As a producer of color filters for the performing arts, Rosco has focussed on the science of color for nearly 100 years. But stagelighting is an art, not a science. The people who use Rosco filters are artists who manipulate the spectrum to enhance stage pictures, dealing with appearance, reflectance, perception, contrast and psychological impact. This guide was developed with twoobjectives. First to provide some background in the science to those who utilize color artistically and second, to offer some recommendations for color selection.Most of the colors in the Rosco range have been created by designers over the years to achieve specific effects and the range is extensive.By additive mixing using multiple sources and by using multiple filters in units, a virtually unlimited palette can be achieved. Apparentcolor can also be made to appear “cooler” at a higher dimmer setting and “warmer” at a lower intensity, permitting further variation. Itis unlikely, however, that the range is complete. Designers will continue to innovate and the artistic needs will evolve. Coincidently new dyeContributors to this guidechemistry and plastics technology will permit the development ofnew Rosco filters not currently possible.Ken BillingtonUSING THIS GUIDEThis guide was developed to provide designers with suggestions onhow specific Roscolux colors might be used for lighting the stage. Wehave grouped the colors according to some commonly accepted categories.Front Light is divided among Warm, Cool, and Neutral groups forlighting acting areas. These color distinctions help to establish mood,emotion, time and place. The colors included are generally flatteringto skin tones and enhance scenery and costumes.Accent Lighting is also divided between Warm and Cool. Theseslightly more saturated colors may be used to shape and define anobject or person. Typically, accent lighting is focused from side orback positions or, on occasion, as down light.Natural Light on stage usually comes in one of four variants: warmsunlight, cool daylight, moonlight, and cyclorama wash lighting usedto create the illusion of a sky/horizon line. This section of the guidemakes recommendations for choosing colors appropriate to each ofthese applications. Here you will find suggestions that render bothtrue, natural lighting and strong, stylized sky lighting. Your designand the needs of the play will determine which is the right choice foryou.Special Effects lighting encompasses a broad category. Listed in thissection are strong, stylized colors that can be used to create dramaticlighting effects from fire and rain to surreal, ominous atmospheres.Again, the choice of color is purely personal and determined by theneeds of the overall design.Choices are not immutable. As Tharon Musser has said, “If a colordoesn’t look right on stage, just change it!”2He has designed the lighting for over 50 Broadway productions and garnered six Tony nominations in the process. The long term PrincipalLighting Designer for New York’s Radio City Music Hall, he has workedextensively in television and architectural design.Donald HolderDonald Holder’s brilliant lighting design for the Broadway production of "The Lion King" earned him the triple crown of theatricalawards: The Tony Award, the Drama Desk Award and the OuterCritics Circle Award.Brian MacDevittBrian MacDevitt has designed lighting on and off Broadway in NewYork and in major regional theatres around the country. His awardsinclude an Obie, the LA Ovation and Drama Logue, a Bessie andLucille Lortel Award. He teaches at NYU Tisch School of the Artsand Purchase College.Peter MaradudinHe has designed the lighting for over 200 productions for virtually everymajor regional theatre in the country. He has earned nearly a dozenDrama Critics Circle awards in six different West Coast cities. He is thefounding principal of the lighting design company, Light and Truth.Richard PilbrowWidely regarded as the dean of lighting designers for both the West End andBroadway, he also heads Theatre Projects Consultants. He has authored twomuch acclaimed books on stage lighting.Kevin RigdonKevin Rigdon is now the Associate Director of the Alley Theatre inHouston and Professor of Design at the University of Houston. HisBroadway credits include “Grapes of Wrath”, for which he received TonyAward nominations for both scenery and lighting, “Buried Child” and therevivals “A Streetcar Named Desire” and “Our Town”.Jennifer TiptonJennifer Tipton’s many awards for lighting in dance, theatre andopera include two Tonys, two Bessies, two American Theatre Wingawards, two Obies and two Drama Desk Awards. A veteran teacherat the Yale University School of Drama, she has influenced a generation of lighting designers.

