We often encounter someone who is designing an event, and for them, design consists of table centerpieces and an entry arch. Or a few gobo projections on the wall. Or linens and chair covers.
While all of these things may enter the purview of the event designer, they really aren’t “design” by themselves; they are elements of design. How do these elements interact with each other, how are they composed in the space, and how will this composition impact the guest’s experience?
Good spatial composition not only allows for practical concerns like crowd flow or sightlines, it helps set the tone for the attendee’s comfort, their experiential understanding of the event’s messaging and theme, and so much more. With this said, you can’t just think “floor plan” and be thrilled that you squeezed all the tables in. You need to be able to compose in all three dimensions.
- Framing, Leading Lines, and The Rule of Thirds
If you’ve ever taken an art class, you’re probably familiar with these concepts. Jog your memory, because they matter a lot in event design. Here’s a refresher:
“Framing” is the method in which subject matter is presented with a surrounding element that draws attention to that subject. This can be large or small, the whole picture or small elements of it, like the way guest seating might surround the dance floor, or a proscenium might surround the stage.
- Symmetric or Asymmetric
When choosing one of these general approaches, there is no absolute right or wrong in event design. But, you need to know which way you’re taking your event, and apply your strategy consistently. With asymmetry, there are many more ways a composition can go wrong.
- Balance the Elements
While it should seem like an obvious concept, it’s surprising how many people miss this one. Balance, don’t clump. And if you do, make lots of clumps and spread them around fairly evenly. Fill spaces, but leave margins so the space doesn’t feel bloated. Move away from the walls a bit, because walls are part of the composition too.
- Massing and Weight
Where possible, keep the heavy colors, materials, and big scenic elements toward the bottom of the picture, with elements becoming lighter and smaller as you reach upward. This keeps the scene from feeling oppressive and over-heavy. We are challenged in lighting by requests for busy pattern projections on the ceiling….it can really make it feel like the roof is caving in if we don’t compose carefully. We lean towards lighter, theme-specific treatments overhead if at all possible, but when we can’t, we really have to amp up the eye-level lighting to keep the massing lower.
- Respect the Space
If you must bury your ornate ballroom in walls of drape, fine. I’ll assume the more plain venues were already booked, and your client is not a classicist. But if not, and the space’s architecture isn’t going to squabble with your theme and colors, then make your design work with the architecture, not against it. Don’t dress a 25’ tall column with a 12’ tall drape panel. The same goes for lighting. Why not make your projections fit the architecture? Every space has a compositional rhythm of its own, and it will enlighten your event to let this rhythm call at least some of the shots.
- Blending Opposites
For most, this is a difficult trick. But, if handled well, you can make a centerpiece out of old phones, stuffed ponies, and miniature coffee cups.
Everyone has a different approach to blending disparate design concepts into a palatable and effective presentation. For me, it’s about remembering that you are telling a visual story….and you are telling it to people who may be drinking, or at the very least are concerned about spilling soup onto their evening wear. In other words, you may not have their undivided attention. Thus, bigger counts. If you’re going to present it, own it. Over and over and over. Don’t be afraid to repeat a point in the story.
- Distract to Conceal
Love the venue but hate the wallpaper? This is where the old “hey, look over here” magician’s trick comes in handy. For lighting folks, when asked “I hate this carpet, can you do something to it?” we say “Yes. Let’s light something you like instead.” Lead the viewer’s attention where you want it.
- Color Choice and Composition
Really, any discussion of event coloring is it’s own discussion by itself, however a monochromatic color scheme may make your theme easier to execute, but it will completely eliminate the reason you chose the color in the first place by bombarding your guests with so much of it that their brains stop processing it as that color. So, pick a secondary, complimentary accent tone (no, grey and black are not colors). Use the above rules to work the secondary color into the design, and you’ll be fine!
Event lighting is a crucial part of the design in a space, it attributes to the feeling, emotion and tone you experience when you enter a space. The best moments we manifest with lighting are the ones where all of the elements and materials are seamlessly blended together and composed using many or all of these strategies.
LB
I am a seasoned designer and producer with extensive experience in entertainment activations and sponsorship branding solutions. Since starting my art career in 2007, I have primarily focused on the award show circuit, sponsorship tours, and pop-up activations for top-selling brands. It has been an absolute pleasure to collaborate and activate with incredible clients throughout my 15-year journey.
My commitment to achieving desired results is unwavering, and I consistently bring fresh vision to the table. I approach every project with utmost passion and immerse myself fully in the creative process. From a simple idea, I take pride in manifesting impressive activations, designs, and content respecting and embracing the journey it takes to bring them to life. The challenge itself is my reward, and I thrive on the exhilaration of exploring solutions, making adjustments, and generating new concepts during the design process.
My Hometown, Los Angeles has always been a profound influence on me, with its eclectic culture and vibrant creative energy. During my free time, I love immersing myself in the heartbeat of this wonderful city, absorbing its endless reservoir of creativity.
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