How to be a production designer

By Ann Jackman

Indie Production Designer Erin Muldoon Stetson informs readers of the job -- from the first artistic visualizations to the imaginative use of color and composition in each scene helping to create the overall look and emotion of a film.

Whether replicating every last detail of the ocean liner in Titanic; bringing a fantasy world to life in The Lord of The Rings; conveying a mood of drab workplace dreariness in The Apartment; or inventing a vision of the future in 2001: A Space Odyssey all these films share something in common. Each of their distinct looks blossomed forth from inside the mind of a production designer. Do you like spending an entire day wandering through flea markets looking for that perfect table lamp? Do you find yourself rearranging the furniture in your friends’ apartments to capture the right visual atmosphere? Then perhaps you have the makings to become a production designer.

A production designer (PD) is the head of a film’s art department, which usually consists of an art director, costume designer, prop master, and a set decorator. The PD is involved with a film almost from day one, working in close collaboration with the director and director of photography to create the film’s look and feel by choosing the right colors, shapes, and compositions for each shot. “The three of us are really building a skeleton and framework and cohesive vision for a film,” says Erin Muldoon Stetson, a PD on independent shorts and features in New York.

A production designer’s duties extend far beyond props. Because film is ultimately a visual medium, its visual material is almost like another actor, itself creating a mood and eliciting an emotional reaction from the audience. Just think how much the production design in Todd Haynes’ Far From Heaven contributed to the overall effectiveness of his story. It is the PD’s responsibility to find the right visual and spatial elements that best convey the film’s theme and emotion. According to C.S. Tashiro in his book Pretty Pictures: Production Design and the History of Film, the PD must have “a thorough knowledge of a film’s setting, from the basics of architectural style to the shape of a cufflink”.

It also helps to have an artistic eye. While Erin Muldoon Stetson had no formal film training, she comes from an art and art history background, a common trait among most PDs. The daughter of an interior designer, she was an art history major at Boston College and an amateur photographer (she was a photography intern on Saturday Night Live). She got her first break when a filmmaker friend who liked her photos asked her to art direct a short film. From there, her dedication, hard work, and inventive solutions helped her build a network of connections that led to further jobs.

If you don’t like hard work, thinking on your feet, and large amounts of stress, being a production designer is probably not for you. It involves a lot of planning and even more flexibility when the plans go astray. “Most of my work is done in pre-production”, says Stetson, “but that’s also the most fun part, because that’s where you come up with your grandiose ideas of perfection. It’s not until later that you have to make compromises”.

A great production designer must be able to balance their own creative vision with the film’s need for authenticity of time and place, so much of pre-production involves not only coming up with “grandiose ideas” but also research and lots of it. Depending on the nature of the film, research might include uncovering anything from period details for a Civil War epic to what the interior of a butcher shop in Queens looks like. That can mean doing a lot of reading, interviews, legwork, or any combination of the three.

Another part of the job that begins early on is working closely with the film’s location manager. The right space can determine the ease or difficulty of the PD’s job. “Locations are a huge issue for production designers because they are the space we have to transform”, says Stetson. Sometimes you may not find the perfect location and will have to come up with ways to work within the given parameters of space, time, and budgetary limitations.

Finally, it’s time to go shopping! Pre-production also involves searching for props to dress the scene, which means the art department team takes all the research they’ve done and visits prop shops, antique markets, street fairs, or local merchants. If the right objects or right locations can’t be found, the art department may have to build its own props and architectural elements, like the gallows Stetson had to construct for a recent film.

The important thing to remember in all phases of pre-production is to not be afraid to venture outside the lines, be creative, and above all, be resourceful. Says Stetson, “Resourcefulness is your number one trait, and being able to get along with people. Those two things can make anything happen.” And that’s often the job a production designer is given: to take the impossible and make it a reality.

