving and blinking light shows popular today existed when Watson created this handbook, they were relegated to providing the visual eye candy associated with fairly boring music.

I was fortunate enough to design scenery for several productions where Lee Watson provided the lighting design. I know from that experience how clearly his Handbook takes you through methods and examples of how lighting has become an expressive art form. Also, as a contemporary of most of the 20th Century Lighting Designers he also includes ideas and thoughts from these skilled professionals to stimulate your imagination.

Watson was born in Charleston, Illinois and is a graduate of the . After military service that included fighting in the Battle of the Bulge, where his left hand was paralyzed,[1] he returned to the US and received a Master of Fine Arts from in 1952.7 Lee often spoke of his Yale classmate, Lighting designer and struggling to survive in New York, "eating oranges that fell from fruit trucks."[2]

Watson designed lighting for 42 Broadway productions,6 from 1955-1961. Watson's first Broadway design was Harbor Lights which opened on October 4, 1956. Watson was lighting designer for the Tony award-winning world premiere of The Diary of Anne Frank alongside Tony Award-winning Scenic designer and Tony award-nominee Susan Strasberg as Anne in 1956. Other noted designs included the world premiere of 's with award-winning actor Richard Harris (1956), and A Moon for the Misbegotten at the now-demolished Bijou Theatre (1956).6 7

The Internet Broadway Database (IBDB) notes that Watson also designed Girls of Summer and Protective Custody in 1956, the musical review Mask and Gown, The Cave Dwellers, Miss Isobel, and the musical comedy Portofino in 1957. Lighting Designs in 1958 included the musical comedy review The Next President for which he is also credited as Scenic Designer, The Night Circus and off-Broadway at the York Playhouse with Anne Meacham. In 1959, he designed The Legend of Lizzie. 1960 brought A Lovely Light (also Scenic Design), The Importance of Being Oscar (also Scenic Designer), and in 1961, Do you Know the Milky Way?[3]

For 12 years, he lighted numerous Off-Broadway productions and worked in with CBS network TV and other television groups.7 His lighting credits include over 60 operas, The Seattle World's Fair, The Cincinnati Ballet, regional theatres, industrial shows, and many architectural projects.6 The Internet Movie Database shows that Do you Know the Milky Way? was actually a documentary short directed by Colin Low.[4] Watson is listed in the IMDB as the lighting director in 1951 for one of the first episodes of the 1950s game show Down You Go, filmed in for the Dumont Television Network.[5] Watson taught lighting design at Purdue University in the graduate scenography program and undergraduate theatre core until 1989. His students remember his precise questions about a project's clues as to the design needed.5 The dancer Loie Fuller was a favorite subject when describing the integration of light with performance.10

Watson died at home in Lafayette, IN in 1989 after a long struggle with Leukemia.5 After his death, a bright, periwinkle bowtie was attached to the lighting grid in the (now defunct) Experimental Theatre in Stewart Center on the Purdue campus.5 He was survived by his parents, Dallas V. and Hazel Dooley Watson of Charleston.7

Watson served on the Board of Directors of the International Association of Lighting Designers and of local #829 in New York City. He was formerly president of the Institute for Theatre Technology (1980–82)[6] and a USITT Fellow, as well as holder of a USITT Founders' Award.

The Watson Memorial Scholarship Endowment Fund in memory of Dallas, Hazel and Leland Watson is given by the Hazel Watson Scholarship foundation, which was established through private contributions as a tribute to Mrs. Hazel Watson, one of Coles County's most prominent community leaders,9 and is offered to a student who is currently accepted and enrolled at Eastern Illinois University with a major of study in business, political science, or theatre with a preference given to theatrical lighting.8

Watson spent his final years revising two books, one on the practice of lighting design and also the history. Watson lamented that his publishers had asked him to separate the history books into smaller projects, which he agreed to do, then ended agreements with several publishers. Watson worried on more than one occasion that his parents, who were his only living family, would dispose of all the history materials, stacked neatly with hundreds of photos in his Purdue office. At the time of his death, the history was not published.[7]

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Offers detailed information on lighting for building interiors and landscape architecture, theater, , television, parks, fairs, night clubs, and discos. Examines the design aspects of the different specialties; the lighting applications of such new technologies as fiber optics, lasers, holograms, and computers; and professional subjects such as union rules and entrance exams, professional organizations, income ranges, taxes, training and education, and employment prospects. Well illustrated with photographs and lighting plots. 11x81/2". Annotation c. Book News, Inc., Portland, OR (booknews.com)

In dance the primary goal of the designer is to reveal the sculptural qualities of the dancer's body. The figure on the left is side lit by two lamps. One mounted on a boom in the stage left entrance and the other hung on a boom in the stage right entrance. Notice the edges of the figure are well lit, but the front of the body is in shadow.

A dance concert? Six lamps on three booms stage left and six lamps on three booms stage right. Each position would hold two lamps. One light would be hung 8' off the deck (head high) and the other 2' (shin buster) from the floor. The First Boom should be placed at the down stage edge of the apron, the Second in the first entrance, and the Third Boom up stage, in the third entrance. 4. Who developed (or invented) dance lighting? Most dance lighting techniques originated with the work of Jean Rosenthal (1912-1969). Shortly before her death in 1969 she wrote about dance lighting at the end of the Second World War. Ballet was expected to be pink and pretty. The systems for lighting it were inflexible. Equipment, standard in European opera houses, consisted of first-pipe positions, a boom or tormentor, one left and one right. Supplemental lights were borderlights and strips of light above or on the sides, simply hauled in, one to twenty of them, at four feet to six or seven feet. There were a couple of what we privately called "belly-button crosslights." (Actually, they hit the crotch.) So the first ten feet of the stage was lit for visibility and available for change of color -- blue for Swan Lake, pink for Les Biches. After that there was just scenery light, flat and without depth or mood.