Designers On ColorColor has been an important component of stage lighting since the days of candles and silk. Wereproduce here comments on the subject from the published works of some leading lighting designers:Gilbert V. Hemsley, Jr.“I think one of the greatest joys of lighting design is communicating to an audience how you, as a designer, feel about and understand color. Walking out from a darkened theatre on a sunny Springafternoon and feeling my response to the R02 of the warm sunshine, theR64 of the blue sky and the R87 light green shadows of the new leavesmakes my head spin with the realization that I can translate my colorexcitement to a production of ‘You Can’t Take It With You’. I can makean audience see and feel the excitement of a beautiful Spring afternoonwhen the curtain goes up in a darkened theatre.It may sound strange, but I carry a color swatchbook aroundin my head. As I see, feel, and respond to color and color combinationsin the real world, I make mental notes of the colors I see and myresponses to them. I have a storehouse of emotional and rationalresponses and the colors that go with them.In learning to be artists as lighting designers it is exhilaratingto have a full personal response to color and color combinations in thereal world and then communicate them to the real audiences of thetheatre world."Tharon Musser“The important thing to remember is that there are no rulesin lighting with color. The design has to look right to you – it has toreflect your taste.My advice about color is this: Don’t sweat it! It’s the easiest,cheapest thing to change. If a color doesn’t look right on stage, justchange it.”Nananne Porcher“How does one learn what color will do? The obvious answeris, light a lot of shows. But that is hard on the directors and performersyou learn on.So learn by experimenting. Get samples of a wide range ofcolors in various densities. Set up a couple of spotlights in separate dimmers. Mix and blend and dim your colors and look and remember and if nature has provided you with a retentive visual memory, you areon your way to understanding color.You should never stop learning and remembering. Store up inyour sight banks every sunset, every dawn, how light reflects off snow,what happens when street lights fall on a new color and change thatcolor how everything is black and white at a low light level. Make thehuman eye work for you as a designer. And make your own eyes workfor you all the time.”Richard Pilbrow“Fractured white light reveals color. Part of the magic ofstage lighting is taking complex multi-directional palettes of color andre-combining them into lucid, dramatic light for the stage.When I began lighting, only about fifty shades of Cinemoidwere available. I often used them two or three to a frame seeking newpossibilities. Then I discovered the Rosco range and first brought thiswonderful range to Britain. Now the possibilities are almost limitless.Color brings life, texture and vibrancy to the stage. I love it!”Jennifer Tipton“The use of color is key to a lighting designer’s craft. I amconstantly reminded as I watch the light change from the brilliance of asunny morning to the early dusk of a winter afternoon, how much colorthere is in natural so-called ‘white light’ and how much variety in colorcan be made by simply brightening and dimming a light. It is a wonderfully juicy thing to ‘paint’ with colored light – to use light expressionistically – to make the audience feel the scream, live the blues ordance with danger. Or to paint with colored light can simply be aboutthe beauty of juxtaposing one color next to another and being able tochange it from one moment to the next for purely compositional reasons. But I am also madly in love with the ravishing light that can bemade from the use of the very limited range of colors – lavender, blueand clear – that makes the skin glow no matter what color the skin maybe.”David Belasco“The greatest part of my success in the theatre I attribute tomy feeling for colors, translated into effects of light.” (1919)"Color brings life, texture and vibrancy to the stage", according to Richard Pilbrow. His lighting design for "ShowBoat", shown at left above illustrates this idea vividly. The late Gilbert V. Hemsley, Jr. said that "I carry a colorswatchbook around in my head". An example of his brilliant application of color is shown in the photo at right.3

