Lighting Design - Grade 11
Ohio Standards
Connection
Fine Arts –
Drama/Theatre
Creative Expression and
Communication
Benchmark B
Effectively use technology
and/or resources to mount
a performance.
Indicator 4
Create designs in a specific
technical area.
Lesson Summary:
Students read and analyze a play script for required lighting,
design the lighting for a play and produce all the
documentation necessary to communicate and implement
the design, which includes:
• Light plot,
• Cue sheet,
• Cued script.
Estimated Duration: Two to four days divided into
appropriate instructional units
Commentary:
This lesson is for students who have had prior instruction
about stage lighting. To benefit from this lesson, students
should have had hands-on experience with planning and
executing the light design for a performance. In addition,
students must have been exposed to the basics of theatrical
lighting such as use of color, hanging positions, lighting
instrument types and uses.
Pre-Assessment:
• Ask the class to brainstorm the steps for creating a
lighting design. Teacher should record ideas on the
chalkboard, white board or overhead projector.
• Ask students to suggest how a lighting designer might
communicate these ideas to others and list these on the
chalkboard, white board or overhead projector.
Scoring Guidelines: (Attachment A, Pre-Assessment Check
List)
Students should list the following:
• reading the script,
• investigating the stage space,
• determining the requirements of the play as outlined in the
script,
• meeting the production concept as outlined by the
director,
• budgeting,
• assessing available resources such as labor, equipment or
personnel.
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Lighting Design - Grade 11
Students should be familiar with communication tools such as ground plans, light plots and
cue sheets.
Instructional Tip:
If students do not demonstrate a clear understanding of the step for creating a lighting design,
the teacher should help the students complete the list and review design concepts.
Post-Assessment:
The students will create a lighting design for a scene or script based on a ground plan,
equipment list and budget provided by the teacher. Document the design with a light plot, a
cue sheet and a cued script. Present all work in standard theatrical format. (See Attachment
B, Post-Assessment.)
Instructional Tip:
The post-assessment may be completed during class time or independently as homework.
The teacher may choose to have students submit their written design work which includes the
light plots, cue sheets and cued scripts as post-assessment. Also, the teacher may opt to have
the student present his or her design to the class. The lesson can be conducted in a classroom
or an auditorium. Class size will determine how long the lesson takes.
Scoring Guidelines:
See attached rubric, Attachment C, Post-Assessment Grading Rubric.
Instructional Procedures:
Day One
1. Have the class read an excerpt or scene.
2. Have students look at and discuss a sample ground plan provided by the teacher. Note
scale, symbols, exits and entrances, sightlines, physical features and furniture.
3. Clarify any misunderstandings students may have about the excerpt or scene or the
sample ground plan for the excerpt/scene.
4. Break students into design teams of two to four students. Determine the best grouping
arrangement based on students’ ability levels or random selection, or allow students to
choose their own groups.
5. Have each team begin listing the lighting requirements of the assigned excerpt or scene.
Day Two
6. Within design teams, have students discuss potential lighting design ideas and the type of
lighting instruments needed to best accomplish their ideas.
7. Ask design teams to determine the acting areas needed for the excerpt or scene and label
them on the ground plan provided by the teacher.
8. Instruct each team to determine where each lighting fixture should be placed and mark it
on the ground plan.
9. Bring the class together as a whole and have each design team report to the entire class.
10. As a class, discuss and debate each design team’s ideas and concerns.
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Lighting Design - Grade 11
11. Using the students’ ideas, demonstrate how to create a standard light plot that indicates
the following:
• hanging position of the lighting fixtures;
• type of lighting fixture being used;
• focus of the lighting fixture.
Day Three
12. Review the processes involved in creating a light plot.
13. Separate the students into their design teams to review the excerpt or scene for cue
placement.
14. Have each design team determine where each cue should occur and mark it in the script.
Tell students that they should be able to defend their cue placements.
15. As a class, discuss students’ suggestions for cueing the show. List the students’
suggestions on the chalkboard, white board or overhead.
16. Using student input, demonstrate the proper way to cue a script.
17. Show the class how to document on paper an accurate and efficient lighting design and
discuss examples of the following:
• Area plot – a drawing that indicates where each pool of area light (acting area) is
aimed;
• Light plot – a scaled drawing that indicates where each light fixture is hung in
relation to the stage space and the scenery;
• Cue sheet – a numerically ordered list that indicates when each cue is to be executed
and a description of the cue itself;
• Instrument schedule – a list of all the lighting fixtures (instruments) used in a lighting
design which corresponds with the light plot and gives added information about each
lighting fixture such as type, brand, lamp, gel color, focus, circuit/dimmer/channel
assignment, etc.;
• Dimmer/channel hook-up schedule – a list that shows which dimmer and channel
controls each lighting fixture or group of lighting fixtures.
