Nature and Purpose of Set Design
The overall physical environment of the acting space is the responsibility of the set designer. The set is the structure in which the play takes place.
The set should:
• convey the theatrical style of the production
• create mood and atmosphere
• give clues as to the context
• offer creative possibilities for the movement and grouping of the actor
• contribute to the overall aesthetic of the production
The set may also need to be designed so the backstage areas used by the actors and stage crew are kept out of sight from the audience. This will depend on the effect the director wants to create with the staging and on the type of stage the production uses. A good set will help reinforce the themes and ideas the director is trying to communicate. This
is done in many ways, including through use of colours, materials, design features, proximity to audience, and space.
The set also conveys the theatrical style of the production. For example, the set could be a realistic representation of the literal environment or an abstract presentation, focusing on symbolically conveying the themes.
The scenery could be one unit used for the whole production or a multi-unit set with several complete scene changes.
During production development, the set designer works collaboratively with the lighting designer, costume designer, director, stage manager, actors, and anyone else in the production team who is impacted by the decisions of the set design team.
Design Process for a Set Designer
1. Read the script and undetake a script analysis
A good designer will read the script several times. The first time is to get an idea what the text calls for. Then it is read with the director’s vision in mind. Another read through is to get inspiration and ideas and start forming the set.
2. Concept/Production Meetings
The director holds a production meeting with the production team and shares their directorial vision for the show. They may answer questions (like the ones below) before the production team begin their design planning:
• What period is the play set in? (Context)
• Is the production realistic or non-naturalistic? (Theatrical Style/s)
• What are the important aspects or intended meanings/themes of the script? (Intended meanings)
• How is the theatre space being used?
• Are then any special effects like fire or rain?
• Is there live music or dance?
• What’s the budget?
These are but a few details that could be discussed. The main goal is to give the designers enough information for them to begin their design planning.
3. Thumbnails and Roughs
Most designers start to put their ideas down on paper in the form of small quick sketches called thumbnails. The idea is to convey many different versions of the set until some start to stand out from the rest. The designer selects which thumbnails have the most potential and then sketches more detailed and larger versions of those, known as roughs.
4. Present a Pitch
Each design area will present their initial ideas during a production meeting. This is called a pitch and is an opportunity for the director to see if they have been clear in articulating their vision to the production team. It is also an opportunity for design teams to see each other’s work and ensure they are all on the same page. If the director approves the designs, the design teams can start developing their initial ideas further.
5. White-card Model
Another way to convey how the set will look is to make quick 3-dimensional model using white cardboard (hence the name 'white card model'), or a diorama. This makes it easier for the designer to communicate with the rest of the team on what the set will look like. For the purpose of this course, you may not need to create a white-card model; chat with the teacher about specific requirements.
6. Final Model and Renderings
After the designer has decided on how the set will look, they then create a colour scale model. This is an exact representation of the theatre and set as it will appear on-stage. Colour renderings are used to convey the colour scheme to the other designers. It is important for the design team to agree on the colour palette being used to ensure that the overall design is cohesive.
7. Ground plan, cross sections and elevations
About the same time the designer has made the model, they are working on drafting the set. A drafting is a precise scale drawing. A drafting package will usually include a ground plan, cross section, elevations and any details needed to create the set.
8. Build/Construction
Help build. Set designers are required to help build their sets. Usually there is a techie shortage, and the extra pair of hands is necessary for the completion of the project. Also, you want to make yourself available to answer any construction or decoration questions. You also want to make sure the crew doesn't take short cuts that will compromise your design.
9. Paint
The set designer is responsible for making sure the paint crew has enough information to paint the set. This would include paint renderings, or any special treatments needed.
10. Props
The set designer works with the properties master to dress the set and find or build the hand props. The stage manager would be responsible for keeping an up-to-date props list and communicating it to the designers.
11. Tech Week
The deadline for when most of the set needs to be completed is the tech week. At this point all the other elements are combined and the actors come on-stage and begin to run through the show. Because this is the first time all the elements are brought together in real time, there are often many changes that must take place. The set team must be there to solve problems between the structure and the blocking.
12. Opening Night/Production Week
This is when the show opens and the set designer’s job is officially done. However, be prepared for last minute repair jobs to damaged set pieces.