UNDERSTANDING THE SPECTRUM AND SED CURVESVisible light is the small part of the spectrum of electromagneticradiation between approximately 400 and 700 nanometers. Eachwavelength has a “spectral signature”, or color, ranging from violet at 400 through indigo, blue, green, yellow and orange to red at700. The combination of these colored wavelengths creates whitelight. Colored light can be described as the presence of certainwavelengths and the absence of others.As a reference, the peak intensity for violet is 440, blue 480, green520, yellow 570 and red, 650.Most Rosco colors are blends so the curve will have multiple peaks.The graph for R54 Lavender for example, shows a high componentof both violet and red.(Fig. 2)A color filter functions by selectively transmitting or blocking(absorbing) spectral elements of a beam of white light emanatingfrom a light source. For example, a Roscolux 27 Medium Red filter will allow red light frequencies to pass through and absorb blueand green. Of the radiant energy which is blocked, by far thelargest part is absorbed by the filter as heat. This is why heat stability is a significant consideration in filter design. The heat created by the absorption of energy leads to degradation of the filter.Lighting designers mix or blend colors through an additive or subtractive process. Blending light beams of different colors on a surface is an additive process. Creating a colored beam by filteringwhite light is a subtractive process – the desired color is transmitted while the other wavelengths are absorbed (or “subtracted”).Fig.1A Spectral Energy Distribution (SED) curve is a graph of the transmission of energy plotted by wavelength. These curves are included in the swatchbooks of Rosco filters. In Fig. 1, the curve for R27shows that frequencies above 620 nm will pass through the filter atvarying percentages, while the wavelengths below will not. Withthis information, you can predict what color the filter will render.Fig.2BALANCING LIGHT OUTPUTTraditionally, correcting the color temperature of various lamps hasbeen a chore left to architectural lighting designers or cinematographers, but the wide range of light sources used in modern theatricallighting has changed this. Rosco offers filters for balancing differentlamp types.Lighting a scene with both a 4000 K Metal Halide lamp and also a3200 K incandescent lamp will result in either the Metal Halideappearing very blue, or the incandescent very red, depending on theoverall balance of light on stage. To correct for this, either raise thecolor temperature of the incandescent to 4000 K using R3204 (1/2CTB Blue), or lower the Metal Halide to 3200 K with R3409 (1/44Fig.3CTO Orange). For more information on color correction filters, seethe Rosco publication “Filter Facts” or visit the web site.It is important to remember that filtration is a subtractive process filters can only transmit or block frequencies of light, not add themto a source. This is significant when using lamps that are deficientin particular wavelengths. Although many lamp types seem attractive because they offer the economy of long life, they have a limitedspectrum. A typical metal halide source, (Fig. 3) for example, hasvery little energy in the red end of the spectrum. Note that even themost common theatrical source, the tungsten-halogen or incandescent lamp (Fig. 4) although rich in red/yellow, is deficient inblue/green. These characteristics of sources and filters are mostobvious when one becomes familiar with the relevant SED curves.Fig.4

MANUFACTURING HIGH TEMPERATURE COLOR FILTERA color filter combines light refracting elements, normally organic dyes, which are suspended in or coated on a transparent base. Rosco began producing gelatin filters in 1910, but since the 1950s, color filters have been fabricated on plastic bases. Polycarbonate, the base used for most of the Roscolux range, is the most durable of the polymers currentlyutilized.There are three methods currently employed to integrate dyes with polymer bases in order to create color filters. Theproducts are described as: Surface Coated Deep Dyed Body ColoredSurface Coated Polyester(Rosco E-Colour, Lee Filter, Apollo Gel)The easiest way to produce a color filter is to simply coatthe color on top of a plastic film base. Polyester film(PET) is widely used as a base material for coloring sinceit is relatively inexpensive and will accept coatings of solvent-based coloring agents. Since no heat is involved inthe process, dyes used need not necessarily be heatresistant. Coated polyester filters begin as a roll of clearfilm which is then “painted” with a dye solution on one or both sides. To identify the coated surface, apply a simple solvent like nail polish remover and the dye and lacquer carrier will dissolve.Deep-Dyed Polyester(Rosco Cinegel, GAM Filter)Like surface coated PET, deep dyed film begins with aroll of clear polyester. The film is passed through a bathof heated solvent suffused with dye. The solvent causesthe PET film to swell expanding the polymer structureof the film and allowing the dye molecules to penetratethe surface. The film is then washed and the polymercontracts to its normal form, trapping the dye moleculesbelow the surface. Compared to surface coating, moreextreme temperatures are required to cause the dye particles to sublimate through the surface. Deep-dyed filters are,therefore, more resistant to fading than surface coated.5

MANUFACTURING HIGH TEMPERATURE COLOR FILTERBody-Colored Polycarbonate(Roscolux)In a body-colored color filter, like Roscolux, the colorant is inherent within the plastic substrate. Theprocess starts with powdered resin and dye being fedinto an extruder. Under intense pressure and heatapproaching 600ºF, the drive screw combines themelted resin and dye into a through-colored “honey”.This colored mixture is extruded through a die whichforms it into a film 24" wide.The excellent performance of this engineered filter is a function of both the higher temperature resistance ofthe polycarbonate resin and our exclusive color-compounding.One advantage of Rosco’s extrusion process is that the filter is not oriented during manufacturing. Typically,large plastic manufacturing plants will extrude a thicker gauge of plastic than the desired finished thickness. Asit is extruded, the thicker film is pulled and stretched down to its final thickness. This stretching orients the plastic, and under the heat of a spotlight, the film will try to shrink back to its original shape. Polyester is an oriented film and these stress distortions are quite apparent on color frames of hot lights and will create significant problems when used in scrollers. Because Roscolux is extruded to its finished gauge without orienting,these problems do not occur.In any color filter the dye eventually migrates away from the hottest area. The rate at which the filter fades isa function of the stability of the dye employed and the process used to add the dye to the base plastic.Obviously, when simply coated on the surface, a dye will sublimate from the base into the air as a gas more easily than a dye which has been locked in with the core resin.A color filter also degrades when the plastic softensunder heat. In this semi-molten state, dyes can beginto move and concentrate, distorting the color andabsorbing more energy as heat. The polycarbonateused in Roscolux softens at a higher temperature thanthe polyester used in other filters, making it a “hightemperature” filter more resistant to this type of fading.Durability is an important consideration to the filteruser for several reasons. A filter which lasts longer must be replaced less often and, therefore, is more economical more “blue for the buck”. Longer lasting filters can also be relied upon to perform longer on lightsin less accessible positions.An additional advantage of manufacturing Roscolux polycarbonate filters from the raw resin is our ability tomodify the chemistry of the plastic. Recognizing the global importance of fire prevention, Rosco includes a fireretardant additive in our resin formulation to create the only inherently flame retardant color filter in the world.Together, these unique features make extruded, body-colored polycarbonate filters the most durable, most faderesistant color filters available.6