18. Assign post-assessment project. Review the requirements and answer any questions that
the students may have. (See Attachments B, Post-Assessment and C, Post-Assessment
Grading Rubric.)
Instructional Tips:
• United States Institute for Theatre Technology (USITT) publishes an industry-wide
accepted presentation form for lighting designs.
• Scaled templates for lighting fixtures are available from most theatrical supply houses.
These templates speed up the drawing process and improve the appearance of a student’s
work.
• Students should work in pencil to facilitate revision of work.
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Lighting Design - Grade 11
Differentiated Instructional Support:
Instruction is differentiated according to learner needs to help all learners either meet the
intent of the specified indicator(s) or, if the indicator is already met, to advance beyond the
specified indicator.
• The complexity of the design demands of the excerpt or scene or script can be modified
to suit the skill level of the class and the time available.
• The reading level of the excerpt, scene or script assigned can be modified to suit student
needs.
• Students could use lighting design computer software or a database program.
• The teacher or the class can read the excerpt, scene or script aloud.
• Gifted students or advanced students can pursue this lesson in greater depth. Students
who demonstrate greater interest can be allowed more time for exploration.
Extensions:
• Have students generate the prompt book, hanging schedule, instrument schedule, cross
sections and dimmer/channel hookup for the assigned script.
• Have students apply this lesson to actual production work.
• Have students explore the computer aids available to assist today’s lighting designers.
• Have students research historically influential lighting designers such as Adolph Appia,
Gordon Craig, David Hersey or Tharon Musser.
• Have students investigate careers in lighting design.
Home Connections:
• Have students read the text or scripts as homework.
• Assign students the post-assessment as independent work outside of class.
Interdisciplinary Connections:
• Mathematics: Have students calculate the diameter of a pool of light based on the beam
angle, beam spread and beam pattern for a variety of theatrical lighting instruments.
• Mathematics and Science: Have students calculate the number of foot-candles or
lumens striking an object on stage based on distance and type of theatrical lighting
fixture.
• Visual Arts and Science: Using wavelengths from specification data sheets available
from your local theatrical lighting supplier or on the Web sites of theatrical lighting
manufacturers, have students choose the color gels for a scene and compare the actual
choice with what the naked eye sees.
Materials and Resources:
The inclusion of specific resources and references to particular performers, playwrights,
designers or works of drama/theatre in any lesson developed by the Ohio Department of
Education should not be interpreted as an endorsement of the particular performers,
playwrights, designers or works of drama/theatre. The Ohio Department of Education does
not endorse any particular performers, playwrights, designers or works of drama/theatre.
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Lighting Design - Grade 11
The Web addresses listed are for a given site’s main page, therefore, it may be necessary to
search within the site to find the specific information required for the lesson. Please note
that information published on the Internet changes over time and the links provided may no
longer contain the information related to a given lesson. Teachers are advised to preview all
sites before using them with students.
Note: Some Web sites contain material that is protected by copyright. Teachers should
ensure that any use of material from the Web does not infringe upon the content owner’s
copyright.
For the teacher:
scripts; ground plans; chalkboard, white board, flip charts or overhead;
sample light plots; USITT standards and conventions
For the student:
scripts, ground plans, lighting templates, pencils, erasers, large
drawing paper
Vocabulary:
Area plot –
a drawing that divides the stage space into lighting areas and
labels the areas
Beam pattern –
the shape of the projected light
Beam spread –
description of how narrow or wide the light beam will be,
measured in degrees
Beam width –
the diameter of a two-dimensional slice through the light beam;
what size will the light beam be when it strikes a surface
Cue –
a signal or indicator for an action
Design concept –
the designer’s “big” idea or vision for the play that informs the
design
Dimmer/channel hook-up – a list that shows which dimmer or channel controls each
lighting fixture or group of lighting fixtures
Gel –
high-tempered sheets of colored plastic used in front of a light
instrument to color the light emitted
Ground plan –
a scaled drawing of the stage space with scenery and large prop
placement indicated
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Lighting Design - Grade 11
Vocabulary: (Continued)
Instrument schedule –
a list of the information about each lighting fixture on the light
plot
Light plot –
a scaled drawing of the stage space with the hanging positions
of all lighting fixtures indicated
Promptbook –
a notebook that contains all the information about a production
including script, blocking, and cues
Throw –
fixed distance; measurement from the lighting fixture to the
center of the object to be lit
Technology Connections:
• Students can use computer-assisted lighting design software to create light plots.
