Symmetry is the single most important design aspect when constructing a rig and programming a look for visual impact. Until it isn’t.
I found myself taking an extra 15 minutes out of my load-in to rearrange my six desk monitors. They were all the same brand and size, but two of them had rounded corners with black trim, two of them had sharp corners with gray trim and two of them had rounded corners with gray trim. I had to rearrange them because, while being distracted by the production manager, who was asking if I really needed six monitors, I did not notice that my stagehand did not arrange them symmetrically.
Oh the horror! I was not going to get any quality programming done without knowing that the rounded corners were on the outside, the sharp corners were on the inside and the universe was in balance. Symmetry is pinnacle in my looks, my workspace, my life and my designs. I use symmetrical trusses whenever possible. I incorporate wings into my pan and tilt effects. I make sure that my desk is dead-on-balls-middle of the room. I have lamped off many perfectly functioning fixtures just because the symmetrical partner crapped out. While plugging in the DVI cables on the now-symmetrical monitors, I felt the need to explore when and why symmetry is important to our industry. More importantly, I want to know when it’s not.
Why is Symmetry so Important to Us?
Symmetry exists all around us. When we look around, we will find plenty of examples of symmetrical things: our body, buildings, circle of ovals gobo, cats, dogs, etc. Symmetry is a perfect, harmonious structure of objects and atmospheres that can be divided into equal shapes and sizes. Symmetry is a magical and fascinating reflection of balance in terms of biology, geometry, art or even architecture.
You may not realize it, but the two hemispheres of your brain are busy working behind the scenes to seek out symmetry. We see beauty in easily repeatable patterns and forms. There are several reasons for this. The first is that humans are hard-wired to look for it. Our ancient ancestors may not have had a name for it, but they knew that their own bodies were basically symmetrical. This came in handy whether choosing a mate, looking at a cave sketch or fanning ACL beams.
How to Use Symmetry in Your Own Art
I would go so far as to say that symmetry in lighting can make or break a show. Our best intentions guide us toward making beautiful images with light. We generally default towards a symmetrical truss layout with a balanced amount of lights on either side of the stage. We do that because it makes sense to our pattern-oriented brain.
When I asked Brock Hogan, lighting designer for Train, how he incorporates symmetry in his designs, he responded, “I think symmetry is a default setting. Our brains are hard wired to find patterns and repetition in just about every aspect. It’s no wonder that we typically go to a symmetrical design out of instinct. So with that, the role of symmetry is like the golden rule, or the starting point of designing.”
I am a fan of symmetry just as much as the rest of humankind, but there is no need to hang half your rig backwards anymore. Modern consoles are more than capable of creating the same mathematically symmetrical looks without the hassle of inverting pans and tilts from SL to SR. You can generate an asymmetrical look much easier from a symmetrical rig than you can a symmetrical look from an asymmetrical rig.
While I am on the subject, let’s take a second to discuss the middle fixture. I have heard valid arguments on both side of the truss. If you have a 20-foot upstage truss and you have eleven fixtures, should you hang all eleven or hang ten and keep one as a spare? Even if the middle fixture can be hung right where the two trusses join together, how useful will that fixture be? Sure, it will look good for that first ACL fan, but when you go to do a cross position, it will inevitably become that one random beam that never pans because it does not have a symmetrical partner. I have also heard people who will always use the odd count of lights on the truss so that they can use the middle fixture for a DSC special. Please leave me a comment if you love or hate the middle fixture.
Don’t Forget Asymmetry
An article about symmetry would not be complete without including asymmetry. Symmetry is beautiful and easy on the eyes, but it does nothing to challenge our thought process. A pretty picture can please my homo sapiens instincts, but the right side of my brain has not been challenged, and no emotions have been evoked. Asymmetry is a way to pique the viewer’s interest. Asymmetry can be a welcome interruption into the drudgery of symmetrical Sharpy fans.
According to Kille Knobel, lighting designer for Pearl Jam and Soundgarden, “I vary from symmetry often, but depending on the design and demands of the show I always come back to it, it’s like a palate cleanser.”
Kille often strays back into asymmetry, however. “I don’t know if this is actually true, but someone a long time ago told me Cyndi Lauper said, ‘Symmetry is for pussies,’ which has been a consistent mantra for me ever since — particularly when I find myself clutching to the comfort and safety of symmetry.”
Knowing full well that my good friend and lighting designer for Jovanotti, A.J. Pen, would have a lot to say on the subject, I reached out to him while compiling this article. I could not have asked for a better response. Below is what he wrote, in all of its glory.
“I abhor symmetry. I love gigging at the Philips arena in Atlanta because it is so completely asymmetric. There, my audience focus gets to breathe, unconstrained by a rigidly symmetrical building. I always set up my console as far off center as is reasonable, and consequently I love theatres that have interesting FOH positions!”
A.J. continues with, “Here’s where I get to launch in to my tirade (which is probably why you asked me because I’m sure you have heard this speech before and wanted it in writing — touché, sir) about how a very small percentage of the audience sees a production from dead center, therefore symmetry is irrelevant to my design. As much as we strive to create an experience that is constant from city to city on tour, we are creating a live experience that happens at a specific point in time, and can’t be experienced the exact same way twice under controlled circumstances such as listening to a record or watching a DVD. Every seat in the house has a unique sight line to our production. So these precious few who are standing or sitting on or close to center are the only ones who really experience the symmetry. I have always felt that the more unique the venue, the more unique this fleeting experience is for all who attend. To me, an asymmetrical venue is a breath of fresh air.”
I thank Brock, Kille and A.J. for their input. But I will continue to strive for symmetry whenever possible. When symmetry is impossible, I call it a design choice and thank myself for coming up with such a unique look. I hope that this article will allow you to do the same on your next gig.
