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 Vectorworks for Entertainment Design
Vectorworks for Entertainment Design is the first book in the industry
tailored for the entertainment professional. This second edition has
been extensively revised and updated, covering the most current details
of the Vectorworks software for scenery, lighting, sound, and rigging; real
and virtually.

Vectorworks for
With a focused look at the production process from ideation to
development to documentation required for proper execution, the
book encourages readers to better create their own processes and

Entertainment Design
workflows through exercises that build on one another. This new
edition introduces Braceworks, SubDivision modeling, and scripting
using the Marionette tool, and covers new tools such as Video Camera,
Deform Tool, Camera Match, Schematic Views, and Object Styles. Fully
illustrated with step-by-step instructions, this volume contains
inspirational and aspirational work from Broadway, Concerts, Regional
Using Vectorworks to Design and Document
Theatre, Dance, and Experiential Entertainment. Scenery, Lighting, Rigging, and Audio Visual Systems
Exploring both the technical how-to and the art of design, this book
Second Edition
provides Theatre Designers and Technicians with the tools to learn
about the application and use it professionally.

Vectorworks for Entertainment Design also includes access to

downloadable resources such as exercise files and images to accompany
projects discussed within the book.

Kevin Lee Allen is an award-winning entertainment designer and

experiential architect. Notable projects include work for Budweiser, Second
Sony Pictures, CNN, a virtual interview with Benjamin Franklin, the Edition
Chase Bank Flagship Signage in Times Square, productions of Romeo and
Juliet (both the ballet and play), All I Ask of You, and The Tempest.

Kevin Lee Allen

A long-time user of Vectorworks, he has written, taught, and lectured on
the subject extensively.

Cover Illustrations by Kevin Lee Allen

THEATRE/SOFTWARE
ISBN 978-0-367-19294-5
Written and Illustrated by
www.routledge.com www.routledge.com/9780367192945

Routledge titles are available as eBook editions in a range of digital formats 9 780367 192945 Kevin Lee Allen
Vectorworks for
Entertainment Design
Vectorworks for Entertainment Design is the first book in the industry tailored for the entertainment
professional. This second edition has been extensively revised and updated, covering the most
current details of the Vectorworks software for scenery, lighting, sound, and rigging: real and virtually.

With a focused look at the production process from ideation to development to documentation
required for proper execution, the book encourages readers to better create their own processes
and workflows through exercises that build on one another. This new edition introduces Braceworks,
SubDivision modeling, and scripting using the Marionette tool, and covers new tools such as Video
Camera, Deform Tool, Camera Match, Schematic Views, and Object Styles. Fully illustrated with
step-by-step instructions, this volume contains inspirational and aspirational work from Broadway,
Concerts, Regional Theatre, Dance, and Experiential Entertainment.

Exploring both the technical how-to and the art of design, this book provides Theatre Designers and
Technicians with the tools to learn about the application and use it professionally.

Vectorworks for Entertainment Design also includes access to downloadable resources such as exercise
files and images to accompany projects discussed within the book.

Kevin Lee Allen is an award-winning entertainment designer and experiential architect. Notable
projects include work for Budweiser, Sony Pictures, CNN, a virtual interview with Benjamin Franklin,
the Chase Bank Flagship Signage inTimes Square, productions of Romeo and Juliet (both the ballet and
play), All I Ask of You, and The Tempest. A long-time user of Vectorworks, he has written, taught, and
lectured on the subject extensively.
Vectorworks for
Entertainment Design
Using Vectorworks to Design and Document
Scenery, Lighting, Rigging, and Audio Visual Systems

Second Edition

Written and Illustrated by

Kevin Lee Allen
Second edition published 2021

by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2021 Kevin Lee Allen

The right of Kevin Lee Allen to be identified as author of this work has been asserted by him in accordance with

sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any
electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording,

or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only
for identification and explanation without intent to infringe.

First edition published by Routledge 2015

Library of Congress Cataloging-in-Publication Data

Names: Allen, Kevin Lee, author.

VTiectotrlweork:s for entertainment design : using vectorworks to design
and document scenery, lighting, and sound / Kevin Lee Allen.
Description: Second edition. | New York : Routledge, 2020. | Includes
index.
Identifiers: LCCN 2020010087 (print) | LCCN 2020010088 (ebook) | ISBN
9780367192938 (hardback) | ISBN 9780367192945 (paperback) | ISBN
9780429290671 (ebook)

Subjects: LCSH: Stage lighting. | VectorWorks. | Engineering design-Dat

processing. | Computer-aided design.
Classification: LCC PN2091.E4 A45 2020 (print) | LCC PN2091.E4 (ebook) |
DDC 792.02/5-dc23
LC record available at htps:/lcn.ogv/20 1087
LC ebook record available at htps:/lcn.ogv/20 108

ISBN: 978-0-367-19293-8 (hbk)

ISBN: 978-0-367-19294-5 (pbk)
ISBN: 978-0-429-29067-1 (ebk)

Typeset in Gill Sans

By Kevin Lee Allen

Visit the eResources: www.routledge.com/9780367192945

Publisher's Note
This book has been prepared from camera ready copy provided by the author.
Table of Contents
About the Second Edition xix
The Vectorworks Environment xx
General Rules for a Good Workflow xx
Basic Glossary xxi

About the Author xxii

Acknowledgments xxiii

The General Device Type Format xxiv

2019 GMA Dove Awards xxvii
1. Drafting Principles and Standards1
Line Weight3
Line Types 4
Scale 5
Orthographic Projection 6
Isometric Views 7
Section Views 8
Title Blocks 10
Specific Annotations 10
Building Information Model (BIM)11
Beechwood House 13
2. The Vectorworks Screen 15
The Spotlight Workspace 15
Palettes 17
Basic Tool Set 17
Tool Sets 18
The Attributes Palette 18
The Snapping/Constraints Palette 18
SmartCursor 19
Smart Points 19
Working Planes 19
Object Information Palette (OIP) 19
Resource Manager 20
Navigation 21
Visualization 21
View Bar 22
Tool Bar 23
Quick Preferences 23
Message Bar 25
Moving the View 25
Zooming 25

Paul Winter's Winter Solstice Celebration 2018 27

3. Document Organization 29
Application Settings 29
Vectorworks Preferences 30
Edit 30
Display 30
Session 30
3D
31
Autosave 31
interactive 31
User Folders 32
QuickPreferences 32
Document Settings 32
Spotlight Preferences 35
Default Scale 38
Line Weight 38
Default Font Settings 39
Text Styles 39
Snapping Preferences 39
Drawing/Document Organization 42
Classes 42
Design Layers 47
Using Multiple Design Layers 48
Unified View 48
Stories 49
Sheet Layers 49
Viewports 49
Saved Views 49
Referenced Files 50
Project Sharing 50
A Few More Settings 50
Camera Tool 50
Drawing Label Tool .. 51
Focus Point Object Tool 51
Magic Wand Tool 52
Saving a Stationery File 52