• Students can use a computer-based spreadsheet to create cue sheets.
• Students can use computer searches to identify standard theatrical format for lighting
design.
Research Connections:
Cunningham, Glen. Stage Lighting Revealed: A Design and Execution Handbook. Long
Grove, IL: Waveland Press Inc., 2002.
Essig, Linda. Lighting and the Design Idea. Florence, KY: Wadsworth Publishing, 1996.
Fiske, Edward B., ed. Champions of Change: The Impact of the Arts on Learning.
Washington DC: Arts Education Partnership, 2001.
Fraser, Neil and Richard Attenborough. Stage Lighting Design: A Practical Design. North
Pomfret, VT: Trafalgar Square Publishing, 1999.
Gillette, J. Michael. Theatrical Design and Production. New York: McGraw-Hill, 1999.
Jensen, Eric. Arts with the Brain in Mind, Alexandria, VA: Association for Supervision and
Curriculum Development, 2001.
Keller, Max and Johannes Weiss. Light Fantastic: The Art and Design of Stage Lighting.
New York: Prestel Publishing, 1999.
Pilbrow, Richard and Harold Prince. Stage Lighting: The Art, the Craft, the Life. Brooklyn
Heights, NY: Quite Specific Media Group, 1999.
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Lighting Design - Grade 11
Research Connections: (Continued)
Shelly, Steven Louis. A Practical Guide to Stage Lighting. Burlington, MA: Focal Press,
1999.
Wiggins, Grant and Jay McTighe. Understanding by Design, Alexandria, VA: Association
for Supervision and Curriculum Development, 1998.
Helpful Web sites
All major stage lighting manufacturers maintain detailed Web sites. Use keywords such as
stage lighting, stage lighting fixtures, stage lighting specifications, etc., to locate information.
Theatrical trade organizations or associations
• www.esta.org (safety and technical data)
• www.iatse.org (stagehand and designers’ concerns)
• www.plasa.org (lighting and sound professionals’ concerns)
• www.usitt.org (certification of designers and technical standards)
Attachments:
Attachment A, Pre-Assessment Check List
Attachment B, Post-Assessment
Attachment C, Post-Assessment Grading Rubric
Attachment D, Theatrical Lighting Symbols and Conventions
Attachment E, Supplemental Material: Common Theatrical Lighting Fixtures
Attachment F, Supplemental Material: Stanley McCandles-Area Lighting Method
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Lighting Design - Grade 11
Attachment A
Pre-Assessment Check List
Directions: Ask students to brainstorm the steps for creating a lighting design. Check off the
items listed by the students.
____ Reading the script
____ Investigating the stage space
____ Determining the requirements of the play as outlined in the script
____ Meeting the production concept as outlined by the director
____ Budget
____ Available resources: labor
____ Available resources: equipment
____ Available resources: time
____ Available resources: skill level of personnel involved
____ Other:
____ Other:
____ Other:
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Lighting Design - Grade 11
Attachment B
Post Assessment
Name
Script Title
Playwright
Date
Directions: You are to create a lighting design for the scene or script provided to you by the
teacher. Base your design on the ground plan, equipment list, and budget.
Prepare the following items using standard theatrical symbols and conventions to document
your design:
• A light plot in ¼” scale;
• A cue sheet;
• A cued script.
Include the following on your light plot:
• A framed border;
• A title block;
• A lighting instrument legend;
• Placement of all lighting fixtures;
• Appropriate notation of instrument type, lamp wattage, get color, focus by area and wash,
and gobo (pattern), if used.
Include the following in your cue sheets:
• Show heading and information;
• Cue number;
• Page number from script indicating cue placement;
• Description of the cue including
o Indication of areas/focus in use,
o Indication of intensity of the lighting (in percentage with 0%=darkness and
100%=full intensity),
o Indication of lighting movement (e.g., fade to black, fade up, fade down, cross fade,
follow),
o Time of cue (i.e., how long the execution of the cue lasts, usually listed in seconds).
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Lighting Design - Grade 11
Attachment B (Continued)
Post Assessment
Present your cue sheet clearly, concisely and neatly. Use a table to format your cue sheet.
For example:
Cue # Cue Description
Time Script Page # Notes
1
Preshow – Houselights at 100%
1 sec. Pg. 1
Warmers on stage curtain at 25%
2
Begin Show – Houselights and warmers fade to 0% 7 sec. Pg. 1
Indicate the following on your cue sheet: The cue number and exactly where in the script the
cue should occur.
