These days
Vectorworks or a few other programs are much easier to convert from the
plug and time is valuable. Such drawings are amazing in how realistic they have become as with how much easier it is to Cadd something and convert it to 3D perspective. But on the other
hand a two dimensional drawing of the scenery and lighting can only do so much especially for those directors that are not more skilled in looking at a
plot or floor plan plus other drawings in converting it into a scale painting. Heck a few olden days story boards or scenic drawings of the set would be the same as a
Vectorworks drawing.
If I could count up amount of hours from a simple change
hand re-drawn, than facing a scale model for presentation - hopefully beyond just a B&W version.., wished I had gotten further in drafing my sets on Cadd so I might have time to make a model, and from there the hours on a model, wish I had time to work on the set or do more work on the design in most times not even having time to finish the model completely or decide what color that boat would be I was designing given all the work I had to do.
Scale models are great, would never sell off my 1/2"=1' scale futniture and people (or were they 1/4" scale.) Made lots of models over the years and can't say they ever helped me with the design but that scale model did help inspire the director a lot, inspire the cast and other designers also. Sometimes thats' important in a way just some color printing just won't help with especially if lower down the tech scale. Can't fault someone that might find advantage to a three dimensional scale model of what they will see on
stage.
Assuming time, I will have loved to finilize a design with the director by way of a model. This is what you will get. All now fully understood this with sketches and drawings plus blue prints.
This on the other
hand mostly out of the concept of conveying your thoughts to that of the director and other designers and inspiring the cast and crew such a model. Such a model on the other
hand perhaps is absolutely not necessary for those more trained you are working with in understanding your
vision sufficient to agree or modify its concept to better fit their overall
vision.
In the end I would say that it mostly depends on what scale of production you are working on with co-wokers what need that model is. Perhaps in such cases where a model is needed, you don't need to spend as much time on say rear side detailed
flat or construction drawings and can spend more time on the model. Shop's gonna
wing it anyway and or won't understand a complex drawing mostly in such conditions or you are the MC also and already know what has to be built.
Scale and scope of those you work with on production as with having assistants to
build the model for you in some say mid way or end result. Depends on the staff and production if a model or time spent on shop drawings is more needed of your time. This much less one don't just crap out a show, how much lead time you have to study, discuss and come up with a design concept also plays a huge factor.
Look at the callender and scope out the talent you are working with and ask if you need a week to produce a model. This especially if they don't have one pre-built of the theater you can mount yours in - often they won't but would still like your model even if the first they ever had, and hey they now also have a model of the theater to
base future sets off of. On the other
hand such models in such spaces can prevent huge... gee I didn't understad that type things, this especially if you can walk your figures
thru the show and if in seeing it the director agrees and understands the
blocking you think you designed about.