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Cast and crew describe costumes and locations

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Behind-The-Scenes Of Enola Holmes  - Creating The World | Netflix

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A Look at the Wardrobe & Set Design of Brave New World | Behind The Scenes  | Sky Atlantic

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Interviews with top Film/TV art dept huns + stories from the gram subscribers of on-set horrors.

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We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

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We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy.

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RTS Futures explored the art dept for drama, factual and entertainment.

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Working in the TV Art Department | RTS Futures

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Watch TV and films with a design eye. Notice the details in the background, look at the room in scene - what can you see?

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Always write everything down. Lists are your friends. If designers and art directors can rely on you to take notes - this will serve you well.

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Learn how to cut in a straight line

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courses for film & TV design

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The NFTS trains composers in both live and synth/sample-based music for the moving image in a production context closely modelled on industry working practices.

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Canadian resource - not all terms may be used in the UK

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Art Department General Terms

3M Hooks: Name brand. These hooks are plastic hangers that don't use screws or brad nails but rather a strong tape-like, removable adhesive. They come in many sizes and weight bearing strengths.

Anachronism or Anachronistic: An element, artifact, prop, or furnishing in a film or television show that belongs to a different time or place than the one being shown; often anachronistic elements are deemed as inconsistencies or mistakes. For example: The movie The Favourite was anachronistic because the wheelchair would not have been invented yet.

Atmospheric Animals: Animals which are brought in to make a set more realistic. For example, horses may function in the background as decoration in a horse stable set. (See also: Picture Animals)

Backdrop or Backing: Refers to a large photographic backing or painting for the background of a scene. These large scale photos are printed, hung, and lit behind windows to give the illusion of the outdoors.

Background (aka Atmosphere): 1) term used to describe Extras (Actors) that are used in the background of a scene to create a sense of realism. 2) Dressing that defines the set but is not featured in the foreground.

Back lot: An undeveloped area, on studio property, in an open-air, outdoor space away from the studio stages, where real-life situations with backgrounds can be filmed.

Back Projection: A photographic technique whereby live action is filmed in front of a transparent screen onto which background action is projected.

Blue-screen: A process whereby actors work in front of an evenly-lit, monochromatic (usually blue or green) background, screen, or backdrop. The background is then replaced in post-production by chroma-keying or optical printer, allowing other footage or computer-generated images (CGI) to form the background image; since 1992, most films use a green-screen.

Breakaway: Destroyable glass objects that are used for stunts or gags in a scene. Can also mean destroyable set pieces or scenery.

Breakdown or Ageing: refers to the process of making an item appear to be used/worn according to the requirements of the story/setting.

Burned Location: Any location (house, restaurant, park etc.) that will not allow filming due to previous unresolved problems with film productions.

Camera Ready: A set that is completed and ready to be recorded to camera; a fully constructed, painted, dressed, rigged, and lit set.

Chachkas or Chachkes: A small ornamental piece of set dressing.

Change Over: When set dressing is removed from a set and replaced with new dressing in order to transform it into a different set. Usually, this is done when the shooting crew is finished with the set.

Cheat: The act of intentionally moving an object or actor in or out of the way (in coverage shots) in order to improve the look of the shot. May result in a shot that is not in exact continuity, but not noticeable in the final cut.

Clearance: An arrangement whereby a company, copyright, or trademark holder agrees to allow a production to show their copyrighted or trademarked intellectual property item(s) on camera. Item(s) refers to brands, logos, images and copy-written objects that have been legally approved by production to be used in the film.

Compositing: The combining of visual elements from separate sources into single images (or sequences of images), often to create the illusion that all those elements are parts of the same scene. Examples might be incorporating rendered 3D images (CGI) into filmed material, or extracting elements shot in front of blue/green screen. Today most compositing is achieved through digital image manipulation.

Contact Sheet: A print out of multiple images within a grouping of images available for one particular task. A contact sheet is a useful way of seeing which are the best images to use on any given task from choosing artwork, dressings, props to deciding which research images may be relevant.

Copyright: A form of intellectual property that grants the creator of an original creative work an exclusive legal right to determine whether and under what conditions their original work may be copied and used by others, for a limited time. The exclusive rights are limited by various limitations and exceptions to copyright law, including fair use. A major limitation on copyright on ideas is that copyright protects only the original expression of ideas, and not the underlying ideas themselves.

Cyclorama: The curved, seamless, floor-to-ceiling backdrop or background used in studios.

Ditty Bag: Small bag used by film crews to store smaller tools and other useful items. Originally referred to small bags of necessities carried by sailors while at sea.

Dress: To define a set by arranging items such as furniture, drapes and art work (dressing) on a given set.

Dulling Spray: A removable cloudy translucent spray (either commercial spray or arid extra dry deodorant) used on shiny surfaces such as windows and mirrors to prevent unwanted reflections.

Dunnage: Pieces of wood, matting, inflated cells or similar material used to keep a cargo in position during transport.

Felt Bumpers or Felt Pads: Small felt stickers used on the bottom of furniture and heavy or abrasive objects to prevent scratching of hardwood, linoleum or stone floors.

Fire in the Hole: A Phrase used as an alert when an explosion, fire, or gunfire is used on set. This phrase is called out to let the crew know a weapon is loaded, ready to go and a loud noise is soon to follow.

Flashing: Is a term On-Set Dressers use while employing a flash when taking a picture on set. This is done to notify the Electrics that the flash is from your camera, not one of their lights being blown out. It is also used to warn crew and cast, so that they are not surprised or blinded by the light.

Flat: A lightweight, moveable wooden structure that is used as a wall component or backdrop in set construction.

Floating: A piece of scenery in a set that is designed to be moved, removed, and/or replaced as needed to allow for lighting, camera, and various production needs.

Flying in: Phrase used by crewmembers to let someone know that they, or a requested item is on their way to set imminently.

Fold & Hold: Refers to the instruction to box, label, inventory and store all dressing related to a set and hold it in a designated area in the lock up. This ensures the same set can be recreated integrally at a later date.

Forced Perspective: A technique used to create a sense of great distance or to make a space seem much bigger than it is, forced perspective is created by using objects that are vary in size, and placing them specific distances from one another, to create the effect of objects fading into the distance.

Foreground: Anything or set piece that is in the front of the camera's field of vision and not blocked by anything else.

Fuller's Earth or Pyrolite or Bentonite: A clay-based powdered earth formerly used on movie set, costumes and special effects as a substitute for real dirt and dust. While it has recently been replaced with the safer product Pyrolite and Bentonite the term is still used to refer to tan coloured scenic dust.

Gak: Slang film term used to describe non-descript (ND) dressing, equipment, props, etc. Loosely means stuff.

Gimbal: The mechanism used to spin or rotate a room, set, or scenery piece on set.

Glue Blocks: Small scrap pieces of 3/4" plywood glued to the backside of a flat. The block supplies added strength when hanging heavy objects to the flat. Plywood is used because it does not split easily.

Greeking: Changing trademarks that haven't been cleared for use within the film. Materials used for Greeking include: vinyl, labels, stickers, felt markers, and
coloured tape.

Green-screen: A process whereby actors work in front of an evenly-lit, monochromatic (usually blue or green) background, screen, or backdrop. The background is then replaced in post-production by chroma-keying or optical printer, allowing other footage or computer-generated images (CGI) to form the background image.

Hero: Any set, set piece, set dressing, vehicle, and/or prop of importance used, held, or mentioned by an actor on screen.

Hot: Describes the status of a gun or explosive effect that is loaded, and will be used in an upcoming scene. Also describes an electrical item with live current (lamp, clock, etc).

Hot Set: A set where all elements, furnishings and props have been established on camera and finalized and continues to be shot throughout the show. The set is then labeled "Hot Set" to indicate that it should not be changed or disturbed in any form as not to disrupt continuity.

In House: When something is made, printed, or built within the confines of the production grounds instead of sending to an outside company to be made, built, or printed.

Jerry Rigging or MacGyvering: A term used to describe an unconventional way to rig, fix or hang dressing when the conventional way is not an option. For example, using wedges on the outside brackets of venetian blinds to secure them when it is not possible to drill holes into the wall.

Last Looks or Finals: This is the phrase said by the First Assistant Director just before they say "Standby for picture" meaning this is the last chance to make a change so all applicable departments should do their final touches, for example, the makeup artist can run in to quickly remove sweat on an actor or the on-set dresser can run in and remove an errant water bottle that has visibly made its way on set.