My Next Guest 55
4. Vectorworks Workspaces 57

Flying Over Sunset 61

5. Your Work Station 63
Hardware 66
Back-Up 66
Calculator 67
Additional Software 67
 Lightwright 67
Vision 67
Show Control 68
VideoEditing and Effects 68
Graphic Software 68
Raster Graphics and Vector Graphics 68
What Is Resolution? 69
File Formats 69
Raster Graphic Creation & Manipulation 69
Vector Graphic Creation & Manipulation 70
Desktop Publishing Applications 70
Fonts 70
Specialty Fonts 71
Portable Devices in the Studio 72
Lighting Apps 72
Sound Design Apps 72

Residence On
In Broadway 75
6. Help Files and Resources 77
The Help Menu 77
The Vectorworks Forums 78
Vectorworks Help ............ 79

Ben Franklin's Ghost 81

7. Quick Start 83
Viewports and Presentation 90
Title Block Borders 92
Annotating Viewports 95
Making Changes 99

Rock of Ages 103

8. Basic Drawing and Modeling 105
Drawing Basics 105
The Selection Tool 107
Polygon and Polyline 107
Modifying Objects 108
Reshaping 108
Clip Tool 109
Split Tool 109
Clip Surface 109
Add Surface 110
Combine into Surface 110
Intersect Surface 110

Add Solids 110

Subtract Solids 110
Intersect Solids 111 I
Section Solids 111
Push/Pull Tool111
Deform Tool 111
 Twist Solid
111
Twist Face 112

Taper Solid 112

Bulge Solid 114
Bend Solid 114
Taper Face Tool 114
Fillet and Chamfer 115
Extract Tool 116
Clip Cube 116
Modeling 116
Extrude 116
Sweep 1 7
Extrude Path
Along 117
Multiple Extrude 118
Chain Extrude 118
Create Surface Array 119
Manipulating Objects 119
Align/Distribute 119
Grouping 119
Move 120
Scale Objects 120
Offset 120
Creating Repetitive Objects 120
Duplicate Array 120
Move by Points 121
Mirror 121
Duplicate Along Path 122
Rotate 122
Rotate 3D 122

Cape Hatteras Lighthouse 125

9. Renderworks 127
Renderworks Backgrounds 127
Image Effects 133
Camera Match 135
Masking and Shadows 136
Renderworks Textures 136
Procedural Textures 137
Image-Based Textures 137
Creating/Modifying Textures 138
Shaders 138
The Color Shader 138
The Reflectivity Shader 140
The Transparency Shader 143
The Bump Shader 145
Overall Texture Options 146
Seamless Textures 147
 Creating Textures 150
Black-Gloss 150
Black-Matte 150
Black-Velour 150
Glass Blue 150
Glitz-Gold 150
Gold-Rough 151
Gold-Key Pattern 151
Leopard 151
Lysistrata Floor 151
Metal Gold Polished Modified 152
Sparkle 152
Topiary 152
Whites 152
Zebra 152
Review 152
Mapping 153
Decals 154
Importing Textures 154
Considerations for Export 155
Extended Reality 155

Bryant Park Winter Village 157

10. Vectorworks Lighting 159
Set Lighting Options 160
The Heliodon Tool 161
The Light Tools 162
Directional Lights 162
Spot Lights 162
Point Lights 163
Line Lights and Area Lights 163
IES Files and Custom Lights 164
A Basic Lighting Set Up 164
Lighting a Still Life 166
Place the Light Objects 167
Caustic Photons 169
Batch Rendering 169

Alvin Ailey American Dance Theater 171

11. Advanced Modeling 173
NURBS 173
 The Tools 174
NURBS Curve 174
Shell Solid Tool 175
Loft Surface 175
Extract 175
Create Contours 175

Project 176
The Commands 176
Stitch and Trim Surfaces 176
Create Fillet Surface 176
Create Planar Caps 177
Create Surface from Curves 177
Create Drape Surface 177
Create Helix Spiral 178
Revolve with Rail 178
Create Interpolated Surface 178
Extend NURBS 179
Rebuild NURBS 179
Unfold Surfaces 179
Subdivision Modeling 180
Digital Terrain Modeling 183
Landscaping 185
The Foliage Tool 185
The Plant Tools 186
The Existing Tree Tool 186
The Plant Tool 186
The Landscape Area Tool 186
VB Plant Basic Tool 186
Hardscapes 187
Exporting Geometry 189

Great River Shakespeare Festival 191

12. Object Types, Symbols, Plug-In Objects, and Styles 195
Symbols 196
Symbol Geometry 197
Inserting Symbols 198
Creating Symbols 199
Symbol Types 199
Black Symbols 199
Red Symbols 199
Blue Symbols 199
Green Symbols 199
Modifying Symbol Insertions 199
Editing Symbols 200
Auto Hybrid Objects 200
2D Components for Symbols and PIOs 200
Creating 2D Components 200
 Symbol Referencing 200
Symbols and Database Information 201
Plug-In Objects 201
Scripting 202
Creating Scripts 202
Marionette 203
The
Plug-In Manager 205
Object Styles 205
Application Resources 205
Project Resources 207
A 2D Lighting Boom Position Symbol 207
A Hybrid End Seat Symbol 208
Adding 2D Components 209
People Symbols 209
2D Figures 210
3D Figures 211
Image Props 211
Thoughts on Using Figures 213
Export Considerations 213

A Doll's House 2 215

13. Collaboration 217
Workgroup Folders 217
Using a Work Group for Project Collaboration 218
Referencing Resources 218
Design Layer Referencing 218
Design Layer Viewport Referencing 219
Project Sharing 219
Project Sharing Workflow 221
The Vectorworks Viewer 221
The Nomad Application 221
Funhouse XXL 223
14. Measuring and Modeling Venues 225
The Survey Kit 226
Camera 226

Measuring Tools 228

Notation 228
What Else? 229
Surveying a Proscenium Theatre 231
Measuring a Curve 232
The Theatre Space 232
Modeling the Theatre 232
Soft Goods Object Tool 238
Audience Seating 241

End Seats & Sightlines 243

Creating the Theatre Symbol 244
Wall Styles 244
The Daily Show 247
15. Lysistrata ................................................................................................................ 249
The Conceptual Approach 250
Abstracted Greek Architecture .................................................................................... 250
The Golden Ratio 251
The Doric Order 251
Forced Perspective 252
Color 253

The Project Team 253

BootCamp 255
16. Scenery and Sightlines 257
The Braziers ....................................... 257
The Topiary 260
The Settee 263
The Portal 265
The Show Deck 266
Creating a Hatch Fill 267
The Gates 269
Assembly 272
Sightlines 273
Using the Camera Tool 274

Transportation Security Administration 277

17. Rigging 279
Braceworks Workspace 280
in
Rigging Spotlight 280
What Makes a Braceworks Object? 280
Braceworks Preferences 281 ................................................................................................