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Lighting Design - Grade 11
Attachment C
Post Assessment Grading Rubric
1
Design
reflects the
intent of the
scene/script
with only
minor errors.
0
Design does
not reflect the
intent of the
scene/script.
Design
reflects the
needs of the
scene/script
with some
minor errors
and/or
omissions.
Light plot
Light plot
Light plot
Light plot
Light plot
clearly and
accurately
communicates contains
accurately
communicates the design
major errors
communicates the design.
with only
or
the design.
minor errors
omissions.
or omissions.
Cue sheets Cue sheets
Cue sheets
Cue sheets
Cue sheets
clearly and
accurately
communicate contain
accurately
communicate the designer’s major errors
communicate the designer’s intent with
or
the designer’s intent.
only minor
omissions.
intent.
errors or
omissions.
Cue
Cues
Cues
Most cues
Some cues
placement
artistically
appropriately placed
appropriately
placed.
placed.
appropriately. placed.
Use or
Specified
Specified
Most
Some
resources
resources are resources are specified
specified
(equipment, effectively
appropriately resources are resources are
budget,
used.
used.
appropriately appropriately
space)
used.
used.
Design does
not reflect the
needs of the
scene/script.
Intent of
the scene/
script
Needs of
the
scene/script
4
Design
effectively
and
artistically
reflects the
intent of the
scene/script.
Design
effectively
and
artistically
reflects the
needs of the
scene/script.
3
Design
effectively
and
appropriately
reflects the
intent of the
scene/script.
Design
effectively
and
appropriately
reflects the
needs of the
scene/script.
2
Design
appropriately
reflects the
intent of the
scene/script.
Design
appropriately
reflects the
needs of the
scene/script.
Not completed.
Not completed.
Not completed
or
inappropriate.
Resources are
used
inappropriately.
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Lighting Design - Grade 11
Attachment D
Theatrical Lighting Symbols and Conventions
Common Lighting Instrument Symbol Shapes
Followspot
Ellipsoidal
Reflector
(leko)
Source 4 PAR 64
8”
Fresnel
14”
Scoop
Sriplight
Note: These are the shapes of some of basic stage lighting equipment in ½” scale. For more
detailed and specific notation consult a field template for stage lighting equipment.
Standard Lighting Instrument Notation
Area/Focus
Gel color
Pattern/Gobo
Lamp wattage
Dimmer/Channel
Instrument Number
ERS with a Gobo
Note: This example features an ellipsoidal reflector system (leko); however, the notation on a
light plot contains the same information for all lighting fixtures.
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Lighting Design - Grade 11
Attachment E
Supplemental Material: Common Theatrical Lighting Fixtures
Traditional theatrical lighting fixtures usually are divided into two broad categories:
• Floodlights – lighting instruments without a focusing lens that produce generally soft,
diffuse light that is not shapeable
• Spotlights – lighting instruments with a lens system that produce controllable light
The most common floodlights include the following:
• Scoops – large scoop-shaped lighting fixture that contains a light source (lamp) and a
reflector; produces a soft, diffuse light with a circular beam pattern; often used for fill
light or lighting scenery and backdrops or cycloramas
• Striplights – a long rectangular trough of multiple lamps circuited in a repeating pattern;
usually six feet or eight feet in length; usually circuited in threes (every third lamp is
wired onto the same circuit) or fours (every fourth lamp is wired onto the same circuit)
which allows for a variety of colors; most often used for fill light or lighting scenery and
backdrops or cycloramas; referred to as borderlights when hung above the stage and
footlights when positioned on the stage floor
• PAR (Parabolic Aluminized Reflector) – the most common stage sizes are PAR 36 (lamp
housing four inches in diameter), PAR 48 (six inches in diameter), PAR 56 (seven inches
in diameter), and PAR 64 (eight inches in diameter); comprised of a light source (lamp)
which is sealed and contains the filament, reflector and lens all in one, much like an
automotive headlight; considered a floodlight because the sealed lens’ position relative to
the filament cannot be altered; produces a rectangular beam pattern with soft-edges; very
rugged; beam pattern can be altered through the use of barndoors or tophats; direction of
beam pattern can be altered by rotating the lamp within the light fixture; seldom used in
the theatre except for special effects, but used extensively at rock concerts, especially in
combination with smoke/haze machines
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Lighting Design - Grade 11
Attachment E (Continued)
Supplemental Material: Common Theatrical Lighting Fixtures
The most common spotlights include the following:
• Fresnel – most common stage sizes are the 6-inch and 8-inch (referring to the diameter of
the lens) although 3-inch can be used for special effects; comprised of a light source
(lamp), a spherical (dish-shaped) reflector, and a Fresnel (stepped) lens; produces a softedged circular beam pattern; has a variable beam spread; beam pattern can be shaped
through the use of barndoors or tophats
• Ellipsoidal Reflector System (ERS) – also known as a leko; comes in a variety of beam
spreads and forms; comprised of a light source (lamp), an ellipsoidal (half-ellipse shaped)
reflector; produces a hard-edged circular beam pattern which can be made diffused by
throwing the light out of focus and can be altered through the use of shutters (internal
framing mechanisms) or gobo (patterns) as well as tophats.