Layering or Detailing: Refers to the process of adding dressing to a set, starting with the largest items and working your way to the smallest. Layering the smalls is also known as Detailing.

Lock-Up (aka Set Dec Lock-Up): Refers to the Set Decoration Warehouse of a given production. The Lock-Up is used to store any Set Dressing or supplies not currently in use.

Matte Shot: A photographic technique whereby artwork - usually on glass - from a matte artist is combined with live action. Contrast this with back projection or a travelling matte.

Miniature: A smaller-scale model filmed in such a way that it seems like it is a full-scale model.

Mise en scène: "Putting in the scene" in French; refers to the composition and arrangement of visual elements within the frame of film, including costume, set décor, lighting, and character positioning.

Moiré: Undesirable patterns in printed halftones caused by improperly aligned screens.

Mono: Short for monofilament, more commonly called fishing line or fishing wire.

Motion Capture: An animation technique in which the actions of an animated object are derived automatically from the motion of a real-world actor or object.

ND: Stands for Non-Descript. Art Department is often asked non-descript items to place in the background. For example: A graphic designer may be asked to create ND paperwork which is general paperwork that could be used in the background in any set and is not specific to a certain type of office.

On the Day: A term used to describe set work that is to be done on the same day as, or during, principal photography.

Opening Set: Refers to the process where the Decorator, Lead Dresser or a Set Dresser review a new, not yet established set with the Director, Director of Photography and other Department Keys, right before it is shot for the first time. This ensures that the set is satisfactory to all concerned and allows for adjustments before the first shot.

Picture Vehicle: Any vehicle that is seen on screen.

Picture Animal: Any animal that is seen on screen. (Also see: Atmospheric Animals)

use as intended on the shoot day often instead of using visual effects or special effects. For example: A scene might require a sink to be Practical: An element that will be adapted, redesigned, or used as originally designed, for actual practical on the day, meaning it must have running water for the take.

Practicals or Practical Lighting: Any lamp or lighting where the light source is in frame. 'Practicals' are lights that are built into your locations or sets like ceiling fixtures, desk and floor lamps, and strings of Christmas lights. It can also refer to headlights from a car, street lamps, televisions, and computers. For example: A DOP might ask that more practicals be brought in, usually meaning they want more lamps, candles, or other light sources built in to the location.

Previsualization or Previs or Previz: The visualizing of complex scenes in a movie before filming. Previsualization is used to describe techniques such as storyboarding, either in the form of charcoal sketches or in digital technology, in the planning and conceptualization of movie scenes.

Principal Photography: The main shooting dates of a film with the lead actors present.

Product Placement: A business arrangement whereby a production agrees to show, for example, the products or logo of a particular company, usually in return for payment or other consideration.

Prop: Anything an actor touches or uses on the set; e.g. phones, guns, cutlery, etc. Movie animals and all food styling (food seen or eaten on set/screen) also fall into this domain.

Prop Houses: Defines businesses that rent out props, set dressing and sometimes costumes, to the film industry.

Rain Cover or Weather Cover or Cover Set: Defines a scene set in a studio or location that has been prepped as a shooting alternative. This option is typically used in case of bad weather or logistical problems.

Raked: A set floor that is angled up from the camera.

Rental Agreement: An itemized contract for set dressing rentals between the rental shop and the production company. It is essentially an inventory list for the dressers but also a contract for the production company.

Reset: Also called: 'back to ones', 'first positions', 'going again' or 'number ones'. Called out by the first AD to bring actors, vehicles and extras back to their original positions for another take.

Retrofit: Specific physical changes to a location or set to make sure that the design of the film set is believable and seamless.

Rubber bumpers: Are small clear rubber stickers that are applied underneath smalls (vases, etc.) to prevent scratching furniture surfaces. They can also be used on the back bottom corners of picture frames to protect the wall.

Schedule: Chart or table in a set of architectural drawings, including data about materials, finishes, equipment, windows, doors, and signage; also a plan for performing work.

Scissor Lift: A mobile electric or gas-powered platform mounted on folding arms. This lift is used to provide elevated work areas and help raise/ lower items or crew members.

Scout: Looking for the right location to shoot in.

Securing a Load: Ensuring that a load is safely tied down and fixed for safe transport. Ratchet straps, rope, furnie blankets and dunnage are some of the equipment used to perform this task.

Sound Blanket or Furnie or Furnie Blanket or Furniture Blanket or Packing Blanket: Abbreviated term to describe furniture pads used by Set Decoration and Grips to protect furniture, actors, and camera equipment. The standard use of a Packing Blanket is dark side up (visible).

Special Effects: An artificial effect used to create an illusion in a movie. Refers to effects produced on the set, as opposed to those created in post-production. Most movie illusions are created in post production. These are called visual effects.

Snot Tape or Clear Butyl or Toffee Tack or Super Tape: Used widely by Prop and Set Decoration departments for securing items to shelves, walls and tables for dressing sets, continuity and safety. The tape is sticky throughout, its pliability gives it the ability to be used in a variety of ways. It is clear, non-staining and available in 3 sizes.

Spotting Plan or Stage Layout: A ground plan or floor plan for a set or multiple sets which indicate doors and distance from existing stage walls or other sets sharing the same space.

Squib: A small device that replicates a bullet wound, usually by squishing a capsule of fake blood.

Standing Set: A recurring set in a television story-line in which the set remains on a stage throughout an entire season or series, for example, the lead character's home or place of work. A standing set can also remain on a stage for longer than any one production if it is a commonly needed location that can be rented to new productions, for example, a courtroom, airplane, or jail set.

Storyboard: A sequence of pictures created by a storyboard artist or production illustrator to communicate the desired general visual appearance on camera of a scene or movie.

Studio Tank or Water Tank: A large receptacle that holds water and water machinery to satisfy production needs involving water scenes in a controlled environment within a studio. Essentially it is a larger, more complicated swimming pool for very specific set needs.

Sugar Glass or Candy Glass: Originally a sugar based glass that was used as a substitute for real glass when the glass needed to shatter safely and predictably on camera. Sugar glass is now made from synthetic compounds.

Survey or Recce: An inspection or exploration of an area to gather information from a location which will determine if the space is suitable and what needs to be done to the space to make it work for the scene/project. Survey is used in North America while Recce is used in the UK/Europe. Recce is a slang word for "reconnaissance".

Swamper: A slang term that refers to a Set Dresser assigned as the departmental representative on the Set Dec truck. The swamper is also responsible for the loading and unloading of the set dressing.

Swing Set or Swing Stage: A set or entire stage that may be reconfigured into several different sets during the course of a film or television show season. Most commonly used in episodic television.

Tech Survey: The final survey or recce of all locations and spaces which are to be shot during principal photography seen back to back over 1-3 days with all techs and key crew in attendance so everyone is on the same page and gathers key information so there are no surprises on the day.

Title Block: A table located in the bottom right corner of a drawing which contains sections for providing the film title, production designer, set designer, set number, set name, location information, and drawing scale- for example 1/4″ = 1′-0″.

Top Dressing or Detailing: refers to adding smalls on top of furniture in a way that defines the character's style, state of mind or characteristic. For example: a mountain of paperwork on the desk of an overworked police officer, a neatly organized desk of a high-powered executive, etc.

Trademark: A recognizable sign, design, or expression which identifies products or services of a particular source from those of others. The trademark owner can be an individual, business organization, or any legal entity. A trademark may be located on a package, a label, a voucher, or on the product itself. It is legally recognized as a type of intellectual property.

Translite: A large scale colour photograph printing on a translucent material, a category of photographic backdrop able to be lit from front or back.

TrueBlock: Trademarked shipping labels by Avery which use 'TrueBlock' technology that completely cover everything underneath the label, leaving a bright-white professional appearance on the outside. This adhesive paper is often used in house within an art department to print graphics.

Tuffback Paper: A large format thick low tack adhesive paper that you buy by the roll and apply like vinyl. Tuffback is often used when you need to paint something and you are not able to paint directly to the surface so you paint the tuffback paper then apply it over top the surface. Tuffback is the material of choice in these situations since it is opaque, takes paint well, and comes off smoothly and reliably.

Visual Effects: Alterations to a film's images during post-production, most often through CGI.