FOH Truss 282

Balcony Rail 283
Lighting Pipe Tool Preferences 283
Box Booms 284
KNV Rigs 285
Stage Booms 286
Onstage Electrics 286
Stage Masking 286
Flying Bridge 287
Staging Tools 289
Flying Cornice 289
Lineset Schedule 290
Savvy Linesets 291
Some Final Thoughts 291

CNN New Day 293

18. Audio/Video Systems 295
The LED Screen Tool 295
The Television Tool 297
Sound Design 298
The Speaker Tool 298
Clip Cube 300
Boom Positions 300
The Speaker Array Tool 300
Microphones 302
connectCAD ...... 302
Record Formats 302
Landru Design 303

The Tamaron Hall Show 305

19. Designing the Lighting 307
The Renderworks Camera Tool 308
Camera Effects 308
The Video Camera Tool 309
Animations 310
Preliminary Lighting 311
.....................................................

Lighting a Scene 311

Chaplin: The Musical on Broadway 315

20. Entertainment Lighting 317
Spotlight Preferences 318
Adding Resources 320
Lighting Devices 321
Edit Lighting Symbols 322
Lighting Inventory 324
..........................................................

Devices
Focusing Spotlight Lighting 324
Choosing Instrumentation 325
Photometer and PhotoGrid Tools 326
Adding Lights 328
Align/Distribute Tool 329
Matching Angles 329
Visualization Palette 329
Label Legends 329
Vertical Positions 332
KNV Rigs 332
Schematic Views 335
Adding Color 336
Adding Frost 336
Adding Gobos 337
Custom Gobos 337
Channeling 337
Ganging Tool 337
Cable Tools 338
 Adding Accessories 338
Basic Scripting 336
Custom Lighting Symbols 339
General Rules for Lighting Instruments 339
AutoPlot Tools 340
Instrument Summary Tool 340
Instruments 341
Positions 342
Create Similar Command 342
Magic Sheets 342
Data Visualization 343
Lighting Symbol Maintenance 344
Refresh Instruments 344

Creating Presentations 344

Editing Lighting Devices 344
Final Pre-Visualization 345
Animate Scenes 346
Export to grandMA 346
Send to Vision 347

The Teaching Company 349

21. Working with Lightwright 351
Preparing the Dynamic Link ............................. 351
Dynamic Data Transfer 352
Importing Data into Lightwright 353
Adding Data Fields in Lightweight 353
Maintaining the Dynamic Link 353
Best Practices with Lightwright 354
Refreshing Instruments 355
Perform a Complete Export on Exit 355
Vectorworks Reports and Schedules 355
Lightwright Touch 355

Ragtime 357
22. Documentation and Publication 359
Title Blocks 361
Contents of a Title Block 361
Personal Branding 362
Disclaimers 362
Title Block Border Tool ................... 362
The Title Block Manager 364
Text Styles 364
Creating Production Documents 365
Create Sheet List 365
Create a Ground Plan 367
Adding Scale Bars 368
Detailing a Scenic Element 369
 Callout Notes 370
Adding Details 370
Paint 370
Moulding 370
Cropping a Viewport 370
Class Overrides 371
Reference from Ground Plan 372
Dimensioning the Ground Plan 372
Viewport Control 372
Hyperlinks 373
Line Set Schedules 374
Stage Sections 374
Camera Viewports 374
Data Tags 375
Publish 377

Serenade .................................................................. 379

23. Vectorworks Cloud Services 381
The Vectorworks Application 381
The Cloud Menu .......................................................................................... 382
Publish 382
Status 382

Settings 382
Dropbox Integration 382
Help 38
The Desktop App 383
The Web Portal 383
The Nomad App 384
The Vectorworks Remote App 384
Cloud Services Accounts 385
VCS Folders 385
VCS Backup 385
Project Sharing 385
Share Files 385
 Viewing Files 386
Preparing Files for Cloud Processing 386
PDF 386
3D Model 387
Panorama 388

Augmented Reality 389

Web View 389
VGX File 390
Generate 3D Model from Photos 390
Photography 390
Processing 391

Chase Bank Flagship Signage 395

Index 397
 About the Second Edition
Design is Storytelling. Drawing, drafting, and documentation tell the story of the design.Vectorworks
is the entertainment industry’s preferred tool for design, engineering, visualization, and
documentation. We’ll stress developing ideas, visualizing the ideas, and evolving them for execution.

Although the focus is entertainment design and execution, this book is also useful for interior
designers, exhibit designers, industrial designers, and others.Vectorworks can also be used to create
Virtual Environments either as an end result or as a part of any visualization process.

As a professional scenic, projection, and lighting designer in the entertainment industries, I have been
using Vectorworks for many years.Vectorworks has streamlined my work, and increased my
productivity and precision.

I have taught and lectured on Vectorworks techniques, and I’ve tried to present as much as possible
in this book. A program as complex as Vectorworks allows different users to find their own best way
to work. Sometimes, tools can be manipulated from their original purpose to the individual user’s
advantage. We’ll look at some of those techniques.

In general, even with shortcuts and optional ways of getting to a desired end result, everything herein
is a best practice for the use of the software. The text is as linear as possible, given the complexity of
the application.

This book was written using theVectorworks Designer software, which includes the Spotlight,
Architect, Landmark, and Renderworks products, with particular focus on Spotlight, the
entertainment (not just lighting) product.Vectorworks makes evaluation and student packages
available from their website. References will be made to the Vectorworks Vision, Braceworks, and
connectCAD products, as well as Lightwright, third-party plug-ins, and related applications.

We’ll begin with some basic explanations of drafting, then the application itself before we get to
modeling and an overview of the Vectorworks workflow. From that foundation, we will go through
the steps to design and document the scenery, lighting, and sound for a Broadway or concert scale
theatrical production. The production project includes many techniques applicable to a wide range of
entertainment projects. To get there, we will explore a process of development and collaboration.

This book doubles as a handy desktop reference.

There are illustrations and project portfolios
throughout the text.That work should be seen as
inspirational and aspirational. Generally, these
pages separate chapters, they don’t necessarily
Think of this section as the speak to the adjacent text.They’re your relief
from the author.
Read-Me file for this book.
 The Vectorworks Environment
I’m a US-based Mac user. All of the screen shots
show the Mac OS interface, but the PC interface
Save Early and Save Often. looks very much the same. Keyboard shortcuts
are given using Command/Control, or Alt/Option,
as that is generally how the keys translate from
the MacOS to the Windows OS.

A Windows right-click (Control+click or a

two-finger tap on the track pad in the MacOS) is
used to open contextual menus which pop-up in
the working window. The available commands vary based on the context or object from which they
have been chosen.These menus are your friend and they can be customized.

Measurements given are imperial US-based measurements, with converted metric equivalents. If your
document is set up for metric but you enter imperial data, appropriately notated,Vectorworks will
translate the numbers.

General Rules for a Good Workflow

We cover a lot of ground quickly, so that you can get up to speed withVectorworks. Keep these
points in mind as you work through the guide:
• Don’t put your coffee cup on your drawing board, or your computer.
• Read the entire section before beginning the work described, then go back to the beginning and
follow the directions. As you progress, fewer specific steps are dictated in the instructions.
• Alternate methods are shown for activating/using many tools, commands, and modes. Use what
works best for you. Experiment with different tools and techniques. Find your own workflow.
• Watch for the SmartCursor: cues that appear as you hover over significant geometry in
the document window.
• The text assumes you are familiar with basic computer terms and basic theatrical concepts. For
review, or if theatre isn’t your course of study: House left and right are your left and right as you
face the stage. Stage left and right are your left and right as you stand on stage and face the
audience. Upstage is away from the audience.
Downstage is near the audience. At one time,
stages were raked, like ramps, with the lower
end near the audience.
• Save early, and save often. Save after every
operation.
• Establish a back-up ritual. Mac users should
take advantage of the Time Machine feature
Create a redundant back
within the OS.
• Use Vectorworks auto back up in addition to
up plan and use it.
your own back-up plan.
 • Use Save As frequently, so you can always
access earlier ideas and solutions.
• Make use of Symbols and Styles, know and
Find your own workflow.
understand them early on.
• Most tools have options that are available
Make the work your own.
for selection in the Tool Bar; always look
for them, until they are second nature.
• When mentioned to explore or experiment,
it is incumbent on the reader to do so; consider that digital doodling.
• The text assumes a basic working knowledge of geometry; points, planes, and axes are not
defined. Although it is important to know here and now the XY and Z axes in Vectorworks refer
to the horizontal (left to right) plane, the vertical plane, and the depth. In Vectorworks Vision, the
Y and the Z planes are reversed.
• Like other drawing and graphics applications, a Vectorworks Palette is a floating window that
contains tools or resources.

There is a companion website at www.routledge.com/9780367192945. Text about an

application is incomplete without application files and other resources. The Website contains a zip file
called WorkFiles.zip that includes the files and references needed for the work in this book.
Download and expand the zip file now.

This might not all make sense, but it will. Read on.

Basic Glossary
These are a few terms that need to be defined up front. There will be in depth information
throughout, but you just need to know what these things are now.

A Design Layer is the basic workspace. It is where users create. Design Layers can also control
visibility.

A Sheet Layer is where information from a Design Layer is composed and presented. Sheet
Layers are Published to PDFs, and PDFs can be printed or distributed. Sheet Layers can also be
published to other file formats. Sheet Layers are like having a desktop publishing application within
the CAD environment.

Classes are a means of controlling visibility and assigning graphic attributes to objects.

A Viewport is metaphorically a window into a

Design Layer. There are Design Layer Viewports
(DLVP) and Sheet Layer Viewports (SLVP). They
Well-made drawings each have different uses.

inspire well-done work.

 About the Author
Kevin Lee Allen is a multiple-award-winning
entertainment designer and experiential architect
who creates works in theatre, film, television,
museums, corporate activations, fashion, and
public environments. Notable projects include
work for Budweiser, Sony Pictures, the United
States Government, CNN, a virtual interview
with Benjamin Franklin, the Chase Bank Flagship
Signage in Times Square, productions of Romeo &
Juliet (both the ballet and play), All I Ask of You, and
The Tempest. His design sketches are held in
private collections and in the permanent
collection of the Library of Congress.

Kevin Lee Allen’s work can be seen at http://klad.-

com.

If you have comments, questions, or suggestions,

e-mail Kevin at [email protected].
Acknowledgments
No one works alone, especially in show business, and writing. Despite the rumors.

My Vectorworks posse has offered guidance, advice, and support: lighting designer and author Steven
Shelley (creator of the Field Templates and Soft Symbols, author of A Practical Guide to Stage Lighting);
scenic and lighting designers Cris Dopher, Scott Parker, and Stephen C. Jones; lighting designers
Shawn Kaufman, Diana Kesselschmidt, and Teresa Hull; acoustician and consultant Stuart J. Allyn; as
well as designers and developers John McKernon, C. Andrew Dunning, and Joshua Benghiat; and
production designer Tyler Littman.You are all thankful for Stephen C. Jones’s technical edit, you just
don’t know that.

Jeremy Powell of Vectorworks sent me down the writing path. Jeremy along with Frank Brault, Sue
Collins, Dave Donley, Alexandra Duffy, Brandon Eckstorm, Tolu Fapohunda,Tara Grant, Lisa Lance,
Kevin Linzey, Claire Manley, Gunther Miller, Iskra Nikolova, Bryan Seigel, Biplab Sarkar, Jim Wilson, and
Jim Woodward, of Vectorworks have been continuously supportive and helpful on many levels. With
apologies to anyone I’ve neglected here.

Everything I’ve written has been based on my classroom experience. Dean Geoffrey Newman,
Professors Michael Allen, and John Wiese of Montclair State University made that happen. I am
grateful to the students, at Montclair State, Rutgers, and Carnegie Mellon; I hope they learned as
much from me as I did from them.

I am thankful for the people who taught and mentored me, among them: Reagan Cook, John Figola,
Keith Gonzales, Phillip Graneto, Mark Kruger, W. Scott MacConnell, Lester Polikov, Peter Politanoff,
Phillip Louis Rodzen, Tom Schwinn, David Steigerwalt, and Peter Wexler. From these talents, I learned
the importance of precision and the crucial need for clarity of communication in order for the vision
to be properly executed.

Many talented, professional Vectorworks users have contributed their work to this publication.You
will find illustrations of that work between each chapter. It is all worth study. Their names are
sprinkled throughout, and I thank them along with Stacey D. Walker, Alison Macfarlane, and Lucia
Accorsi of Routledge Press.
 The General Device Type Format
This might seem premature, but this will be a reoccurring theme as we discuss moving Vectorworks
models into Vectorworks Vision. The General Device Type Format (GDTF) and My
Virtual Rig (MVR) files aim to unite communications between Vectorworks, visualizers, and
consoles.

These are NOT just for Lighting Designers. Read on MacDuff.

GDTF files will have to be linked to fixtures through the Object Info Panel (OIP) as a part of the
Export MVR file process. The GDTF will be a model/profile, similar to the Vision Profile currently in
use. When an MVR file is imported into a control console, if the GDTF information is not present on
the console, that will be added with the MVR file. The GDTF would replace theneed for specific
instrument profiles on consoles. The MVR file will eventually allow for the bi-directional exchange of
geometry between systems.

When there are enough GDTF files available through the online database, that process can become
automated.

Originally conceived and developed by MA Lighting, Robe, and Vectorworks, as of this writing, about
two dozen entertainment equipment manufacturers have signed on to create this format for creating
a unified definition for the exchange of data for the operation of intelligent luminaires.

