The third edition of The Scenographic Model stands as both a practical handbook and a reflective text on the role of physical models in theatrical design. Originally authored by Darwin Reid Payne and later expanded and revised by Ronald Naversen and Brad M. Carlson, this edition successfully bridges traditional scenographic practice with contemporary technologies and pedagogical needs. The book remains grounded in hands-on craft while acknowledging the evolving landscape of digital tools, making it a valuable resource for students, educators, and professional designers alike.
The introduction provides a strong historical foundation, situating scenographic model building within a lineage that dates to Ancient Greek and Roman times. While few physical artifacts from those early periods survive, the authors note that extant examples from the Paris Opera in the 1750s and 1760s provide concrete evidence of the long-standing importance of models in theatrical production. This historical overview is not merely decorative; it thoughtfully traces how the purpose and use of models have shifted over time—from presentation objects for patrons and institutions to dynamic tools for design exploration, collaboration, and problem-solving. The introduction also acknowledges the rise of digital modeling, emphasizing that while digital tools allow designers to quickly generate multiple perspectives, they remain fundamentally two-dimensional experiences viewed through screens. Physical models, by contrast, retain a tactile, spatial immediacy that continues to justify their relevance in contemporary practice.
Chapter 1, “Model Preparation,” excels in its thorough and practical discussion of the model-making workspace. The authors address often-overlooked considerations such as the color temperature of lighting, adequate table space, and organized storage for materials and files. These details underscore the idea that successful model building begins long before any cutting or gluing occurs. Equally strong is the discussion of safety, particularly ventilation and strategies for mitigating fumes from adhesives, paints, and solvents. This attention to health and safety reinforces professional standards and makes the text especially suitable for classroom use.
The chapter also offers a well-balanced overview of tools, accommodating both amateur and professional levels of skill. Rather than overwhelming the reader with exhaustive lists, the authors focus on versatility and adaptability. One particularly memorable and useful tip—that modelmakers often save old brushes to create textures or even model grasses—captures the book’s spirit of resourcefulness. The discussion of materials is similarly thorough, addressing common considerations such as durability, scale, texture, and cost, and helping readers make informed choices rather than prescribing rigid rules.
Chapter 2, “The Scenographic Modeling Process,” forms the technical core of the book. It clearly describes various types of models—study, white card, working, grayscale or tonal, presentation, and exibition—and explains their distinct purposes within the design process. The inclusion of a white card model exercise is especially effective for students, offering a structured yet open-ended project that emphasizes spatial thinking and clarity of form. The chapter’s exploration of specialty items—trees, rocks, carved objects, statues, moldings, and railings—demonstrates a wide range of approaches and materials, encouraging experimentation rather than imitation.
One of the most useful features of this chapter is the table of adhesives, which outlines which adhesives work best with specific materials while noting their advantages, disadvantages, and safety considerations. This practical reference alone justifies the book’s place on a modelmaker’s shelf. The sections on applying textures, painting, and finishing techniques are equally strong, with thoughtful attention given to surface preparation and layering processes.
However, the discussion of model furniture feels comparatively brief and underdeveloped. Given the level of detail afforded to other elements of model construction, this section stands out as a missed opportunity. Furniture often plays a critical role in conveying scale, function, and character, and a more descriptive treatment would have strengthened the chapter. That said, the authors partially compensate with useful ideas for creating small set dressing items such as rugs, lamps, plants, and wall hangings, which can significantly enhance the storytelling potential of a model. The chapter also broadens its scope by acknowledging other disciplines that rely on models, pointing readers toward resources and techniques outside theatrical design that can enrich their work.
Chapter 3, “The Scenographic Model in Fashioning Stage Space, Mood, and Atmosphere,” shifts the focus from technique to intention. The authors emphasize collaboration, particularly with directors and even actors, in determining what is truly necessary for the stage to function effectively. This chapter reinforces the idea that models are not ends in themselves but tools for communication and discovery. The discussion of mood, lighting, and atmosphere highlights how models can be used to convey meaning, emotion, and rhythm, making abstract concepts tangible for collaborators.
Chapter 4, “Experimental Modelmaking,” is one of the most engaging sections of the book. It encourages designers to cultivate collections of found objects as sources of inspiration, promoting a playful and exploratory mindset. The use of projectors to display images and textures within models is presented as a powerful way to test projection mapping concepts, explore surface treatments, and experiment with shape, color, and image without committing to final solutions. The discussion of found objects as conveyors of meaning—often on a subconscious level—adds a poetic dimension to the practice of model making.
The “Composition Chess” exercise stands out as a particularly fun and effective pedagogical tool. By having students collaboratively add found objects to a model stage while maintaining compositional balance, the exercise fosters teamwork, visual awareness, and responsiveness—skills essential to theatrical design.
Chapter 5, “Emergent Technology,” addresses the realities of contemporary practice. Acknowledging that the original edition predates many current tools, the authors thoughtfully introduce technologies such as 3D printing and scanning, laser cutting, CNC machining, vacuum forming, molding and casting, and AI. Rather than offering step-by-step instructions that could quickly become obsolete, the authors focus on conceptual applications and implications. The discussion of AI is especially nuanced, recognizing its potential to assist the design process while stressing the need for deep knowledge and critical interpretation on the part of the designer. Importantly, the authors note that AI is not collaborative in the human sense and struggles to adapt to the fluid, evolving nature of theatrical design.
The final chapter, “Photographing and Archiving the Scenographic Model,” provides practical guidance on documenting work for both presentation and archival purposes. The authors clearly outline the tools needed to photograph models effectively and discuss lighting strategies and camera functions across DSLR, point-and-shoot, and phone cameras. The brief discussion of digital image editing rounds out the chapter without becoming overly technical.
Overall, the third edition of The Scenographic Model succeeds in honoring traditional craftsmanship while embracing innovation and experimentation. Its balance of history, technique, pedagogy, and forward-looking discussion makes it an essential text for anyone engaged in scenic design or model making. While a few areas—most notably model furniture—could benefit from greater depth, the book’s strengths far outweigh its limitations. It remains a thoughtful, practical, and inspiring guide to the art and craft of scenographic modeling.
The Scenographic Model, Third Edition
Darwin Reid Payne, Ronald Naversen, and Brad M. Carlson Publisher: Southern Illinois University Press Publication date : August 29, 2025
ISBN: 978-0-8093-3976-1
Michelle Harvey is a theatrical and entertainment scenic designer; member USA 829