Waler: A horizontal beam used to help support joined flats; also used in concrete formwork.

Wild: A piece of scenery in a set that is designed to be moved, removed, and replaced as needed to allow lighting, camera, or other various production needs.

Wrap Pack: A package consisting of Rental Agreements, Purchase Orders, Transportation Orders and photographs of set dressing put together by a Buyer, or Set Dec Coordinator. The wrap pack inventories all of the various Set Dec rentals and purchases, and guides the striking of the set, so that all items are 1) accounted for and 2) returned to the right suppliers or lock up.

Wrapping: The act of striking the dressing from a set and returning the dressing to the rental houses and purchases to the lock up.

Art Department Positions Glossary

Armourer: A person who is responsible for weapons on the set of a movie or television show. Duties include providing the correct weapons to suit the era and style of the film, advising the director on use of weapons, choosing the correct blanks, creating a safe set for the use of said weapons, teaching actors about handling and using weapons, making sure use of all weapons is properly licensed, and ensuring the safety of everyone on the set while weapons are in use.

Art Director: A position directly underneath the production designer; manages the artists and craftspeople that create the sets to follow through on the designer's vision.

Buyer: Purchases or rents the set dressing, decoration, or props.

Concept Illustrator: Creates visuals to convey the vision of the director and/or the production designer.

Construction Co-ordinator: Financial responsibilities include budgeting, tracking costs, and generating reports. Through drawings created in the art department, a construction co-ordinator is directed by the production designer and supervised by the art director to produce the production designer's "vision" in three dimensions. Also responsible for the physical integrity of the structures built by the construction department.

Head Carpenter: Foreman of all carpenters on set.

Greensman: Organizes and designs the landscaping and greenery in a film.

Leadperson: The foreman of the swing gang and set dressers, supervised by the set decorator.

Matte Artist: A person who creates artwork (usually for the background of a shot) which is included in the movie either via a matte shot or optical printing.

Modeler: A person who develops any three-dimensional object (either inanimate or animate) via specialized software in 3D computer graphics.

On-Set Dresser: A person who maintains the set per the Set Decorator's requirements. Moves and resets the set decoration to accommodate camera, grip and lighting setups. Responsible for set continuity with script supervisor and property master.

Previsualization Artist: A designer who uses low resolution proxy models, quick OpenGL hardware renderings, and other 3D FX systems to completely conceptualize a sequence that requires either visual FX or character animation with the goal of to producing usable data that will help streamline the production process.

Production Designer: Working with the director and director of photography, the production designer creates the look and feel of the film.

Props Master: Finds or creates every prop that appears in a film.

Scenic Artist: A member of the crew responsible for work which includes the preparation, painting and/or coloration of all textures, plastering, appliqueing on scenery, sets, and properties; the application of all decorative wall or surface coverings; all lettering and sign work (including signs and murals; miniature sets and/or models and properties and the painting and aging in the (construction) studio or on the set of costumes and costume accessories as specified by the costume designer.

Set Decorator: Researches and supervises the procurement of all objects that are used to dress the set, such as drapery, furniture, street items and more, as well as the dressing of each and every set while collaborating with the production designer.

Set Designer or Draughtsman / Draftsperson: The draughtsman who creates the technical drawings of the sets as specified by the production designer. They are responsible for translating a production designer's vision of the movie's environment into a set which can be used for filming. The set designer reports to the art director.

Swing Gang: Set dressers who dress and strike sets, as well as pick up and return the dressing. They work apart from the shooting crew, as they are always either prepping a set for shooting or striking it after it's been shot. Swing Gang is an American term used to describe a group of set dressers.

Standby Painter: A scenic artist available during filming for last minute changes.

Set Design Terms

Abacus: The flat slab on top of a capital, supporting the architrave.

Access Floor: Removable finish flooring raised above the floor structure to allow installation of wiring or ductwork below.

Arcade: A series of arches supported by columns or other vertical elements.

Arch: Structural device that supports vertical loads by translating them into axial forces.

Armature: The wire or metal frame used to support the creation of a large or oddly shaped structure such as a manufactured tree or statue.

Asymmetry: Elements that when placed on opposite sides of a set, frame, page, line, or plane are not symmetrical.

Balcony: A platform that projects from the wall of a building, and which is enclosed on its outer three sides by a balustrade, railing, or parapet.

Baluster: A vertical supporting element, similar to a small column.

Balustrade: A railing consisting of a row of balusters supporting a rail.

Bay: A section of a building distinguished by vertical elements such as columns or pillars. Often, a bay will protrude from the surface of the wall in which it is situated, thus creating a small, nook-like interior space, often of a rectangular or semi-hexagonal outline. See bay window.

Bay Window: A projecting bay that is lit on all of its projecting sides by windows. See bay.

Bevel: An angled cut at a corner or edge.

Board and batten: A wooden siding treatment in which wide, vertically oriented boards are separated by narrower strips of wood called "battens," which form the joints between the boards.

Bond (brickwork): Brickwork with overlapping bricks. Types of bond include stretcher, English, header, Flemish, garden wall, herringbone, basket, American, and Chinese.

Brace: A reinforcing and/or stabilizing element of an architectural frame.

Bracket: A projection from a vertical surface that provides structural and/or visual support for overhanging elements such as cornices, balconies, and eaves.

Buttress: Masonry or concrete reinforcement applied to a wall to resist diagonal forces from an arch or vault.

CAD: Computer Aided Design. Almost all set designers and architects work in CAD software and it is very rare to find technical drawings done by hand these days.

Cantilever: An unsupported overhang acting as a lever, like a flagpole sticking out of the side of a wall.

Casement Window: A window frame that is hinged on one vertical side, and which swings open to either the inside or the outside of the building. Casement windows often occur in pairs.

Chalet: A timber dwelling, cottage, or lodge with a gable roof and wide eaves.

Chevron: A design that incorporates a pointed shape similar to an accent mark, common to Art Deco architecture.

CNC: Stands for Computer Numerical Control. This means a computer converts the design produced by Computer Aided Design software (CAD), into numbers. The numbers can be considered to be the coordinates of a graph and they control the movement of the cutter.

CNC Router: A router that comes with the ability to use computer numerical control to route tool paths that enable the machine to function. CNC routers reduce waste and increase productivity, producing various items in a much shorter amount of time than using other machines.

Colonnade: A range of columns that supports a string of continuous arches or a horizontal entablature.

Column: A supporting pillar consisting of a base, a cylindrical shaft, and a capital on top of the shaft. Columns may be plain or ornamental.

Concept: A vision of how a product could be, often explained with hand sketches and rough models.

Corbel: A structural piece of stone, wood or metal jutting from a wall to carry a superincumbent weight.

Cornice: A crowning projection at a roof line, often with molding or other classical detail.

Cornice Molding: A decorative strip of wood running just below the eaves of a building. A cornice molding is a cross between a cornice and a molding - a cornice is a crowning projection at a roof line, while a molding is a decorative strip of wood.

Courtyard: An open space, usually open to the sky, enclosed by a building, often with an arcade or colonnade.

Crenellation: A sequence of alternating raised and lowered wall sections at the top of a high exterior wall or parapet. Crenellations were originally employed for defensive purposes (one could hide behind a raised wall section while shooting down at enemies from over a lowered wall section), but were later used for decoration. Also known as a battlement.

Crosshatch or Hatching: A pattern of parallel lines applied to an area on a drawing such as section-views.

Cupola: A small, most often dome-like, structure on top of a building.

Decorative Motif: A repeated pattern, image, idea, or theme. In classical architecture, series of urns and continuous or repeated swags of garlands are common decorative motifs.

Dentils: Small rectangular blocks that, when placed together in a row abutting a moulding, suggest a row of teeth.

Detail View: A portion of a view on a drawing, usually larger scale than the view it originated from.

Die Cut: Special shapes cut into a substrate by a steel rule.

Doric Order: Most easily recognized by the simple circular capitals at the top of columns. The Greek Doric column was fluted or smooth-surfaced, and had no base, dropping straight into the stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. Above a plain architrave, the complexity comes in the frieze, where the two features, the triglyph and guttae, are skeuomorphic memories of the beams and retaining pegs of the wooden constructions that preceded stone Doric temples. In stone they are purely ornamental.

Dormer Window: A perpendicular window located in a sloping roof; triangular walls join the window to the roof. Dormer windows are sometimes crowned with pediments, and they often light attic sleeping rooms; "dormer" derives from "dormir," French for "to sleep."

Double Doors: Two adjacent doors that share the same door frame, and between which there is no separating vertical member. Double doors are often referred to as "French doors", due to their preponderance in French architecture.

Eaves: The projecting edge of a roof that overhangs an exterior wall to protect it from the rain.

Eclectic or Eclecticism: A mixing of various architectural styles and ornamentation of the past and present

Elevation View: Architectural drawing of a view of the vertical planes of the building showing their relationship to each other.

Exploded View: A view of a product with all its components separated, usually to show how it is assembled.

Exposed Rafters: Rafters that are exposed to the outside of a building. Rafters are the inclined, sloping framing members of a roof, and to which the roof covering is affixed.

Facade: An exterior wall, or face, of a building. The front facade of a building contains the building's main entrance, the rear facade is the building's rear exterior wall, and the side facades are a building's side exterior walls.

Finial: Ornament at the top of a spire or roof.

Finish: An architectural finish is a standard finish characterized by a uniformly good appearance. This finish is most often specified for "exposed" surfaces. Often times we are not using a proper architectural material to finish a surface in the film industry. For example, the paint department might be directed to 'finish' a wall or flat/flattage as steel or wood.

Floor Plan: The architectural blueprint of the arrangement of rooms in a building or film set.

Hardware: The metal fittings of a building, such as locks, latches, hinges, handles, and knobs.

Joinery: Woodworking joints in carpentry.

Masonry: Being of stone, brick, or concrete.

Matte: A flat, not glossy finish.

Mezzanine: Intermediate level between a floor and ceiling that occupies a partial area of the floor space.

Millwork: Interior wood finish components of a building or set, including cabinetry, windows, doors, moldings, and stairs.

Model: Physical representation (usually on a smaller scale) of a building, building component, or set.

Moulding: A strip of wood, plaster, or other material with an ornamental profile.

Mullions: The structural units that divide adjacent windows.

NTS: Stands for Not To Scale which is labelled on drawings when a drawing is not drawn perfectly to scale.

Panel: A smooth surface, usually rectangular (or sometimes circular) in shape and framed by a molding, and often featuring decorative, sculptural carving.

Panelling: A millwork wall covering constructed from rigid or semi-rigid components. These are traditionally interlocking wood, but could be plastic or other materials. Panelling was developed in antiquity to make rooms in stone buildings more comfortable. The panels served to insulate the room from the cold stone.

Partition: Interior non-load-bearing wall.

Plinth or Pedestal: The base or platform upon which a column, statue, monument or structure rests. A plinth is a lower terminus of the face trim on a door that is thicker and often wider than the trim which it augments.

Proscenium Arch: An arch framing the opening between the stage and the auditorium in some theatres.

Riser: Vertical face between two treads of a stair; also a raised stage platform or seating platform.

Section View: A drawing view created by cutting through another drawing with a section line.

Skin: The external layer of a structure, building, wall, or furnishing that is visible to the viewer.

Span: Distance between supports.

Tolerance: The amount that dimensions can be wrong without affecting the performance. Each can have its own specification for tolerance. Tolerances may be used to specify allowable variations in strength, stability, the mix of a material, the performance of a system, temperature ranges and so on.

Transom: Window or element, fixed or operable, above a door but within its vertical frame.

Tread: Horizontal surface between two risers of a stair.

Trim: Decorative building elements often used to conceal joints.

Truss: Structural element made up of a triangular arrangement of members that transforms the nonaxial forces acting on it into a set of axial forces on the truss members.

Vault: Arched form.

Veneer: Thin layer, sheet, or facing.

Wainscoting: A broader term referring to decorative panelling used for centuries as: a) a wall accent; b) insulation and; c) to prevent (and cover up) damage to walls. It typically is made of wood and covers the lower three or four feet of an interior wall.

Graphic Design Terms

Bitmap: Computer image composed of pixels.

Bleed: A printed area that extends beyond the trimmed edge of a printed piece. Bleed areas generally range from 1/8″ to 1/4″ (3.175 mm to 6.35 mm). Bleeds are produced by printing a piece on a sheet of paper larger than the trim size of the final piece and then cutting away the edges using the crop marks.

Bond (paper): Grade of paper used for photocopying, envelopes, office correspondence, and flyers.

Card Stock: A paper stock that is thicker and more durable than normal writing or printing paper, but thinner and more flexible than other forms of paperboard. Card stock is often used for business cards, postcards, scrapbooking, and other uses which require higher durability than regular paper. The texture is usually smooth, but can be textured, metallic, or glossy.

CMYK: Stands for Cyan, Magenta, Yellow, and Key (black). The primary ink colours that are combined on press or as printed digital output to produce a full range of colours.

Collateral: Ancillary print material used to support brands and marketing campaigns that often need to be recreated for fake brands in film and television.

Cover Stock: Fine printing paper with a basis weight or grammage that is heavier than text or book weight papers. For example, magazine covers require thicker cover paper than the pages inside. Cover stock often has a coated finish on one side or both sides ( C1S or C2S, for "coated: one side" or "coated: two sides") to produce a glossy look and smooth texture.

Crop marks: Marks placed on the edges of a mechanical to indicate where a printed piece should be trimmed.

Deboss: To produce a recessed impression on the surface of a paper by pressing it between two dies.

Die Cut: Special shapes cut into a substrate by a steel rule.

DPI: Stands for dots per inch. Used to measure the resolution of a scanned image. Higher dpi produces higher resolution and more detail.

Emboss: To produce a raised impression on the surface of paper by pressing it between two dies.

Foil Stamp: Where foil and a heated die is stamped onto paper to form a printed impression.

Golden Section: Unique proportional ratio of two divisions of a line such that the smaller of the two is to the larger as the larger is to the sum of the two.

High-res: A digital image with a resolution of 200 dpi or more.

Kerning: Adjusting the amount of space between letters or characters so that letter spacing appears to be in balance.

Leading: The amount of vertical space between lines of type.

Low-res: A digital image with a resolution of 100 dpi or less.

Mask: A means of isolating a portion of an image from its surrounding area so that it becomes a silhouette or outline image.

Matte: A flat, not glossy finish.

Moiré: Undesirable patterns in printed halftones caused by improperly aligned screens.

ND: Stands for Non-Descript. Art Department is often asked non-descript items to place in the background. For example: A graphic designer may be asked to create ND paperwork which is general paperwork that could be used in the background in any set and is not specific to a certain type of office.

Proof: A test sheet made to represent how a final printed product will look so that flaws may be corrected before the piece is printed.

Raster: A pattern of closely spaced rows of dots that form an image (as on the cathode-ray tube of a television or computer display).

Raster Image Processing (RIP): Converting digital files to bitmapped images that can be output on an imagesetter. The process is described as "ripping a file".

RGB: Stands for Red, Green, and Blue, additive primary colours that are used to create a full range of colour as projected light on a computer screen.

Sans Serif: A font without decorative serifs. Typically with little stroke thickness variation, a larger x-height and no stress in rounded strokes.

Script: A typeface designed to imitate handwriting.

Serif: A small stroke at the end of a main vertical or horizontal stroke. Also used as a classification for typefaces that contain such decorative rounded, pointed, square, or slab serif finishing strokes.

Substrate: Any surface or material that is to be printed upon.

Typeface: Design of alphabetic letters, numbers, and symbols unified by consistent visual properties. Typeface properties are identified by name, such as Futura or Times New Roman.

Value: The lightness or darkness of a colour. Darker values where black is added are called shades. Lighter values where white is added are called tints or pastels.

Vector: Graphics that are made up using mathematical equations based on straight lines and curves. Vector graphics are infinitely scalable.

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Art Department Glossary and Set Jargon for Film & Television

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Art Department General Terms 3M Hooks: Name brand. These hooks are plastic hangers that don't use screws or brad nails but rather a strong tape-like, removable adhesive. They come in many sizes and weight bearing strengths.

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Canadian resource

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When it comes to a film and television art department kit, everyone's kit will look different.

Are you new to the business and confused as to what you need? Even if you're not new, many of us are always looking to upgrade our kits to do our jobs more efficiently.

While every art department kit is indeed different- there are many basic staples that are needed in order to do your job effectively that you should acquire before you step into your first position in the art department, set dec, props, construction, scenic, special effects, or costume department.

Below are some art department kit suggestions. An astrix (*) below connotes: 1) Items not always required. 2) Items that production will often buy but they're really good to have on hand from the get go so you don't always have to run out to get a supply you may only need once or twice per show. 3) Items that make your job easier but production would find fiscally irresponsible if you were to expense them.

What should I have in my art department kit?

Art Department Kit Requirements

Set Dec Kit Requirements

Props Kit Requirements

Construction Kit Requirements

Scenic Paint Kit Requirements

Safety Respirator
Dust Mask
Safety Glasses
Scrapers
Olfa Knife
Rollers
Trowl
2" - 6" Plaster Knives
A couple of each: Brushes 4", 3", 2", 1"

Special Effects Kit Requirements

Costume Kit Requirements

If you feel there is something we missed in our art department kit list and want us to add something, let us know!

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Art Department Kit Requirements: What Should I Have in My Kit?

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Are you confused as to what you should have in your art department kit? Whether it be an art department office kit, set dec kit, props kit, construction kit, scenic kit, spfx kit, or costume kit, we've got you covered.

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Lisa-Marie Hall chronicles 65 days of working on a production 

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Lisa-Marie Hall chronicles 65 days of working on a production 

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Drawing the Line: Technical Hand Drafting for Film and Television Author: David McHenry 

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Drawing the Line: Technical Hand Drafting for Film and Television Author: David McHenry 

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drawing the line: technical hand drafting for film and television

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performing arts / television / reference

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performing arts / theater / stagecraft & scenography

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performing arts / television / reference

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performing arts / theater / stagecraft & scenography

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film production: technical & background skills

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Drawing the Line: Technical Hand Drafting for Film and Television

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Buy Drawing the Line: Technical Hand Drafting for Film and Television 1 by McHenry, David (ISBN: 9781138290334) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.

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McKay's Building Construction Author: William Barr McKay

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McKay's Building Construction Author: William Barr McKay

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Recommended for working in draughting

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The Art of Illusion: Production Design for Film and Television Author: Terry Ackland-Snow

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The Art of Illusion: Production Design for Film and Television Author: Terry Ackland-Snow

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the art of illusion: production design for film and television

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film production: technical & background skills

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performing arts / theater / stagecraft & scenography

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performing arts / theater / stagecraft & scenography

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film production: technical & background skills

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The Art of Illusion: Production Design for Film and Television

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Buy The Art of Illusion: Production Design for Film and Television by Ackland-Snow, Terry, Laybourn, Wendy (ISBN: 9781785003431) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.

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Art Dept jobs in UK & Eire, issues, general work related discussion. Members need 3 credits for entry.

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Open to UK/Eire based Art Department members ONLY to post job openings & availability for work, and to discuss employment issues/queries. You must have a minimum of 3 Art Department credits (these...

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Sign up to the free mailing list to get alerts for art dept jobs in your regional area

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Design role applications for 2020 are now closed but keep an eye on Screen Scotland for news.

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Published: 27 Oct 2017

A team of twenty Scottish-based trainees have been selected for an intensive skills development training programme on Season 4 of the award-winning TV production, Outlander, fifteen of which will be taking their first step into the Film and TV industry.

Supported by the National Lottery through Creative Scotland, Creative Skillset, and match funded by Sony Pictures Television, the programme fosters practical production skills and provides the professional experience required to enable the next generation of screen talent to enter and progress careers within the industry.

Working alongside highly experienced crew members on location and in Wardpark Studios, Cumbernauld, for the next five to eight months, the trainees will develop skills in a variety of creative and technical roles.

The trainees, aged from 18 to 32 and many of whom are brand new to the industry, have been selected from over 1,400 applicants for roles across camera, costume, design, assistant director, art department, effects and production.

On being selected, Kirsty McCabe, Season 4 Trainee commented: "Having been a theatre designer for nine years, I felt really comfortable where I was but knew I needed a new challenge. When I spotted the production design traineeship I knew it was the right opportunity to take what I knew and move forwards into TV and film.

"The traineeship has been excellent so far, I've been supported in learning about the industry and pushed forwards with my skills. It's a great start to a new chapter of my freelance life and I'm really excited to see where it leads me."

Aiming to build and retain vital screen skills for Scotland The Outlander Training Programme has now provided skills development for nearly 100 people across Seasons 1 - 4, many of whom have secured work on feature films and high end TV such as Churchill, Clique, Shetland, Etruscan Smile.

Chloe Waugh, Art Department Trainee, Outlander Season 2 commented: "After Outlander I worked on feature film Churchill as the Art Department Assistant and then, TV drama Clique as Graphic Artist. I am currently working as the 2nd Assistant Art Director on TV drama Shetland."

Aina Sabate-Giralt, Continuity Trainee Outlander Season 1 & 2 said:"The traineeship on Outlander was the only way to put in practice all that I had learned on the Script Supervisor's course in London. Without that opportunity, I doubt I would be where I am today. Since finishing the scheme in 2014 I have had the opportunity to "go solo" on TV shows like River City, and Loch Ness, feature films like Churchill and The Etruscan."

Director of Screen at Creative Scotland Natalie Usher, commented: "Hosting productions such as Outlander not only generates significant income for Scotland but also boosts our screen industry by creating an opportunity to train the next generation of directors, producers, craft and technical crew. The speed at which many of the graduates have gone on to find employment demonstrates the quality of training being offered through this Programme. The Outlander Trainee Programme is one of a number of valuable initiatives taking place across Scotland to develop a skilled and diverse workforce, an ambition outlined in our Screen Strategy."

Outlander Producer David Brown, said: "This is the fourth year of the groundbreaking Outlander training scheme and we are delighted that its success has made a significant contribution to the industry in both Scotland and the UK as a whole. We thank all our partners who have contributed so generously and wish all the best to past graduates and our current input. We look forward to working with them now, and on many future productions."

The programme is complimented by specialist continuing professional development training offered by Screen Academy Scotland through the Creative Scotland-supported Screen NETS training programme.

The Outlander Season 4 Trainees are:

Art Department: Kirsty McCabe

Assistant Director: Valentino Fabbreschi

Camera: Radka Flipska, Laura Shand

Costume: Amy McCue, Casey Dixon, Elsa Wood-Gee, Lindsay Denholm, Olivia Carnera, Sophie Holloway,

Draftsperson: Iveta Smidtaite

Locations / Studio: Fionn Corbett

Painter / Set Dec Painter: Kerrie Hasselby

Production: Lauren Lambie

SFX: Harris McLean

Five trainees are stepping up into more advanced roles having previously worked on Season 3:

About Outlander

Outlander is produced by Left Bank Pictures, Tall Ship Productions, and Story Mining & Supply Company, in association with Sony Pictures Television. Outlanderis adapted from Diana Gabaldon's international best-selling series of eight books. Season 4 continues the epic romantic adventures of Claire and Jamie Fraser in a new world. Seasons 1 - 3 of Outlander is available to stream on Amazon Prime Video in the UK.
About The Outlander Trainee Programme

To enter the Programme trainees submitted their CVs to Outlander. Shortlisted applicants were then interviewed by a variety of Heads of Department. Those demonstrating commitment and passion for working across craft and technical departments in TV Drama, and skills relevant to the trainee role they were applying for, were selected to support their development and equip them with the skills necessary to sustain a career in the industry.

About Creative Scotland

Creative Scotland is the public body that supports the arts, screen and creative industries across all parts of Scotland on behalf of everyone who lives, works or visits here. Creative Scotland distributes funding provided by the Scottish Government and the National Lottery. Creative Scotland's Screen Strategy focuses on the five key areas of screen education, talent and skills development, screen development and production, inward investment and co-productions and distribution, exhibition and audiences, detailing priorities for the sector across these areas. For further information about Creative Scotland please visit creativescotland.com. Follow us @creativescots and facebook.com/CreativeScotland

About Creative Skillset

Creative Skillset is the industry skills body for the Creative Industries. It works across film, television, radio, fashion and textiles, animation, games, visual effects, publishing, advertising and marketing communications. It works with and for the Creative Industries to develop skills and talent, supporting productivity and employability. Creative Skillset's Trainee Finder is a service that matches trainees with companies across the UK's animation, film, games, high-end and children's TV and VFX industries. For further information about this programme please visit: creativeskillset.org/who_we_help/creative_businesses/access_new_talent/trainee_finder

About Screen NETS

Screen NETS is a partnership between Screen Academy Scotland, Edinburgh Napier University, Hit the Ground Running and BECTU with support from Creative Scotland. For more information on Screen NETS: http://www.screen-nets.com

Media Contact: Sophie Bambrough, Media Relations & PR Officer, Creative Scotland, E: sophie.bambrough@creativescotland.com, T: +44 (0) 131 523 0015, M: +44 (0) 774 760 6146, Switch Board: +44 (0) 330 333 2000

Outlander Media Contact: Rachel Addison, Sony Picture Television, E: Rachel_Addison@spe.sony.com, T: +44 (0) 207 533 1325.

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Outlander developing next generation of skilled screen talent

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A team of twenty Scottish-based trainees have been selected for an intensive skills development training programme on Season 4 of the award-winning TV production, Outlander, fifteen of which will be taking their first step into the Film and TV industry.

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12 month programme with paid placements and professional development support.

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ScreenSkills bursaries are designed to provide financial assistance to those looking to enter, progress in, return to, or transfer into the screen industries. Our ambition is to ensure that the industry has access now, and in the future, to the skills and talent it needs for continued success by helping to unlock opportunities across all types of screen work. Supporting an individual with a bursary to develop their career helps the screen industries to respond to skills gaps and priority shortage areas. We welcome applications from people in groups under-represented in the industry.

Bursaries are supported by the BFI, awarding National Lottery funds, by industry contributions to the Film, High-End TV, Children's TV and Animation Skills Funds and through money from the Television Skills Fund targeted at improving diversity and inclusivity. Despite the various funding sources, we have created one route to accessing bursaries in order to make the application process as straightforward as possible.

You can apply for money to pay for most things that relate to training, work and work-related activities, including training fees, accommodation, care, disability access costs, equipment, software and travel. ( See the guidelines for full list)

We aim to offer funding wherever possible, but we cannot promise that all applications will be successful due to limited funding and skills shortage priorities.

How to apply

Before you apply, please make sure you can confirm that all the following statements are accurate:

I have read the guidelines and identified my career stage (Entry, Early, Experienced or Expert)

I have evidence of my career stage as outlined in the guidelines, e.g. letters of recommendation

I have checked the funding level for my identified career stage

I have checked the relevant allowance rates (see the allowance grid in the guidelines)

I have a copy of my CV and a 500-word personal statement

I have the information needed for the help I want, (e.g. if I'm applying for accommodation, I have evidence of distance from home)

If I receive a provisional offer, I will be able to provide proof of ID and a UK bank account.

If you have any questions not answered in the guidelines, or if you need any help, contact bursaries@screenskills.com.

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ScreenSkills bursaries: apply for funding to progress your career

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ScreenSkills bursaries are designed to provide financial assistance to those looking to enter, progress in, return to, or transfer into the screen industries. Our ambition is to ensure that the industry has access now, and in the future, to the skills and talent it needs for continued success by helping to unlock opportunities across all types of screen work.

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LFS - London Film School, Technical Drawing Course

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LFS - London Film School, Technical Drawing Course

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This intensive 3-week programme with David McHenry (GAME OF THRONES, BLACK SAILS, OUTLANDER, JOHN WICK 3) covers all aspects of traditional hand drafting for film and television.

There will be a maximum of nine participants, and the primary aim of the course will be to develop each student's abilities and build confidence in precisely those areas where they are needed. An organic process of learning without a rigid timetable will allow each participant to work entirely at his or her own pace. Under the tutor's guidance, each participant will receive the one-to-one assistance they need to make the most of their time with us.

Course Outline

The starting point for each participant will be a designer's rough sketch, from which a set of working drawings will be created. Essential drafting techniques and basic geometry will be practiced as required, with specific areas to be addressed as follows:

Plans, sections, elevations and larger scale details.

The construction of arches in various forms, staircases (and spirals), windows and doors.

The use of lenses and screen aspect ratios.

Methods of creating lens projections.

Extensive reference documents will be provided throughout the course, as will all equipment and materials.

This course is listed on the ScreenSkills Skills Passport, supported by the ScreenSkills HETV Bursary. You may be eligible for support of up-to £1000 to continue your proffesional training. Visit the ScreenSkills Bursaries page for more information.

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This intensive 3-week programme with David McHenry (GAME OF THRONES, BLACK SAILS, OUTLANDER, JOHN WICK 3) covers all aspects of traditional hand drafting for film and television. There will be a maximum of nine participants, and the primary aim of the course will be to develop each student's abilities and build confidence in precisely those areas where they are needed.

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FDI - Film Design International, technical drawing course

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FDI - Film Design International, technical drawing course

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Learning for softwares inc Rhino, Adobe Creative Suite, Vectorworks

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I would not have had the skills or the opportunities to get a job had it not been for this course. My animation had improved so much, I've had a fantastic time and I've managed to get a job! Everyone in the studio has made us feel welcome and included so a huge thank you to everyone involved!

Realising that I am an animator, not that I might be one.

I loved pretty much every aspect of it. Being at a working studio has been an amazing experience.

Over my expectations, the course was excellently planned and executed. With the time given to the course (that passed by quickly!) it feels like it couldn't have been used in a more effective way than this. It was exactly what I had hoped for and a complete joy to do.

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The Aardman Academy was established in 2013 to help meet the growing demand for animators in the UK, and to strengthen the ties between the animation industry and education. The flagship Certificate in Character Animation Course is run in partnership with the National Film and Television School, and we are constantly developing new courses to [...]

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3D modeller

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Download Rhino Level 1 Training Guide and Models

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WORK IN YOUR SHOES: Polly Aspinall, Designer & Art Director

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WORK IN YOUR SHOES: Polly Aspinall, Designer & Art Director

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‎Work in your Shoes: Ep 1. TV Set Designer on Apple Podcasts

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‎Show Work in your Shoes, Ep Ep 1. TV Set Designer - May 15, 2020

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Wayne Perrey talks to a variety of interior designers, stylists and makers

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The TV Carpenter Podcast | Wayne Perry | DIY

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Check the collection of live video chats from a range of art dept talent working on the Channel 4 series 'End of the F***ing World', featuring
Grenville Horner-Production Designer,
Casey Williams - Set Decorator,  Rebecca Gresham - Art Department Assistant,
David Creed - Construction Manager
Leonie Tucker - Graphic Designer, Abaigael Snape - Standby Art Director

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Join the web's most supportive community of creators and get high-quality tools for hosting, sharing, and streaming videos in gorgeous HD with no ads.

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https://www.instagram.com/hold_the_chat

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View this post on Instagram

A post shared by Setttlllleeeee... (@hold_the_chat)

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Assistant Producer Lulu Relf talks to various professionals about a range of topics in unscripted TV. Early episodes are about mental health at work.

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Join assistant producer Lulu Relf asking the big questions about television production, piecing together the varied experiences, stories and ideas of people working in the industry today.

Join assistant producer Lulu Relf asking the big questions about television production, piecing together the varied experiences, stories and ideas of people working in the industry today.

Fantastic!

Great podcast! A great insight into so many areas of production, many of which are not really discussed about. The pacing and guests are brilliant.

Excellent

This podcast is excellent and would be of interest to anyone, not just people working in the TV industry. The interviewer is professional and intelligent and asks relevant, interesting questions and the guests on the podcast are informed, perceptive and honest. I look forward to further episodes.

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Join assistant producer Lulu Relf asking the big questions about television production, piecing together the varied experiences, stories and ideas of people working in the industry today. Join assistant producer Lulu Relf asking the big questions about television production, piecing together the varied experiences, stories and ideas of people working in the industry today.

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https://www.instagram.com/artdepthun/

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Chernobyl with Luke Hull, Production Designer 

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Chernobyl with Luke Hull, Production Designer 

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& Jakob Ihre, Cinematographer discuss their work on  the series.

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Alumni On Zoom - Webinar on Chernobyl (c)NFTS 2020

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Free, open source image manipulation programme

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The Free & Open Source Image Editor

This is the official website of the GNU Image Manipulation Program (GIMP).

GIMP is a cross-platform image editor available for GNU/Linux, macOS, Windows and more operating systems. It is free software, you can change its source code and distribute your changes.

Whether you are a graphic designer, photographer, illustrator, or scientist, GIMP provides you with sophisticated tools to get your job done. You can further enhance your productivity with GIMP thanks to many customization options and 3rd party plugins.

High Quality Photo Manipulation

GIMP provides the tools needed for high quality image manipulation. From retouching to restoring to creative composites, the only limit is your imagination.

Original Artwork Creation

GIMP gives artists the power and flexibility to transform images into truly unique creations.

Graphic Design Elements

GIMP is used for producing icons, graphical design elements, and art for user interface components and mockups.

Programming Algorithms

GIMP is a high quality framework for scripted image manipulation, with multi-language support such as C, C++, Perl, Python, Scheme, and more!

Key Component in a Desktop Publishing Workflow

GIMP provides top-notch color management features to ensure high-fidelity color reproduction across digital and printed media. It is best used in workflows involving other free software such as Scribus and Inkscape.

Extensibility & Flexibility

GIMP provides extensibility through integration with many programming languages including Scheme, Python, Perl, and more.

The result is a high level of customization as demonstrated by the large number of scripts and plug-ins created by the community.

High Quality Photo Manipulation background image by Pat David ( cba )

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GIMP - The GNU Image Manipulation Program: The Free and Open Source Image Editor

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3D modelling programme for set design

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3D design software

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3D Design Software - Fully Integrated BIM | Vectorworks

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Design software that delivers a flexible and collaborative design process to architecture, landscaping and entertainment professionals. For Mac or Windows.

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Peaky Blinders with Designer Richard Bullock

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Peaky Blinders with Designer Richard Bullock

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Peaky Blinders: Meet the production designer - BBC Academy

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What do you first look for when you receive the Peaky Blinders scripts? The first thing I do is read through them, enjoy it and try and get an overall sense of the series. I then go back through them and think about it in terms of what we're going to have to do design-wise.

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Set designers create the overall look of a theatre, television or film production.

What does a set designer do?

As a set, production or stage designer, your work will begin at the start of the production planning process, and end on the opening night or when filming begins. You'll create the design ideas and sometimes delegate the practical work to others. In this job you're likely to:

study scripts and discuss ideas with the director

communicate your ideas to costume, make-up, props and lighting designers

work out potential problems, such as lighting or complex scene changes

research historical, contemporary or futuristic details to get the right look for the production

create effective designs within the available budget

sketch design ideas to produce a 'storyboard', showing what the sets will look like scene by scene

build and photograph scale models

estimate costs and prepare a production schedule

oversee set building and decoration

make any adjustments needed during rehearsals

In theatre, you might work alone or with an assistant. In TV/film, you may manage a team that can include art directors, assistant art directors, storyboard artists and model makers.

You may also spend some of your time marketing your services.

What do I need to do to become a set designer?

Many new set designers have an arts-related HND or degree. Several universities, colleges and drama schools offer courses in theatre design, performing arts (production) or design for film and television. Other useful subjects include:

You may still be able to get into this job without a degree if you can demonstrate you have a high level of design skill and creative vision.

You might start as a designer's assistant or prop maker in the theatre, as an art department trainee, or runner in film and TV. You can then start to work your way up to become a designer as you develop experience and get industry contacts.

Whatever your qualifications, you should find practical experience and build a portfolio of your design work to show to potential employers. Get relevant experience by getting involved in:

student theatre or film

local amateur or community theatre

low-budget independent films

experimental or 'fringe' theatre

You may be able to get into this job through a creative and digital media apprenticeship.

Arts-related HND or degree

Where could I be working?

You'll work in a studio, an office or from home. You may also travel to attend meetings with theatres, or film/TV production companies.

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Set designers create the overall look of a theatre, television or film production. What does a set designer do? As a set, production or stage designer, your work will begin at the start of the production planning process, and end on the opening night or when filming begins.

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Prop makers create a wide range of objects, such as furniture, replica weapons and moving models, for use in theatre, television and film. They follow the brief from a production or set designer and use a variety of practical skills to make realistic-looking items.

The Work

You could be:

using a wide range of skills, such as carpentry, sculpting, sewing, computer-aided design (CAD), painting and modelling, to create objects

discussing requirements with a set or production designer and drawing up designs

carrying out research to make sure that objects look authentic

making objects according to how they will be used, for example making what would normally be a heavy object light enough for an actor to lift

experimenting with different materials, such as latex, leather, wood, metal or fabric, to see what works best

using a variety of tools, from paint brushes and hammers, to power saws and welding equipment

altering existing objects, using techniques such as distressing (making something look old or worn)

repairing props that are damaged during use

hiring or buying props.

Pay

The figures below are only a guide. Actual salaries may vary, depending on:

where you work

the size of company or organisation you work for

the demand for the job.

Many prop makers work freelance. They charge a fee, which can vary depending on the work and their reputation. These may range from £10 to £20 an hour and £85 to £250 a day.

The rates recommended by the Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) range from £550 a week for a trainee props person to £1,400 a week (TV) or £1,430 a week (Feature Film) for a props department co-ordinator based on a 50-hour week).

Conditions

If working on a large production (most likely in film or TV) you usually work with a team of people.

If working on a small production (often in theatre) you may work on your own and carry out costume making and set building as well as prop making.

Working hours vary and weekend and evening work may be necessary when meeting a deadline.

You could work in a studio, workshop or prop room, in a theatre or on a TV or film set.

The conditions might be noisy, dusty and cramped.

Some of the materials you would use may give off unpleasant and dangerous fumes.

You might have to wear protective clothing, gloves and a mask.

Sometimes you may have to travel to suppliers or to carry out research.

Workforce Employment Status
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Getting In

Skills and talent are more important than formal qualifications, but many prop makers do take an art-based or technical theatre course.

Relevant subjects include production arts, technical theatre, art and design, 3D design and model making.

A number of Scottish colleges offer Higher National Certificates (HNC) and Higher National Diplomas (HND) in these areas.

Entry to HNC usually requires 1 or 2 Highers and for HND, 2 Highers.

The Royal Conservatoire of Scotland offers a degree in Production Arts and Design which has a pathway for prop making. Entry is with 3 Highers.

Computer-aided design (CAD) skills are useful.

Competition for jobs is high so it can be useful to have some experience, for example through an amateur theatre group.

You can look for work with theatres, film and TV production companies, community arts groups and companies that specialise in supplying props. Most film studios are based in London and south-east England, but there are theatres and TV companies based around the UK.
Workforce Education Levels (UK)
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Job Outlook Scotland

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Job Outlook Scotland

What Does it Take?

You need to be:

practical and have good craft skills

imaginative and creative

patient and accurate, with an eye for detail

good at problem solving

able to understand plans and drawings

able to interpret and visualise ideas

able to work to deadlines and within budgets.

You need to have:

an interest in design and technology

drawing and IT skills

good communication skills

the ability to work on your own as well as in a team

awareness of health and safety procedures.

Training

You would train and gain experience on the job with your employer.

You would continue to develop your skills by attending relevant part time courses and training opportunities.

Getting On

You may move on to be a senior prop designer.

You may move into set design, production design or stage management.

You may become self-employed, working on a freelance basis.

There are some job opportunities overseas for prop makers, especially if you are working for a firm that operates internationally.

You may need to move around to find new opportunities.

More Information

There are a number of websites advertising jobs in the theatre, film and TV industries, such as The Stage and Mandy.

Young Scot and Creative Scotland operate the 'Nurturing Talent - Time to Shine Fund', which aims to support young people aged 11-25 and interested in developing creative or artistic skills. Both individuals and groups can apply for funding ranging from £50 to £1,000. For more information see the Young Scot website.

The Creative and Cultural Skills website has a careers section called Creative Choices which covers careers information, jobs and opportunities in the theatre, including props work.

Contacts

The following organisations may be able to provide further information.

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Prop makers create a wide range of objects, such as furniture, replica weapons and moving models, for use in theatre, television and film.

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Scenic artists paint backdrops, murals and prop pieces for theatre, TV and film productions. They take the designs and ideas provided by a production or set designer and create the set pieces, which could be anything from a cityscape to a wall decorated in period style.

The Work

You could be:

discussing the brief with a set or production designer

analysing the technical drawings and model box (a scale model of the set) to work out how to create a full-scale reproduction

researching the best materials to use to create a realistic scene, for example the type of surface

calculating the cost of materials required and ordering supplies

using a projector to transfer a design onto a larger surface as a guide for painting the scene or mural

selecting paints, mixing colours and applying to surfaces using a range of paintbrushes and other tools such as a spray gun

using techniques such as stencilling, marbling, woodgraining and texturing

painting complex prop pieces and other three-dimensional pieces

assisting with the installation and removal of the scene items.

Pay

The figures below are only a guide. Actual salaries may vary, depending on:

where you work

the size of company or organisation you work for

the demand for the job.

Salaries for scenic artists may start at around £17,000 a year and with 1-2 years' experience this can rise to around £21,000 a year. With more experience, the salary can be higher. However, many scenic artists work freelance and charge an hourly or daily fee. This can depend on the type of work and their reputation.

The Broadcasting Entertainment Cinematograph and Theatre Union (BECTU) website publishes the latest rates from the Advertising Producer's Association (APA) Recommended Crew Rates (July 2018).

Minimum Basic Day Rate: £437.00

Maximum Basic Day Rate: £581.00

Basic Hourly Rate: £58.00.

Conditions

You could be based in a workshop or paint shop, working for a theatre or TV or film production company.

Working hours vary and weekend and evening work may be necessary when meeting a deadline.

Some of the materials you would use may give off unpleasant and dangerous fumes.

You might have to wear protective clothing, such as a mask.

You may have to work at heights.

It is physical work and you will need to bend, stretch and use ladders for large scene pieces.

Some travel may be involved, depending on the type of company you work for.

If you are self-employed you would need to have your own equipment and transport.

Workforce Employment Status
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Getting In

Most scenic artists have studied a degree in an art discipline or containing art subjects.

Relevant subjects include art and design, fine art, illustration, painting, stage design and production arts.

Ideally, any qualification taken should have a large practical element.

It helps to have a good knowledge of art history, architecture and different period styles.

The Royal Conservatoire of Scotland (RCS) offers a degree in Production Arts and Design, with specialisms in scenic art or set design.

Entry is with 3 Highers, and a good portfolio of work.

Competition for jobs is high so it can be useful to have some experience, for example through an amateur theatre group.

A driving licence may be useful.

Applications for the RCS go through UCAS Conservatoires.

All applications to Art Schools (Duncan of Jordanstone at Dundee University, Edinburgh College of Art at Edinburgh University, Glasgow School of Art, Gray's School of Art at Robert Gordon's and Moray School of Art at UHI) are through UCAS, with some courses having a closing date of 15th January and others having the closing date of 24th March.

You can look for work with theatres and film or TV production companies, including those that produce TV commercials. Most film studios are based in London and south-east England, but there are theatres and TV companies based around the UK.
Workforce Education Levels (UK)
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Job Outlook Scotland

LMI data powered by EMSI UK

Job Outlook Scotland

What Does it Take?

You need to have:

a passion for art and design

excellent drawing and painting skills

experience of other art techniques

imagination and creativity

accuracy and an eye for detail

good problem solving skills

the ability to interpret designs and visualise ideas and turn them into reality

good communication skills

stamina.

You need to be:

able to work on your own as well as in a team

flexible and able to meet deadlines

persistent and determined, for getting work

good at networking and making contacts

aware of health and safety regulations.

Training

You would train and gain experience on the job with your employer.

You would continue to develop your skills by attending relevant part time courses and training opportunities.

Getting On

You may progress to scenic art manager or head.

You may move into set design (see the Set Designer job profile), production design or stage management (see the Stage Manager job profile).

You may become self-employed, working on a freelance basis.

More Information

There are a number of websites advertising jobs in the theatre, film and TV industries, such as The Stage and Mandy.

Young Scot and Creative Scotland operate the 'Nurturing Talent - Time to Shine Fund', which aims to support young people aged 11-25 and interested in developing creative or artistic skills. Both individuals and groups can apply for funding ranging from £50 to £1,000. For more information see the Young Scot website.

For more information on creative careers see here

Video

Contacts

The following organisations may be able to provide further information.

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Please help us improve Planit by rating this article.

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Scenic artists paint backdrops, murals and prop pieces for theatre, TV and film productions. They take the designs and ideas provided by a production or set designer and create the set pieces, which could be anything from a cityscape to a wall decorated in period style.

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Planit : Job Profiles : Set Designer Drama and Theatre Technology

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Set designers design and organise sets for theatre, ballet, opera, and television or film productions. They find suitable locations if filming outdoors. They read the script and plan the set design that best suits the production.

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Laura Hopkinson - Art director

Working in the art department of children's TV is a brilliant place to work. We make such a variety of props in a really exciting environment. Our department does pre-recorded and live content every day across two channels, so it is really fast-paced but it is a lot of fun.

My days are so varied. I work with a production team to decide what sets and props are required and then I schedule my team designer assistants across both of our channels. I can be drawing sets or buying products or even making clothes for puppets.

At school I studied Art and Graphic Design, which have definitely helped me in this job, but also I did Maths and a good grade for that which has definitely helped towards the budgeting side of this job. So that's planning what materials we can buy and props that we can buy under the limited budget that we have per month and I also get the accounts from the accountant and have to work out every month all of our receipts, so it really has come in handy for me.

My advice for anyone who wants to get into TV art department would be to have a broad creative tool set, whether it's drawing, 3D making, designing on a computer, whether you study these at school or you just practise in your own time; having a broad creative skill set will be invaluable to you.

When I was at school, I never dreamt I would work in television, but it just shows that if you work hard and find all the opportunities out there that there was a chance that you can get involved in something great like this.

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How to become an art director: Laura's story

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Meet Laura who's an art director and explains how she got there. Part of our Bitesize world of work series.

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Career Advice on becoming a Standby Art Director by Abbi S (Full Version)

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ITV's game show 'Big Heads' prop creations.

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The Making of the big heads for ITV's BigHeads

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Production Designer, Jeff Tessler talks through the sets for series 3 of Poldark.

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Jane Cecchi talks about her career progression and how this popular CBeebies set is built for working with puppets.

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Set designing CBeebies' Furchester Hotel

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Set tour with designer, Gemma Jackson

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Fortitude – Set Tour With Set Designer Gemma Jackson

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Breakdown of sets used to represent Buckingham Palace

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'The Crown' Sets Explained by the Show's Set Designer | Notes on a Set

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Building Lyra's World with amazing production design | His Dark Materials | BBC

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Grant Montgomery, Production Designer 'Peaky Blinders'

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Grant Montgomery, Production Designer 'Peaky Blinders'

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Peaky Blinders Production Designer shares his secrets | TV Craft Sessions

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Tea Break Tips - The World of Set Decorating

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Hear from A range of HoDs and trainees in Art Dept, Costume, Makeup about how to become successful.

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RTS Craft & Design Awards 2019 | Highlights

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Gillian Slight, Set Designer 'Emmerdale'

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Gillian Slight, Set Designer 'Emmerdale'

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Talking Point delivers courses for those working in, or looking to work in, art dept production, craft and technical departments on feature films and television dramas.

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Talking Point delivers courses for those working in, or looking to work in, production, craft and technical departments on feature films and television dramas.
Update on training during the Coronavirus pandemic:
We have moved some of our training content onto Zoom and will continue to keep small, discrete and informal groups to make it as meaningful as possible. We are acutely aware of the financial impact there currently is on freelancers. As such, we have secured funding from Screen Skills to ensure that these sessions will be run at no cost to participants during this time.

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Talking Point delivers courses for those working in, or looking to work in, production, craft and technical departments on feature films and television dramas. Update on training during the Coronavirus pandemic: We have moved some of our training content onto Zoom and will continue to keep small, discrete and informal groups to make it as meaningful as possible.

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This week Georgie is joined by the wonderful Production Designer, Jonathan Paul Green. Jonathan chats more about how he got into this side of the industry and his experience working on shows like Phoebe Waller-Bridge's 'Fleabag'.

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production design with jonathan paul green

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‎The Screenster Podcast: Production Design with Jonathan Paul Green on Apple Podcasts

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‎This week Georgie is joined by the wonderful Production Designer, Jonathan Paul Green. Jonathan chats more about how he got into this side of the industry and his experience working on shows like Phoebe Waller-Bridge's 'