Multi-color Boxes

Logan Fisher and Erin Angel from Valley View Christian Church in Littleton, CO bring us these awesome homemade boxes.

This design was repurposed from the chevron design that they found here. They followed the same instructions and used the same materials as that design.

Since all of the arrows were 90-degree angles and the same length, they were able to reform their design into squares. They used three 4’x4′ squares, three 3’x3′ squares, and one 3.5’x3.5′ square. They had to build one more 4×4 square and one 3×3 square. When they made the squares, they braced the backside for support (shown in picture), caulked the cracks, and painted over it. They did have to cut a small hole in the crack to feed the wires through for the DMX box attached on the back corner.

The bottom 5 squares were attached to stands and the middle top 2 were hung from a ceiling truss with black chains. In the middle of the squares, they put LED PARS. They were mounted on speaker stands for the floor ones and they drilled them into a black 2×4 that went across the back of the square for the hanging ones. They phased in the design, starting with the bottom 5 squares and then they added the hanging two for their Easter services.

This design is attainable for $1000-$1500 depending on how much of the equipment you already have (DMX decoders, LED tape, wood, tools, etc.).

Why This Layered Square Design Works

The repeated square frames give the stage a strong visual rhythm without making every element identical. Mixing 3-foot, 3.5-foot, and 4-foot frames creates enough scale variation to keep the wall interesting, while the shared right-angle geometry makes the entire composition feel intentional. Separating the five floor-supported frames from the two suspended frames also adds height and negative space. From the audience, the result reads as one large scenic system rather than a collection of individual props.

Color is doing two jobs in this design. The LED tape outlines each frame, making the shape visible even when the room is dark, while the LED PAR fixtures fill the centers with a second layer of light. Those two lighting zones can be programmed independently for subtle gradients, alternating colors, or unified looks during teaching moments. For songs with more energy, chases can move across the frames in sequence. During quieter moments, a single-color palette and slower fades will keep the set supportive instead of distracting.

Planning the Build and Lighting System

Before cutting lumber, draw the complete arrangement to scale and mark the location of every stand, hanging point, power supply, decoder, and cable path. Building a simple jig will help volunteers keep all corners square and repeat the same dimensions accurately. Brace the rear of each frame before caulking and painting; that reinforcement reduces twisting when the units are moved, lifted, or stored. A flat black finish on the braces, stands, cables, and hardware helps the support system disappear under stage lighting.

Divide the project into manageable electrical zones so a single failure does not darken the entire backdrop. Label both ends of every DMX and power cable, assign each frame a channel range, and save a neutral service look in the lighting console. Leave strain relief near each connection and keep power supplies accessible from backstage. For suspended frames, use rated rigging hardware and a secondary safety cable. Any overhead installation should be approved by someone qualified to evaluate the structure and load.

Budget and Reuse Ideas

The stated $1,000–$1,500 range can fall considerably when a church already owns PAR fixtures, decoders, stands, and control cabling. If the budget is tight, build the five floor units first, then add the two suspended frames later. Standard lumber and single-color paint keep fabrication costs predictable, while addressable lighting or extra fixtures can be treated as future upgrades. The frames are also easy to reuse: rotate them into diamonds, cluster them asymmetrically, cover selected openings with fabric, or rearrange them around a center screen for a completely different look.

Related Designs

• Light-Filled Boxes – Explore another box-based backdrop that combines dimensional scenery with internal illumination.
• Multi-Purpose Squares – See a flexible square system designed for changing arrangements and lighting looks.
• Light Squares – Compare a clean square-grid approach that makes colored light the main scenic element.
• LED Frames – Learn how illuminated frames can create depth without filling the stage with heavy materials.
• Geometric Stacks – Discover a stacked geometric composition with similar repetition and visual movement.

Pro Tips for Illuminated Square Backdrops

Build a sizing jig: Use a temporary corner stop on the worktable so repeated pieces stay square and matching frames line up cleanly.

Plan service access: Mount decoders and power supplies where the team can troubleshoot them without taking the scenery apart.

Program for the camera: Test colors and dimmer levels through the livestream feed; saturated LEDs can clip on video before they look too bright in the room.

Protect every overhead element: Use load-rated attachment points and independent safeties, and have a qualified person approve anything suspended above people.

Related CSDI guide: Plan a modular version with the small-church stage design guide.