How this evolves over time may change during the life of this book. It is the author’s opinion that this
format, or something similar to it, may potentially impact all aspects of entertainment design. One
way or another, developing a clean format to provide seamless communication between devices will
require years to successfully implement.

At a base level, the GDTF provides a foundation for sending information between Vectorworks,
Pre-Visualization software (such as Vision or MA Lighting’s visualizer), and control consoles. Since this
format is open source, and editable by users as well as partnering companies, the format’s use could
grow to include scenery, audio, video, and yes, even costumes. Some costumes already have built-in
lighting or video.

The unified standard provides a consistent and dependable way to adopt new fixtures and devices in the
lighting industry. GDTF benefits manufacturers, shops, designers, and users of control systems, CAD systems,
and pre-visualizers. GDTF provides a set of tools that does not require advanced IT expertise.

In a manner similar to the two-way communication between Vectorworks and Lightwright, GDTF will
communicate (initially one way only) between applications using XML files. A GDTF is an XML file
with additional properties. This collection of files is zipped together, and will also contain 3D
geometry and images as needed.
The GDTF could replace console-specific instrument profiles and the Vision Fixture Mode for
Vectorworks. The GDTF would not replace the Vectorworks 2D drafting components.

So, MacDuff, you have read on. How does this affect you if you’re not a lighting designer? Well,
scenery moves sometimes, as do Audio Rigs and other elements in a physical environment. If the
GDTF is readily developable, many users will be able to connect other types of consoles and develop
GDTFs for many types of machinery.

Entire shows could be pre-visualized and pre-programmed without taking time away from
performers needing the stage.

Currently, Vectorworks includes the Send to Vision command.Vectorworks also includes the
legacy Export ESC command to send updates, changes, and specific show elements to Vision. The
GDTF is a part of the MVR (My Virtual Rig) file container. That command is included with
Vectorworks, but not installed in any workspace. It can be added, but as of this writing, the command
is not yet fully operable.

As GDTF becomes implemented, Export to MVR will be used to streamline visualization. In

future versions of Vectorworks, Export to MVR should be installed. In this narrative, we will refer to
the Export ESC command.

Italicized text quotes are from the GDTF-Share website. Current information can be found at:
• https://gdtf-share.com/?cont=start
• https://gdtf-share.com/wiki/Main_Page
2019 Dove Awards
Designed and drawn by: Scott Moore
2019 GMA Dove Awards

2019 Dove Awards

Rendering by: Scott Moore

2019 GMA Dove Awards

Production Designer: Scott Moore
Lighting Designer: Mark Carver
The Gospel Music Association Dove Awards honor outstanding achievement and excellence in
Christian and Gospel Music. The show celebrates rich musical diversity with genres including Rock,
Rap/Hip Hop, Pop/Contemporary, Inspirational, Southern Gospel, Urban, Bluegrass, Country, and
more!
Production Designer Scott Moore has also created an LED Tape Product and a set of back line
symbols for Vectorworks, available at:
https://www.goliveproductions.com
2019 Dove Awards
Designed and Drawn by: Scott Moore