• Paralipshere – an improvement of the ERS; contains a parabolic reflector focused on the
lamp filament and a spherical reflector focused on the bulb, its diachronic reflector
produces a cooler light beam than the traditional ERS; improved optical brilliance (clean,
crisp white beam of light over an even field); watt for watt, outshines traditional ERS;
uses shutters and gobos to shape the beam pattern; produces a hard-edged pattern but can
be made diffused by throwing the light out of focus; often referred to as Source Fours
• Followspot – a spotlight that is mounted so that it can “follow” the performer onstage;
variety of types and sizes
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Lighting Design - Grade 11
Attachment F
Supplemental Material: Stanley McCandless-Area Lighting Method
Stanley McCandless, a professor from Yale University, was a pioneer in teaching stage
lighting. Since the 1930s, theatre teachers have continued to use the precept he outlined in A
Method of Lighting the Stage and A Syllabus of Stage Lighting as the basics for their
students.
McCandless’ area lighting centered on the idea that the acting space onstage could be
divided into lighting cylindrical areas of about eight to 12 feet in width. Two lighting
instruments that are mounted above and in front of the performer light each area. One
lighting instrument is positioned 45 degrees to the left of the performer, while the other is
positioned 45 degrees to the right of the performer. The primary purpose of this pair of lights
is to illuminate the performer’s face.
McCandless suggested that one of the pair in an area be gelled in a warm color such as
amber or pink as a highlight, while the other be gelled in a cool color such as pale blue or
lavender as a shadow. He also suggested that spotlights be used for area lighting. Above the
stage, 6-inch or 8-inch Fresnels should be used. From in front of the proscenium, ellipsoidal
reflector systems, also known as ERS or lekoes, or Source 4 be used.
Each area should overlap with all adjacent areas so that when multiple areas are
illuminated simultaneously, they blend together and provide even illumination across the
stage.
McCandless also suggested using scoops or striplights to illuminate scenery and
backdrops. He also encouraged the use of borderlights and footlights for toning and blending
lights.
McCandless allowed for the use of “specials” – any lighting instrument not used for area
lighting, toning, blending or scenic lighting. For example, sunlight through a window, a
warm glow near a fireplace, a pool of light cast by a streetlight, a pool of light for a specific
moment in a show, etc.
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Lighting Design - Grade 11
Attachment G
Supplemental Material: Functions of Lighting
Theatrical lighting serves many purposes. Its primary purpose is illumination. Stage lighting
needs to illuminate what the director desires the audience to see at any given moment in the
play.
The needs of the scene or script inform lighting design. Once the basic need for visibility is
met, these needs can be addressed. This would include the following:
•
•
•
•
•
•
Mood
Selective focus (directing the audience’s attention in specific directions)
Establishment if setting
o Time
o Location
o Environment
Establishment or reinforcement of theme and/or motif
Stimulus for character response (motivation)/Advancing the plot
Artistic composition & modeling
The lighting designer achieves his or her design through the manipulation of the controllable
qualities of light which include the following:
•
•
•
•
Distribution
Intensity
Movement
Color
Instructional Tips:
Mention must be made of safety and maintenance. Lighting instruments must be used per
manufacturers’ specifications. The designer must consider where he or she positions a
lighting fixture and how the lighting fixture is used. For example,
• Most theatrical lighting instruments contain a 300 to 1,000 watt lamp, which emits
enough heat to cause a fire if placed too closely to stage draperies or scenery.
• All lighting instruments have baffles that allow heat to escape the fixture. If these baffles
are obstructed, the life of the lamp may be shortened at best while a fire may result at
worst.
• Lighting fixtures are designed to hang with a C-clamp, bolt, quick release clamp, or other
manufacturer approved device. They should not be hung in any other in any other
manner.
• Fixtures must be kept dust and dirt free in order to avoid hazard, along with being
protected from moisture.
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