Stage lighting is an art, not a science.We show here, as suggestions, somewidely used applications for specificRoscolux colors. Your design and theneeds of the production should determine the right color choices for you.Lighting The Acting Areasfilters for warm acting areasROSCOLUXAPPLICATIONS01Enhances fair skin tones. Suggests strong sunlight.Light Bastard Amber02 Bastard AmberGood where a tint of color is needed. Excellent for natural skin tones.302 Pale Bastard AmberVery pale warm white. Perfect for enhancing the HPL lamp in a Source Four .03 Dark Bastard AmberMost saturated Bastard Amber.303 Warm PeachStrong amber with undertones of pink. Useful for warm sunrise and sunsets.04 Medium Bastard Amber Excellent for natural sunlight.304 Pale ApricotA peach amber. More yellow than 305.05 Rose TintA clean pale pink; useful as a “blush” for skin tones.305 Rose GoldA pale blush amber for skin tones and backlight.3410 RoscoSun 1/8 CTOConverts 5500 K to 4900 K.3409 RoscoSun 1/4 CTOConverts 5500 K to 4500 K.3408 RoscoSun 1/2 CTOConverts 5500 K to 3800 K.3411 RoscoSun 3/4 CTOConverts 5500ºK to 3200ºK. Nice strong amber. Less pink than R04.3407Full CTOConverts 5500 K to 2900º K. Dominant amber.06 No Color StrawSlightly off white. Good for interiors.07 Pale YellowDouble saturation of 06.“The initial color choices for the08 Pale GoldWarmer straw. Flattering to skin tones.Adding Machine A Musical came09 Pale Amber GoldDeep straw. Good for late afternoon sunsets or firelight.4515 CC 15 YellowVery pale yellow. Interior lighting to create industrial mood.15Deep StrawWarm golden amber with some green. Useful for candlelight, firelight.16Light AmberExcellent area light. Light pink-amber tint. Safe for most light skin tones.from a painted elevation of thescenery. It consists of a wall thatrolls into several different loca-316 Gallo Goldhue.Almost the entire showA pale reddish gold, good for creating sunrise or sunset, or simulatingincandescent light. A flattering naturalistic backlight color.tions and it has a sickly green17Light FlameHeavier pink-amber tint. Useful for dance. Especially useful when balancedwith a cool color. Good general warm tint in striplights.became sourced from a down light317 ApricotA rosy amber which produces a romantic sunset color.system using R87. It has this318 Mayan SunA medium salmon color which evokes feelings of a tropical island. A goodsunset color. Good for warm tonal effects.effect of creating an uncomfortable atmosphere, and leeches thecolor from the actors giving them325 Henna SkyToasted red-amber color. Useful in re-creating setting sun or as a dramatic cyc.4615 CC 15 RedVery pale red. Subtle warming on skin tones. Warmer than R05.4630CC 30 RedDouble 4615. Pale red with peach tones. Nice on skin when paired with acooler cross light.a somewhat sickly hue.”30 Light Salmon PinkExcellent for general area washes. Gives overall warming effect to skintones.Keith Parham31Salmon PinkGeneral wash. Good for follow spots.331 Shell PinkBeautiful blush pink. Nice on skin tones.33 No Color PinkA pale almost colorless pink.333 Blush PinkA pink tint excellent for most skin tones.34 Flesh PinkUseful for bright musicals. Creates a happy atmosphere.35 Light PinkSimilar to 33, but slightly deeper, with less violet.4815 CC 15 PinkExcellent on all skin tones. Not as cool as 333.4830 CC 30 PinkDouble 4815. Pretty pink. Nice for musicals and “happy” lighting.36 Medium PinkGood for general washes and cross lighting.37 Pale Rose PinkBlue Pink. Use in general washes and toning.337 True PinkA cool pink excellent for washes and general illumination. A good follow spotcolor.38 Light RoseSimilar uses as 37, but with greater saturation.7

filters for cool acting areasROSCOLUXAPPLICATIONS3216 Eighth Blue (1/8 CTB)Boosts 3200 K sources to 3300 K.3208 Quarter Blue (1/4 CTB) Boosts 3200 K sources to 3500 K.3206 Third Blue (1/3 CTB)Boosts 3200 K sources to 3800 K.3204 Half Blue (1/2 CTB)Boosts 3200 K sources to 4100 K.3202 Full Blue (CTB)Converts 3200 k sources to nominal daylight.3220 Double BlueBright nighttime area lighting. Crisp moonlight.4215 CC 15 BlueVery pale blue tint with a hint of red. Nice no-color definition when crossedwith 51.the shows I light and to the4230 CC 30 BlueDouble 4215. Pale blue with a reddish cast.naked eye in the arena4260 CC 60 BlueDouble 4230. Medium blue with red tones. Nice cool crosslight on mostskin tones.60No Color Blue360 Clearwater61Mist Blue (greener)Helps maintain white light when dimmer is at low intensity.running low on a dimmer. Good for cool area light.David Bowie in a pool ofExcellent for general area washes. Very light cool tint of blue.62Helps maintain white light when dimmer is at low intensity.Pale Blue (greener)Good for creating an overcast look and feeling.363 AquamarineA pale blue-green color. Can be used for area lighting. A soft backlight color.64 Light Steel BlueUseful for beams of realistic moonlight.364 Blue BellA clean light red blue. Creates naturalistic daylight fill color.65Useful for achieving depressed moods and dull skies.Daylight Blue365 Tharon Delft BlueClean blue with more red than 364. A true color correction filter for film.Converts 3200o Kelvin to 5500o Kelvin. Good for area light.66Cool BlueA pale green shade of blue; good for area or general washes. Creates an icyfeeling on stage.67Light Sky Bluebeautiful blue light.Thatlight is often R3208.”A soft clean blue. Good choice for cool area lighting. Can also be used to shiftthe amber of lamps running at low dimmer levels.63more stunning or iconicthan the likes of The Who orA sharp, cold blue that stays clean when dimmed.Booster Blueaudience there is nothingThe slightest blue tint. Excellent for eliminating amber shift when lights are361 Hemsley Blue362 Tipton BlueExcellent sky color. Useful for cyc and border lights.368 Winkler BlueA silvery blue, used for front light and moonlight.70Nile BlueUseful for very light midday skies.71Sea BlueOccasionally used for general cool tint and non-realistic washes.72Azure BlueA clean slightly green blue. Good moonlight fill.371 Theatre Booster 1Full blue for cooling incandescent lights to daylight. Clean with no red. 372 Theatre Booster 2Half blue for cooling incandescent lights to daylight. Clean with no red.373 Theatre Booster 3Quarter blue for cooling incandescent lights. Cool crisp “white light”.376 Bermuda BlueA soothing green blue. More blue than 76. A good conventional moonlightcolor. Interesting tonal color.8“ I use a lot of stark looks inTom Kenny

filters for neutral acting areasROSCOLUXAPPLICATIONS3318 1/8 Minus GreenVery light magenta correction. Removes slight green cast in HPL lamps.3314 1/4 Minus GreenPale magenta correction. Nice tone on skin without adding color.3313 1/2 Minus GreenLight magenta brightens blues and pinks. Warmer than lavender.3308 Tough Minus GreenNice pale lavender. Use a cool crosslight when paired with pink or amber.Or as a warm crosslight when paired with a blue or violet crosslight.Photo credit: Jay Westhauser“R302 is a soft, warm white4715 CC 15 MagentaPale magenta. Cooler than 3318. Useful on many skin tones.4730 CC 30 MagentaDouble 4715. Medium cool magenta. Nice fill light without adding warmth.51Touch of color when white light is not desirable.Surprise Pink351 Lavender MistPale, no-color lavender. Nice cool white light.52Excellent for general area or border light washes. It is a basic followspot color.Light Lavender353 Lilly LavenderNice cool lavender. Slightly warmer than R55.53Use when a touch of color is needed.Pale Lavender54 Special LavenderSame as 53, but warmer.that is not a ‘color’. In this4915CC 15 LavenderPale no color lavender. Slightly cooler than 351. Tones without adding color.particular show we have a4930 CC 30 LavenderDouble 4915. Excellent cool on skin tones. Nice warm tones during nighttime.4960 CC60 LavenderDouble 4930. Rich comfortable lavender. Compliments darker skin tones.55Same as 53, but cooler.wide variety of skin tones —from porcelain white to AsianLilac (bluer)355 Pale Violetmoonlight themselves . so I wouldsay R302 is a success!”A cool lavender which acts as a neutral in a three color area lighting system.Will work well as a wash for drops or set pieces. Tones the space. Effective asto very dark. Everyone looks56Gypsy Lavender356 Middle LavenderHighly saturated, good for side and backlighting and non-realistic effect.A lavender halfway between 52 and 57 in hue and value. Useful for generalillumination and side-lighting.Michael Chybowski57LavenderGives good visibility without destroying night illusions.357 Royal LavenderA rich lavender which will enhance blue and red costumes and scenic pieces.58 Deep LavenderExcellent back light. Enhances dimensionality.359 Medium VioletA lavender with a strong blue component, ideal for backlighting.377 Iris PurpleDeep blue with red accents. Dark nighttime atmosphere.99Warms light and reduces intensity.Chocolate9