Vectorworks for Entertainment Design

Discovering Diverse Content Through
Random Scribd Documents
“I’m not playing to-night,” he said sullenly.
“Doesn’t your wife play Bridge?” Miss Forster inquired rather
maliciously.
“No.”
“You’re tired with your journey perhaps,” piped Mrs. Clarence,
looking inquisitively at the stranger.
Mrs. Margoliouth stared back at her with lack-lustre and rather
contemptuous-looking black eyes.
“What journey?” she said in a thick voice. “I’ve only come up from
Clapham, where we go back on Monday. Our house is at Clapham.
The children are there.”
“The children?” repeated Mrs. Clarence foolishly.
“We have five children,” said Mrs. Margoliouth impassively, but she
cast a fierce glance at her husband as she spoke.
Miss Forster suddenly thrust herself forward, and demonstratively
put her arm round Lydia’s waist.
“I suppose you’re going upstairs to your scribbling, as usual, you
naughty girl?” she inquired affectionately.
“I ought to,” Lydia said, smiling faintly. “It isn’t cold in my room now
that I’ve got a little oil-stove. I got the idea from a girl I went to
supper with the other night, who lives in rooms.”
“How splendid!” said Miss Forster, with loud conviction, her tone and
manner leaving no room for doubt that she was paying a tribute to
something other than the inspiration of the oil-stove.
Lydia smiled again, and went upstairs.
The other boarders were going upstairs too, and as Lydia turned the
corner of the higher flights that led to her own room, she could hear
them on the landing below.
“I do think that girl’s behaving most splendidly!”
Miss Forster’s emphatic superlatives were unmistakable.
“She looks like a sort of queen to-night,” said an awed voice, that
Lydia recognized with surprise as belonging to the usually
inarticulate Hector Bulteel.
She had not missed her effect, then.
Lydia did not write that evening. She went to bed almost at once,
glad of the darkness, and feeling strangely tired. After she was in
bed she even found, to her own surprise, that she was shedding
tears that she could not altogether check at will.
Then, after all, she minded?
Lydia could not analyze her own emotion, and as the strain of the
day relaxed, she quietly cried herself to sleep like a child.
But the eventual analysis of the whole episode, made by Lydia with
characteristic detachment, brought home to her various certainties.
Margoliouth’s defection had hurt her vanity slightly—her heart not at
all.
She could calmly look back upon her brief relations with him as
experience, and therefore to be valued.
But perhaps the conviction that penetrated her mind most strongly,
was that one which she faced with her most unflinching cynicism,
although it would have vexed her to put it into words for any other
human being. No grief or bereavement that her youth was yet able
to conceive of could hurt her sufficiently to discount the lasting and
fundamental satisfaction of the beau rôle that it would bestow upon
her in the view of the onlookers.
 XIII
“Broken heart? Nonsense. People with broken hearts don’t eat
chestnut-pudding like that,” quoth Grandpapa.
Lydia would have preferred to make her own explanations at
Regency Terrace, but Miss Nettleship had already written a long
letter to Aunt Beryl, as Lydia discovered when she reached home on
Christmas Eve.
Aunt Beryl took the affair very seriously, and made Lydia feel slightly
ridiculous.
“Trifling like that with a young girl, and him a married man the
whole of the time!” said Aunt Beryl indignantly.
“It’s all right, auntie,” Lydia made rather impatient answer. “I didn’t
take it seriously, you know.”
“How did he know you weren’t going to? Many a girl has had her
heart broken for less.”
It was then that Grandpapa uttered his unkind allusion to Lydia’s
undoubted appreciation of her favourite chestnut-pudding, made in
honour of her arrival by Aunt Beryl herself.
Lydia knew very well that Grandpapa would have been still more
disagreeable if she had pretended a complete loss of appetite, and
she felt rather indignant that this very absence of affectation should
thus come in for criticism.
Although she had only been away four months, the house seemed
smaller, and the conversation of Aunt Beryl and Uncle George more
restricted. She was not disappointed when her aunt told her that
their Christmas dinner was to be eaten at midday, and that there
would be guests.
“Who do you think is here, actually staying at the ‘Osborne’?” Miss
Raymond inquired.
Lydia was unable to guess.
“Your Aunt Evelyn, with Olive. They’ve been worried about Olive for
quite a time now—she can’t throw off a cold she caught in the
autumn, and, of course, there have been lungs in the Senthoven
family, so they’re a bit uneasy. Aunt Evelyn brought her down here
for a change, and Bob’s coming down for Christmas Day. They keep
him very busy at the office now. Don’t you ever run across him in
town, Lydia?”
“No, never,” said Lydia, with great decision.
She had no wish to meet Bob Senthoven in London, although she
was rather curious to see both her cousins again.
She caught sight of him in church on Christmas morning, where she
decorously sat between Aunt Beryl and Uncle George, in the seats
that had been theirs ever since Lydia could remember.
Bob, who was on the outside, did not look as though he had altered
very much. He was still short and stocky, with hair combed straight
back and plastered close to his head.
Olive, much taller than her brother, was dressed in thick tweed, with
a shirt and tie, and the only concession to her invalidhood that Lydia
could see, was a large and rather mangy-looking yellow fur
incongruously draped across her shoulders.
Mrs. Senthoven’s smaller, slighter figure was completely hidden from
view by her offspring.
As they all met outside the church door, Lydia, in thought, was
instantly carried back to Wimbledon again, and her sixteenth year.
“Hullo, ole gurl!” from Olive.
“Same to you and many of ’em,” briefly from Bob, in reply to
anticipated Christmas greetings.
“We’ll all walk back to the Terrace together, shall we?” suggested
Aunt Beryl, on whose mind Lydia knew that elaborate preparations
for dinner were weighing. “Grandpapa will want to wish you all a
Merry Christmas, I’m sure.”
Aunt Evelyn, not without reason, looked nervous, nor did
Grandpapa’s greeting serve to reassure her.
“Why does little Shamrock bark at you so, my dear?” he inquired of
Olive, with a pointed look at her short skirts. “I’m afraid he doesn’t
like those great boots of yours.”
It was quite evident that Grandpapa’s opinion of the Senthoven
family had undergone no modification.
They sat round the fire lit in the drawing-room in honour of the
occasion, and Aunt Beryl hurried in and out, her face flushed from
the kitchen fire, and hoped that they’d “all brought good appetites.”
“There’s the bell, Lydia! I wonder if you’d go down, dear? I can’t
spare the girl just now, and it’s only Mr. Almond.”
Lydia willingly opened the door to her old friend, and received his
usual, rather precise greeting, together with an old-fashioned
compliment on the roses that London had not succeeded in fading.
She took him up to the drawing-room.
“Greetings of the season, ladies and gentlemen all,” said Mr.
Monteagle Almond, bowing in the doorway.
“Rum old buffer,” said Bob to Lydia, aside.
She smiled rather coldly.
She felt sure that although the Bulteels and Miss Forster—who, after
all, was the friend of Sir Rupert and Lady Honoret—might have
accepted Mr. Almond and his out-of-date gentility, they would never
have approved of Bob and Olive, with their witless, incessant slang.
“Now, then!” said Aunt Beryl, appearing in the doorway divested of
her apron, and with freshly washed hands. “Dinner’s quite ready, if
the company is. George, will you lead the way with Evelyn?—Olive
and Mr. Almond—that’s right—now, Bob, you haven’t forgotten the
way to the dining-room—or, if you have, Lydia will show you—and I’ll
give Grandpapa an arm.”
Aunt Beryl, for once, was excited and loquacious. Giving Grandpapa
an arm, however, was a lengthy process, so that she missed the
appreciative exclamations with which each couple duly honoured the
festive appearance of the dining-room.
“How bright it looks!” cried Aunt Evelyn. “Now, doesn’t it look
bright?”
“Most seasonable, I declare,” said Mr. Almond, rubbing his hands
together.
“Oh, golly! crackers!”
“My eye, look at the mistletoe!” said Bob, and nudged Lydia with his
elbow. Lydia immediately affected to ignore the huge bunches of
mistletoe pendant in the window and over the table, and admired
instead the holly decorating each place.
“A very curious old institution, mistletoe,” said Uncle George, and
seemed disappointed that nobody pursued the subject with a
request for further information.
