Theatre Design & Technology - Summer 2024 - 13

suited for learning how to build a traditional
model, given its definitive off-line
existence. Just as one would be challenged
to sculpt a clay pot from watching a video
or learning to operate a table saw from
a blog post, learning to construct a traditional
model may be limited in the two-dimensions
of the digital space. This means
that the ideal learning environment for
traditional models is in-person, which may
be unattainable for self-taught artists. As
such, the resources for learning digital
model-making are much more accessible
to the everyday artist than resources for
traditional models.
Note that accessibility is another important
component to consider. Artists
with physical disabilities may find digital
manipulation to be a much easier, more
efficient process than hand-constructed
model pieces. The level of detail, specificity,
and clarity the designer can achieve
with some clicks and auto-calculations is
user-friendly in comparison to the dexterity,
steadiness, and precise eyesight required
for a traditional model.
Alternatively, some artists may find
that their understanding of the design and
ability to communicate through it thrive in
the actualization of space that accompanies
a traditional model. In that case, the
two-dimensionality of the digital model
may serve as a barrier.
Certainly, there is surely no onesize-fits-all
when it comes to accessibility
justice in theatrical environments and processes,
and model-making is no exception.
Each project should approach the question
of accessibility uniquely, considering
the model's intended life and function,
even after the design and build process.
For one example, some theatres have
taken to repurposing their models for
" touch tours, " where patrons with sensory
sensitivities or visual impairments can
familiarize themselves with the design of
the space, costumes, and props prior to
the production itself (Robson 2022). The
scenic model may be stationed for patrons
to touch and explore, contextualizing
and enriching the show they are about to
experience.
Digital Design Process
Making Changes and Decisions
One unique advantage of the digital model
is the ease with which the designer may
make changes and updates. It is relatively
easy to adjust the scale, shape, position,
Repository of Digital Model Resources
Modeling software:
* Vectorworks
* SketchUp
* Blender
* Cinema 4D
* Maya
* Revit
* AutoCAD
* 3DS Max
3D models:
* 3D Warehouse
* Thingiverse
* CGTrader
* Archive3D
* Google Arts & Culture's " Scan The
World "
* Sketchfab
* 123freemodels (123free3dmodels.
com)
* 3DCADBrowser
(www.3dcadbrowser.com)
* GrabCad(https://grabcad.com/
library)
Textures:
* Textures.com
* CGbookcase
* AmbientCG
* Polyhaven
* 3dtextures.me
* Sketchup Texture Club
* Plaintextures
* Archivetextures
* Cgbookcase(www.cgbookcase.com)
* Julio Sillet 3D Art(juliosillet.gumroad.
com)
* 3D Textures (3dtextures.me)
Supersites with models, materials,
and textures:
* Quixel Megascans (quixel.com/
megascans)
* Sharetextures (www.sharetextures.
com/assets)
* 3DModelFree (www.3dmodelfree.
com)
* Polyhaven (polyhaven.com)
* Poliigon (www.poliigon.com)
* Adobe Substance 3D Community
Assets (substance3d.adobe.com/
community-assets)
* Sharecg (www.sharecg.com)
* 3D Jungle (3djungle.net)
color, and other variables with a few
mouse clicks and keystrokes. This malleability
transforms the function of the model
from being simply a final product, as is
often the case with the traditional model,
into being an integral tool throughout the
design process. The model becomes a living
entity: iterative and flexible.
Rather than create new sketches or
renderings to test out a different orientation
or palette, the designer may drag and
drop objects throughout the digital space,
swap out textures and mappings, and type
new dimensions instantaneously. Scaled
three-dimensional human figures may
also be placed about the scene to provide
greater context and inform the design decisions
being made.
Perhaps more advantageous is
the digital model's ability to make these
adjustments after the model has been
" completed. " When a traditional model is
complete, it is complete: the dimensions
of a couch may not be changed unless
rebuilt, changing the treatment on a wall
may require disassembly of the entire
model in addition to multiple layers of
new paint and texturing, and scaling the
size of wood planks on a floor would be
a waste of time. In a digital model, those
changes may be made at any point in the
process within minutes. Many designers
know that, regardless of due dates, things
will always change. New discoveries are
made, methods are tested, timelines are
tightened, and budgets go over. Thus, the
ability to adjust after the due-by date is a
handy feature of the digital model.
It is worth noting that some traditional
model builders replicate the scenario
of using the model as a decision tool
during the design process. In this sense,
they might make multiple " experimental
models, " quickly fashioned with approximate
dimensions and white cardstock.
The time spent making each new piece for
ISSUE 2, 2024 | THEATRE DESIGN & TECHNOLOGY | 13

http://www.Textures.com http://www.3dtextures.me http://www.3dtextures.me http://www.quixel.com/megascans http://www.quixel.com/megascans http://www.sharetextures.com/assets http://www.sharetextures.com/assets http://www.3dmodelfree.com http://www.3dcadbrowser.com http://www.3dmodelfree.com https://grabcad.com/library http://www.polyhaven.com https://grabcad.com/library http://www.poliigon.com http://substance3d.adobe.com/community-assets http://substance3d.adobe.com/community-assets http://www.sharecg.com http://www.3djungle.net

Theatre Design & Technology - Summer 2024

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 2024