My system required fixed booms along the side at every entrance as a basis for flexibility and for lighting the whole stage. That made the ballets look different, which roused the ire of the European choreographers. (The Magic of Light. 1972. pg. 117-118) The emphasis on "fixed booms...at every entrance" is mine. Most of Rosenthal's dance plots used four booms per side with two (American Dance Festival) to four (The New York City Ballet) to six (The Martha Graham Dance Company) to twelve (Ballet International) lamps per boom.

With which dance companies was she associated? She began working with the Martha Graham company in 1934. During her 35 year tenure she designed 53 productions. Her last work for Graham, The Archaic Hours, opened two weeks before her death. She was also the resident lighting designer with the New York City Ballet between 1948 and 1957. Works carrying the "Lighting by Jean Rosenthal" credit are still in the Ballet's repertory.

5. Who is Thomas Skelton? Thomas R Skelton (1928-1994), one of America's most distinguished commercial New York lighting designers, taught at Yale University and the New York Studio and Forum of Stage Design. Like Jean Rosenthal, much of his work was in the world of dance. He designed for The American Ballet Theatre, The Joffrey Ballet, The New York City Ballet, and The Ohio Ballet. Like Stanley McCandless at Yale, he developed a "method" to light the dance stage which was published in the 1950's.

When, and in what magazine, did he publish his approach to dance lighting? Tom Skelton's "method" was published as The Handbook of Dance Stagecraft in Dance Magazine between October 1955 and December 1956. His reference to lighting equipment is out of date, but the techniques he outlines are still valid. Link to an electronic copy of the Handbook... hosted by the University of Minnesota in Duluth.

What are his twelve "areas" of dance lighting? Unlike McCandless' acting areas which relate to stage geography, Skelton's dance "areas" relate to a dancer's movement. For example, a ballet dancer who enters up left and exits down right would be using Area 2: The DR Diagonal. The twelve dance "areas", in order of importance (according to Skelton) are...

Left Path (Lights 3 & 6) These twelve "areas" could be lit with a minimum of 15 lamps. Three in the Cove, three on the First Electric, one in the center of the Second (mid-stage) Electric, and four on each side. The four side lights would be divided between three booms: two on the down stage torm, and one on each of the center and up stage booms. Each light would need to be separately controlled. (Source: Thomas Skelton, "Handbook of Dance Stagecraft," Dance Magazine, December 1955, page 62+)

In addition to the 12 area, 15 lamp approach to dance lighting, Skelton also wrote about color theory (Dance Magazine, January 1956) and briefly describes how to light a modern dance (Dance Magazine, March 1956), a jazz dance (Dance Magazine, April 1956), and a classical grande pas de deux (Dance Magazine, April 1956).

Tom Skelton's Lighting adapted by Jennifer Tipton for the Paul Taylor Dancers One of the first productions I worrked at Shryock Auditorium while I was an undergranduate student at Southern Illinois University in Carbondale was a dance concert by the Paul Taylor Company. The lighting designer was Tom Skelton. The touring stage manager who adapted Skelton's design to the house equipment (12 dimmers and 12- 8" Fresnels) was Jennifer Tipton. We borrowed 6 Ellipsoidals for side lights from the Theatre department giving us a total of 18 units.

The two front lights were hung on box booms. The pipe ends on the the First and Second Electric were used to create a general, full stage wash. These eight units were all gelled in lavender. The three back lights on the Third Electric were clear. The center lamp on the First electric was focused into the center-center area. (I don't remember the color.) The six side lights were mounted at head height and were regelled between numbers.

8. Briefly describe Jean Rosenthal's "basic dance light plot." Rosenthal's "basic dance plot" used between 6 and 12 lamps front of house, 13 units on the First Electric, 5 instruments on the Second, Third and Fourth Electric, and 16 lights on 8 booms. These 52 (to 58) units were controlled through 12 to 14-- 3,000 watt dimmers and 12-- 500 watt dimmers in an auxillary (or PreSet) board. House border lights and foot lights, if available, were used for general washes and cyc lights. This analysis is based on plots from the American Dance Festival (1949-1950) (a PDF file) and Page Ballet's French Tour (1950) which are located in the Jean Rosenthal Collection at the University of Wisconsin in Madison.

Brigham 62: Light Scarlet (also known as Bastard Amber) This group included two warms (Flesh Pink and Bastard Amber), a neutral (Special Lavender), and a cool (Steel Blue). Tom Skelton adds ... Any three of these four colors ... coming from different angles will collectively flatter all costumes and all makeups. That's a pretty big statement but I think it is pretty well time-proven. Furthermore, these four colors are sufficiently different to permit a color range for mood value; the non-used colors then are dimmed to provide only a little light to fill in the shadows. ("Handbook of Dance Stagecraft," Dance Magazine, January 1956) In addition to the four basic tints, both Rosenthal and Skelton developed a set of "special effect colors." These included http://kgarch.org/74n.pdf http://kgarch.org/2ll.pdf http://kgarch.org/8nk.pdf http://kgarch.org/a7b.pdf http://kgarch.org/cja.pdf http://kgarch.org/1nb.pdf http://kgarch.org/8lm.pdf http://kgarch.org/d4.pdf http://kgarch.org/8j7.pdf http://kgarch.org/2fa.pdf