When they were all seated, and Grandpapa had leant heavily upon
his corner of the table, and found a piece of holly beneath his hand,
and vigorously flung it into the enormous fire blazing just behind his
chair, Uncle George said again:
“Probably you all know the old song of the ‘Mistletoe Bough,’ but I
wonder whether anyone can tell me the origin——”
“We’ll come to the songs later on, my boy,” said Grandpapa briskly.
“Get on with the carving. Have you good appetites, young ladies?”
Olive only giggled, but Lydia smiled and nodded, and said, “Yes,
Grandpapa, very good.”
“You needn’t nod your head like a mandarin at me. I can hear what
you say very well,” said Grandpapa, and Lydia became aware that
she had instinctively been pandering to the Senthoven view that
Grandpapa was a very old man indeed, with all the infirmities proper
to his age.
The Christmas dinner was very well cooked, and very long and very
hot, and conformed in every way to tradition.
“Don’t forget the seasoning in the turkey, George,” said Aunt Beryl
agitatedly. “There’s plenty more where that comes from. Give Lydia a
little more seasoning—she likes chestnut. Sausage, Evelyn? Sausage,
Mr. Almond? Bob, pass the sauce-boat to your sister, and don’t
forget to help yourself on the way. There’s gravy and vegetables on
the side.”
Everyone ate a great deal, and the room grew hotter and hotter, so
that the high colour on Olive Senthoven’s face assumed a glazed
aspect, and the fumes from the enormous dish in front of Uncle
George rose visibly into the air.
Presently Gertrude brought the plum-pudding, blazing in a blue
flame, and with a twig of holly sticking from the top, and much
amusement was occasioned by the discovery that several of the
slices contained a small silver emblem. Mr. Monteagle Almond
solemnly disinterred a thimble, and Bob, with a scarlet face, a
wedding-ring.
Under cover of Olive’s screams on the discovery of a three-penny bit
on her own plate, he pushed the ring over to Lydia.
“I shall give it to you,” he muttered gruffly.
After the plum-pudding, they ate mince-pies, and a little spirit was
poured over each and a lighted match applied by Uncle George, Mr.
Almond or Bob, Aunt Beryl and Aunt Evelyn, in accordance with the
usage of their day, each uttering a small scream as the flame shot
up. When the mince-pies were all finished, the dessert dishes were
pulled out from under the piled-up heaps of crackers and holly
surmounting them.
The dessert was also traditional—oranges, nuts, apples, raisins,
almonds. Everybody avoided direct mention of these last from a
sense of delicacy, until Mr. Monteagle Almond himself remarked
humorously:
“I think I will favour my namesake, if the ladies will pardon an act of
cannibalism.”
Upon which everybody laughed a great deal and jokes were made,
and Bob and Olive began to ask riddles.
In the midst of Bob’s best conundrum, Grandpapa suddenly knocked
loudly upon the table.
“Send round the port, George,” he ordered solemnly. “Round with
the sun ... that’s right. The ladies must take a little wine, for the
toasts.”
Lydia knew what was coming. She had heard it every year, and the
transition from jovial animal enjoyment to sudden solemnity always
gave her a slight thrill.
Grandpapa raised his glass, and everybody imitated the gesture.
“The Queen! God bless her.”
The sentiment was devoutly echoed round the table.
Then Uncle George said in a very serious way:
“Our absent friends.”
And the toast was drunk silently, Aunt Beryl raising her handkerchief
to her eyes for a moment as she did every year, in whose honour
nobody knew.
After that healths were proposed and honoured indiscriminately. Mr.
Monteagle Almond ceremoniously toasted Aunt Beryl, and Bob,
looking very sentimental, insisted upon knocking the rim of his glass
several times against the rim of Lydia’s. Uncle George,
noncommittally confining himself to generalities, proposed “The Fair
Sex,” and Grandpapa effectually prevented anyone from rising to
reply by sarcastically inquiring which of the ladies present would act
as representative for them all.
The room grew steadily hotter.
Lydia had enjoyed the resumption of old festive custom and also the
additional importance conferred upon herself as a two days’ visitor
from London, but she found herself viewing the familiar Christmas
rituals from a new and more critical angle.
She was inclined to wonder how they would strike the aristocratic
boarding-house in Bloomsbury, or even the fashionable “young
ladies” at Madame Elena’s.
Surely it was an out-of-date custom to join hot hand to hot hand all
round the table, and sing, “Auld Lang Syne” in voices made rather
hoarse and throaty from food, and silently to pull each a cracker
with either neighbour, hands crossed, and Uncle George saying,
“One—two—three—all together, now—Go!”
Lydia felt mildly superior.
They adorned themselves with paper caps and crowns, Bob
sheepishly self-conscious, Lydia critically so, and all the others
merely serious. When no one could eat or drink anything more, Aunt
Beryl said reluctantly:
“Well, then—shall we adjourn this meeting?” and they rose from the
disordered table, now strewn with scraps of coloured paper from the
crackers, dismembered twigs of holly, and innumerable crumbs.
“You gentlemen will be going for a walk, I suppose?” Aunt Evelyn
suggested, as everyone hung about the hall indeterminately.
“That’s right,” said Grandpapa. “Get up an appetite for tea. And
you’ll take little Shamrock with you.”
Little Shamrock, having been given no opportunity for over-eating
himself, after the fashion of his betters, was careering round Uncle
George’s boots with a liveliness that boded ill for his docility during
the expedition.
“We’ll smoke a cigarette first, at all events,” said Uncle George
gloomily, and he and Mr. Almond and Bob went back into the dining-
room again.
“You don’t want to go for a walk, dear, do you?” said Aunt Beryl, and
sighed with evident relief when Mrs. Senthoven shook her head in
reply.
“Grandpapa?”
“The drawing-room is good enough for me,” said Grandpapa, and
Uncle George had to be called out of the dining-room again to help
him up the stairs and instal him in his arm-chair by the window.
“I say, aren’t you girls coming with us?” demanded Bob rather
disconsolately, leaning against the open door of the dining-room
with a half-smoked cigar in his mouth.
“You’ll go too far for us,” said Lydia primly.
“Let you and me go off somewhere on our own,” struck in Olive. “I’m
game for a toddle, if you are, but we don’t want the men, do we?”
“You want to talk secrets—I know you,” jeered Bob.
Lydia lifted her chin fastidiously and turned away.
Her cousins had not improved, she thought, and she was very angry
when her dignified gesture inadvertently placed her beneath a
beautiful bunch of mistletoe, hung in the hall by Aunt Beryl.
“Fair cop!” yelled Bob, and put his arm round her waist and gave her
a sounding kiss.
She would not struggle, but she could not force herself to laugh, and
she ran upstairs with a blazing face.
It was not that Lydia had any objection to being kissed, but that the
publicity, and the scuffling, and the accompanying laughter offended
her taste.
She felt almost as though she could have burst into angry tears.
“Are you two girls really going out?” Aunt Beryl inquired. “If so, I’ll
give you the key, Lydia. I’m letting the girl go home for the rest of
the day, as soon as she’s cleared up. The char’s coming in to give
her a hand with the washing-up.”
“That’s a good girl you’ve got hold of,” Aunt Evelyn said emphatically.
“She’s been with you quite a time now, hasn’t she?”
Aunt Beryl and Aunt Evelyn went upstairs, talking busily about the
difficulty of training a servant really well, and then inducing her to
remain with one. Presently, Lydia knew, they would go into Aunt
Beryl’s room, under pretext of looking at a paper pattern, or a new
blouse bought at a clearance sale, and they would lie down on Aunt
Beryl’s bed, with eiderdowns and a couple of cloaks to keep them
warm, and doze until tea-time.
Lydia herself felt heavy and drowsy, but nothing would have induced
her to lie down upon her bed with Olive beside her. Instead, she put
on her best hat and jacket, and a pair of high-heeled, patent-leather
walking shoes, and took her cousin out into the mild damp of the
December afternoon.
“What I call a muggy day,” said Olive.
“Shall we go along the Front?” Lydia inquired.
“It’s all those shoes of yours are good for, I should think,” retorted
Olive candidly. “Still the same old juggins about your clothes, I see?”
The Front—a strip of esplanade with the shingle and the grey sea on
one side, beneath a low stone wall, and the green of the Public
Gardens on the other—was almost deserted.
One or two young men in bowler hats and smoking Woodbine
cigarettes hung round the empty band-stand, and an occasional
invalid was pushed or pulled along in a bath-chair. Here and there a
pair of sweethearts sat together in one of the small green shelters—
the girl leaning against the man, and both of them motionless and
speechless.
The sight of one such couple apparently gave Olive a desired
opening.
“I say, what’s all this about you falling in love with some chappie in
London?” she demanded abruptly.
“I haven’t fallen in love with anybody, that I know of,” said Lydia
coolly.
“But there was someone going after you, now, wasn’t there?” urged
Olive.
Lydia reflected.
“Who told you anything about it?” she demanded at last.
“Aunt Beryl told the mater.”
Lydia perceived to her surprise that Olive did not, as she would have
expected her to do, despise her cousin for “sloppiness.” On the
contrary, she appeared to be really impressed, and anxious to hear
details from the heroine of the affair. Lydia did not resist the
temptation.
She gave Olive a brief and poignant version of the tragedy.
There had been a man—a fellow-boarder at the great boarding-
house in Bloomsbury that was always full of people, men and
women alike. He was a foreigner—a distinguished sort of man—who
had certainly paid Lydia a great deal of attention. Everyone had
noticed it. Theatres, hansom-cabs, chocolates—he had appeared to
think nothing too good for her. Certain of these attentions Lydia had
accepted.
“Well, whyever not!” ejaculated Olive.
She worked hard all the week, and it was pleasant to have a little
relaxation, and, besides, the Greek gentleman was most cultivated
and clever—one had really interesting conversations with him about
books. But——
Lydia paused impressively, really uncertain of what she was about to
say. She was very seldom anything but truthful, and could not
remember ever having told a direct lie since she was a little girl.
Nevertheless, she did not want Olive to suppose her a mere dupe,
the more especially as she felt perfectly certain that whatever she
told Olive would be repeated to Olive’s family, as nearly as possible
word for word.
Lydia, therefore, said nothing untrue, but she rather subtly contrived
to convey a desirable impression that, without any direct statements,
should yet penetrate to Olive’s consciousness. There had certainly
been a mystery about the Greek. He was very uncommunicative
about himself—even to Lydia herself. Then one day, after he had
taken her out and been more attentive than ever, they had come in
to find a foreign woman there who called herself his wife.
“Why, it’s like a novel!” gasped Olive. “There’s a plot exactly like that
in a story called ‘Neither Wife nor Maid.’ Only the fellow turns out to
be all right in the end, and the girl marries him.”
“I should never have married Mr. Margoliouth,” said Lydia haughtily.
“But of course he’d no right to carry on like that if he was married all
the time,” said Olive. “Men are rotters!”
Lydia gazed at her cousin thoughtfully.
“That woman said she was his wife,” she remarked quietly.
“I say! d’you think it was all my eye and Betty Martin?”
“I don’t know. But it was an awkward sort of position for him.”
“Lord, yes!” said Olive more emphatically than ever, and Lydia felt
that any humiliation attaching to the débâcle had been effectually
transferred, so far as Olive’s interpretation of it was concerned, from
herself to the Greek deceiver.
“Of course, it doesn’t matter to you, Lyd—a good-looking gurl like
you,” said Olive simply.
Lydia felt that after this she could well afford to change the
conversation.
She made inquiries about Beatrice.
“Oh, just rotting about,” said Olive discontentedly. “I wish she and I
could do something for ourselves, the way you do, but the old birds
wouldn’t hear of it. Besides, I don’t know what we could do, either
of us. Bee plays hockey whenever she gets the chance, of course,
and goes to all the hops. She’s taken up dancing like anything.”
“And haven’t you?”
“Can’t,” said Olive briefly. “They’re scared of me going off like the
pater’s sister. Chest, you know. But Beatrice is as strong as a horse.
You know she’s sort of engaged?”
“Who to?”
“The eldest Swaine boy—you remember Stanley Swaine? Nobody’s a
bit pleased about it, because they can’t ever get married, possibly.”
“No money?”
“Not a penny, and he’s a perfect fool, except at games. He got the
sack from the Bank, and now he hasn’t any job at all. Bob says he
drinks, but I daresay that’s a lie.”
“And does Beatrice like him?” said Lydia, rather astonished.
“Perfectly dotty about him. He’s always hanging round—I think the
pater ought to forbid him the house. But instead of that he comes in
after supper of an evening, and he and Bee sit in the dining-room in
the dark, and she comes up after he’s cleared off with her face like
fire and her hair half down her back. Absolutely disgusting, I call it.”
Lydia was very much inclined inwardly to endorse this trenchant
criticism.
She had never been so much aware of her own fastidiousness as she
was now, on her return from the new surroundings which seemed to
her so infinitely superior to the old. Really, it was terrible to think of
how clever, fashionably-dressed Miss Forster, or haughty and
disagreeable Miss Lillicrap, would have looked upon Olive Senthoven
and her slangy, vulgar confidences.
As for the young ladies at Elena’s, they would probably have refused
to believe that anything so unrefined could be related to Lydia
Raymond at all.
Nevertheless, Lydia Raymond expressed interest and even sympathy
in all that Olive told her, and was conscious of feeling both pleased
and flattered when, as they entered Regency Terrace again, Olive
remarked with what, by the Senthoven standards, perilously
approached to sentiment.
“I must say, ole gurl, I never thought you’d turn out such a decent
sort.”
They found Aunt Beryl, whose nap must after all have been a very
short one, preparing a magnificent muffin-and-crumpet tea in the
kitchen.
“Auntie! let me help you,” Lydia cried.
“No, no. You go and take off your things.”
Lydia pulled off her hat and jacket and laid them on the kitchen
dresser.
“Are we using the blue tea-service to-day?” she asked calmly.
“But you’re on a holiday, dearie! Don’t you worry about the tea—I’ll
manage it. It’s only to get the table laid in the drawing-room.”
Lydia, however, carried her point. It would have made her feel
thoroughly uncomfortable to see Aunt Beryl toiling upstairs with the
heavy trays, and it would have looked, besides, as though she,
Lydia, had grown to think herself too “fine” for household work.
So she carried the best blue china upstairs and set it out on the
embroidered tea-cloth, and Aunt Evelyn, who was sitting with
Grandpapa, looked at her approvingly and called her a good girl.
After tea she received other compliments.
They asked about her work in London, and Lydia told them about
the great ledgers, and the bills and the invoices, and of how
Madame Elena had practically said that she should leave Lydia in
charge of the other girls, when she went to Paris to buy new models
for Easter.
She also told them about the other young ladies, of Gina Ryott’s
good looks, and the cleverness and independence of little Rosie
Graham, who lived in such nice rooms with a girl friend.
“And do they make you comfortable at the boarding-house?” Aunt
Evelyn asked solicitously.
“Yes, very comfortable—and there were such nice superior people
there. There was a Miss Forster, who played Bridge splendidly, and
was great friends with a Sir Rupert and Lady Honoret, who lived in
Lexham Gardens.”
“Fancy!” Aunt Evelyn ejaculated. “I’ve seen Lady Honoret’s name in
print, too, I’m almost certain.”
And the Bulteels were a nice family, Lydia said, with a clever son
who went to Gower Street University.
“A great many clever folk in the world,” said Mr. Monteagle Almond
sententiously. “And no doubt you’ll meet many of them in London.
But I think, if you’ll excuse personalities, that you’ll find it’s as I say
—the true mathematical mind is a very rare thing in one of your
sex.”
Lydia’s relations looked at her admiringly.
Only Grandpapa, with a detached expression, occupied himself in
making a great fuss about Shamrock.
That night, when Lydia said good night to him, the old man fixed his
eyes upon her with his most impish-looking twinkle.
“Why didn’t you tell them about your romance, eh, Lyddie? The
broken heart, and all the rest of it. You could have made a very
pretty story out of it, I’m sure. You only told one-half of the tale
when you were entertaining us all so grandly this evening. Always
remember, me dear, whether you’re listening to a tale or telling one:
Every penny piece that’s struck has two sides to it.”
 TRANSCRIBER’S NOTES:
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