Using Sidelights, Downlights AndBacklights For Accentsfilters for warm accentsROSCOLUX4590 CC 90 YellowAPPLICATIONS4530 4560. Saturated pure yellow. Enhances greens in sets and10costumes.Clean bright yellow. Good for special effects and accents. Unflattering inacting areas.Medium Yellow310 Daffodil11Light StrawA soft medium yellow. Can be used for creating naturalistic effects such asearly morning sunlight or for special effects.Warm pale yellow. Useful for fire effects. Can be used for area lighting. For12Strawbright day feeling.Good for special effects and accents. Use with caution on skin tones.312 Canary313 Light Relief YellowWarmer than 10. A bright, vibrant yellow that evokes “exotic” sunlight. Usewith caution on skin.Vibrant warm yellow. More red than 312 without the green cast.1415Pale amber, useful for sunlight and firelight accents.Warm golden amber. Useful for special effects–candlelight, sunlight andMedium StrawDeep Straw316 Gallo Gold18 Flame318 Mayan Sunfirelight. Tends to depress color pigment values.A pale reddish gold, good for creating sunrise or sunset, or simulatingincandescent light. A flattering naturalistic backlight color.Pinkish amber. Creates afternoon sunset or sunrise.A medium salmon color which evokes feelings of a tropical island. A goodsunset color. Good for warm tonal effects.20 Medium Amber21 Golden Amber321 Soft Golden AmberAfternoon sunlight, evokes feelings of autumn, lamplight and candlelight.Useful as amber cyc light, late sunsets, and firelight.Good for autumn color. A good sunlight transition color that shows theprogression from the sun from white or yellow to amber later in the day.2002 VS OrangeFlattering firelight.23 OrangeProvides a romantic sunlight through windows for evening effects.4660 CC 60 RedMedium red with pale salmon accents. Romantic subtle back or side lighting.4690 CC 90 RedStrong salmon red. Deeper and more orange than 32. Beautiful backlight.331 Shell PinkBeautiful blush pink. Nice on skin tones.32 Medium Salmon PinkDeepest of the salmon pinks.332 Cherry RoseA tropical pink that is good for musicals or concert lighting. A good backlight color. Interesting accent color. Good for a splash of sunset color.4830 CC 30 PinkMedium pink makes a nice side light accent. Adds a splash of pink withoutbeing too obvious.4860 CC 60 PinkRich pink accent. Excellent in follow-spots.4890 CC 90 PinkDeep rich pink. Lighter than 332. Romantic backlight or accent color.4760 CC 60 MagentaStrong pink/magenta. Interesting side light with slight bluish cast.39 Skelton Exotic Sangria A sultry, deep purple. Good for musicals or concert lighting. Excellent specialeffects color.339 Broadway Pink40 Light Salmon44 Middle Rose344 Follies Pink10A deep, saturated pink created for musicals and “specials”. Excellent fordown and backlighting.Similar uses to 23 but a bluer color.Musical pink. Lush accents. Very versatile color.A vibrant, almost fluorescent pink with a cool component. Traditionallyimportant as a special effects color in the Broadway musical. Follow spot47 Light Rose Purpleand dance applications as a modeling color.Good for eerie or dramatic effects. Beautiful backlight color.347 Belladonna Rose48 Rose PurpleSaturated deep magenta with hint of purple. Good effects filter for dance.Pale evening color. Excellent for backlight.348 Purple JazzA dusky purple. Good for simulating purple neon or old night club atmostphere.49 Medium Purple349 Fisher Fuchsia50 MauveDarkest of the magenta purple range.A medium fuchsia good for special e

Drama Critics Circle awards in six different West Coast cities. He is the . how light reflects off snow, what happens when street lights fall on a new color and change that color how everything is black and white at a low light level. Make the