Once production begins, the PD becomes more of a coordinator on the set, making sure everything is where it should be, but this doesn’t mean there is time to relax. Once again, thinking on your feet is a vital and appreciated asset. “Someone from the art department has to be on set at all times in case there are any last minute changes or prop problems”, says Stetson. The PD is usually on set well before cast and crew arrive, and while called upon to solve any immediate problems, they must also be thinking ahead to the next set-up at the next location. In essence, the PD must always be one step ahead and prepared for all locations at all times.

A lot of people wonder what the difference is between a production designer and an art director, and in many cases, particularly on lower budget films, they are the same person. Ultimately, the production designer is the head of the art department and the art director is like a second in command. In the most basic terms, the PD comes up with the ideas, while the art director puts those ideas into action.

Stetson offers several words of advice on what makes a valuable and sought-after production designer.

Although formal training isn’t necessary, a background in fine arts, visual arts, art appreciation, or art history is helpful.

Start working for free as a PA in a film’s art department. Check your city’s film listings and make as many connections as possible. A good and hard working PA will definitely get noticed and often promoted to a higher position on the production designer’s next film.

Come to your job, even if it’s unpaid, with excitement and a drive to succeed. And don’t be afraid to ask questions.

Enjoy working as part of a team. Filmmaking is a collaborative effort and the art department in particular, works long hours together in research, prop-hunting, construction, and decorating.

Be resourceful, be creative, and willing to explore unconventional avenues towards achieving the right look for a film. Whether working on a low budget indie or a Hollywood blockbuster, production designers will always be presented with obstacles or limitations that they must inventively think their way around.

Above all, a positive and enthusiastic attitude, tireless effort, and a creative approach are sure to capture the attention of a producer and a director, who will appreciate a production designer who helps make their job easier. “If you don’t love what you’re working on”, says Stetson, “it can be torture. But if you’re passionate and believe in the project, it can be inspiring”/

Some helpful books that detail the job of production designers include: “The Filmmaker’s Guide to Production Design” by Vincent Lobrutto; “By Design: Interviews with Film Production Designers” by Vincent Lobrutto; and “What an Art Director Does: An Intro to Motion Picture Production Design” by Ward Preston.

 

ART DIRECTOR

Art Directors act as project managers for the biggest department on any film - the Art Department. They facilitate the Production Designer's creative vision for all the locations and sets that eventually give the film its unique visual identity. Art Directors are responsible for the Art Department budget and schedule of work, and help the Production Designer to maximise the money allocated to the department. Art Directors are usually requested by the Production Designer, and are responsible for the Assistant Art Director, the Draughtsman (as many as 20 Draughtsmen may be employed on big budget films), the Art Department Assistant(s) and all Construction personnel. As Art Directors must find practical solutions to creative problems while simultaneously monitoring the budget, this is highly skilled work. Many Art Directors work on television drama and commercials, as well as on films. The hours are long and the job can involve long periods working away from home. Art Directors work on a freelance basis.

What is the job?
On big budget films, Art Directors start work up to 4 to 5 months before shooting begins (on low budget films 8 weeks may be sufficient). When the Final Schedule is delivered (detailing the precise order of scenes in which the film will be shot), Art Directors begin the work of overseeing the preparation of the first sets required. Art Directors analyse the script to identify all props or special items that may require longer lead times. Simultaneously, a team of Draughtsmen draw up numerous plans for sets and locations for use by Art Directors when working with the Construction Managers and their team. This is an extremely busy, pressured time for every member of the Art Department; as well as coping with this pressure, Art Directors must also tightly control the budget (which is prepared and monitored on a spreadsheet).

On big productions, weekly meetings with the Accountant are key to this process. A major part of Art Directors’ work is troubleshooting - they must find cost-effective solutions which also provide practical answers to construction and decorating problems. During pre-production, they are also responsible for commissioning all Special Effects (such as explosions or car crash sequences), hiring all vehicles (from cars to horse-drawn carriages) and organising the casting of all animals (chosen by the Director). As the shooting date approaches, Art Directors liaise closely with the Location Manager to negotiate when locations can be prepared and dressed.

During filming, Art Directors continue to oversee the construction, dressing and striking (dismantling) of the remaining sets. After the film wraps (shooting is completed), Art Directors must ensure that all sets are struck and locations cleared, and that all outstanding Art Department bills are paid.

Typical career routes
Art Directors must learn their skills on the job, which involves starting out as an Art Department Assistant and progressing through the grades, e.g., to Junior Draughtsman, then to Draughtsman or Assistant Art Director. Although this progression can take a number of years, it is a crucial process during which they acquire the knowledge and experience that enables them to become competent trouble-shooters. Art Directors may also have worked in theatre, where they learn the art of set design and construction as well as how to conceptualise ideas and create a sense of drama through visual spectacle. Students who have studied film and theatre design may also gain experience working on short films before progressing to junior roles on feature films.

Essential knowledge and skills Art Directors should have a good all round knowledge of interior design and architecture as well as a practical understanding of building and construction. They also need a good knowledge of computer budgeting software, e.g., Excel. A full clean driving license is also required.
Key Skills include:

 a good eye for decoration and detail;

 ability to conceptualise ideas;

 ability to think visually;

 methodical approach to work;

 ability to lead a team;

 ability to see the broader picture and to co-ordinate effectively;

 diplomacy and sensitivity when working with artists and crew;

 knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications
Art Directors are likely to be graduates of Art, Architecture, Theatre, Interior or 3D Design courses. Some individuals may also undertake higher level courses in Film and/or Theatre Production Design. After training, it is equally important to acquire on the job experience of how Art Departments work.

Supervising Art Director

Supervising Art Directors have a primarily organisational role on big budget films which require a number of sets and involve large Art Departments. They manage the budget and schedule, enabling Production Designers to translate their vision into reality. The sheer complexity of the work and the speed inherent in film production means that it is unrealistic for Production Designers to depend on one Art Director to realise their vision. Big sci-fi epics or action films require teams of Art Directors and Supervising Art Directors to ensure that the work and the department run smoothly. Most Supervising Art Directors are requested by the Production Designer or Producer and usually work, on a freelance basis, exclusively on feature films. The hours are long and the job can involve long periods working away from home.

What is the job?
During preproduction, Supervising Art Directors work closely with the Production Designer and the Construction Manager to estimate the costs of the three main areas of Art Department spend: Set Construction, Set Decoration, and Art Department labour. Supervising Art Directors consult with the Producer and Production Manager and offer practical guidance to the Production Designer, ensuring that budgets are not exceeded. Supervising Art Directors also carefully analyse the shooting schedule (also known as the Final Schedule and usually determined by Actors’ availability), calculating the precise dates when sets must be ready and in place, or dismantled and new sets built. This requires careful planning, precise attention to detail, and constant monitoring so that the shoot runs smoothly.

Supervising Art Directors delegate the work created by the Production Designer, making sure that accurate technical drawings and models are produced, sets constructed, and all props and set decoration organised. They are in constant communication with each of the Art Directors (who are responsible for the production of individual sets). During the shoot, they oversee the entire Art Department, ensuring that there are no hidden costs or overspending, and that all sets and locations are prepared and ready for filming. After the film has wrapped (is completed), Supervising Art Directors ensure that the records of the entire department, including all research materials, drawings and models, etc., are properly filed and stored. As Supervising Art Directors have considerable knowledge of the Art Department and about how each set has been constructed, they may also work as Standby Art Directors during filming.

Typical career routes
Supervising Art Directors should have extensive experience of working within the Art Department and must have acquired their reputation as reliable, highly capable Art Directors on a number of films. They usually progress from working as Art Department Runners or Assistants, to Junior Draughtsmen, to Draughtsmen or Assistant Art Directors, and eventually to Art Directors. Because this role is only required on big budget films, most Supervising Art Directors also work as Art Directors.

Essential knowledge and skills
Supervising Art Directors should have an expert knowledge of Interior Design and Architecture as well as a practical understanding of building and construction. Excellent knowledge of computer budgeting software, e.g., Excel, is vital. A full clean driving license is required.

Key Skills include:

 excellent communication skills;

 highly organised, methodical approach to work;

 ability to conceptualise ideas;

 good free-hand and technical drawing skills;

 ability to trouble shoot;

 ability to work well under pressure;

 ability to lead a team whilst also taking direction;

 ability to see the broader picture and to co-ordinate effectively;

 knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications
Supervising Art Directors are usually graduates of Art, Architecture, Theatre, Interior or 3D Design courses. Some individuals may also undertake higher level courses in Film and/or Theatre Production Design. After training, it is equally important to acquire on the job experience of how Art Departments work.

Storyboard Artist

Storyboard Artists translate screenplays, or sequences from screenplays, into a series of illustrations in comic book form. These illustrations have two functions: to help Directors clarify exactly what they want to achieve, and to illustrate to all other Heads of Department exactly what is required, e.g., prosthetics for Make-up, Computer Generated Images (CGI) for Visual Effects, props for the Art Department, etc.

In many ways comic books are the art form that most closely resembles cinema - they both tell stories in a primarily visual form, involving discrete, framed images linked sequentially to convey information. Although comic book images are static, it is often useful to employ the comic book form to develop complex sequences in films that require careful planning, and that can not or should not be left to on-set improvisation. Helping the Director to conceptualise these sequences is the specialist task of Storyboard Artists. They work on a freelance basis.

What is the job?
Storyboards are mainly required on films containing large amounts of action and/or CGI, where complex chase, fight or battle scenes need to be visualised and carefully planned. It is now becoming commonplace for many big budget feature films to be storyboarded before shooting begins. Although it may be argued that this stifles the creative process of directing a film, it is a sensible way of avoiding overshooting and spiralling budgets.

Depending on individual Directors and their requirements, Storyboard Artists usually start work early in the production process. After reading the screenplay, they meet with the Director to discuss the mood and atmosphere of any scenes to be storyboarded. During this process Storyboard Artists must analyse the Director’s requirements, and visualise the scene from the camera’s point of view, working out the characters’ positions, who or what else is in the frame, and from what angles they are seen, and imagining their feelings. After Storyboard Artists have delivered the first few illustrations, Directors usually allow them to suggest their own ideas for the following scenes, although some Directors are more prescriptive about what they want, using storyboards as a reminder rather than as a template. On big budget films, two or three Storyboard Artists may be employed full time, usually in Art Department offices at film studios, where they are able to examine any models of the sets and photographs of various locations, and refer questions to the Production Designer.

Although most Storyboard Artists still prefer to use pencil and paper rather than draw onto a computer screen, as they have more control over the movement and flow of a pencil line, they use computer software packages such as Photoshop to collate and change work easily. Because of advances in computer games and in animation techniques, many storyboard software packages are available, e.g., Storyboard Lite, Frameforge 3D Studio and Storyboard Artists & Storyboard Quick.

Typical career routes
There is no typical career route to becoming a Storyboard Artist. Individuals may have worked as Graphic Artists, Illustrators or Graphic Novelists; or they may have been employed in Design studios or in Animation and made the transition to film storyboarding by chance, or by making contacts with Storyboard Artists and Production Designers.

Essential knowledge and skills
Basic technical knowledge of film cameras and lenses is invaluable for Storyboard Artists. A thorough knowledge of the Director’s role in the film making process helps Storyboard Artists to think in a similar way. A thorough working knowledge of image manipulation packages, e.g., Photoshop, is also required.
Key Skills include:

 excellent drawing skills;

 ability to think cinematically;

 excellent communication skills;

 ability to visualise perspective and 3-dimensional space;

 ability to visually interpret other people’s ideas;

 ability to draw and work quickly when required;

 knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications
Most Storyboard Artists are graduates of Fine Art, Graphics or Illustration courses. A small number of courses (mostly specialising in Animation) teach storyboarding skills. Some short courses are also available. For those trying to find work in this area, it is vital to have as much drawing experience as possible and a strong portfolio of work.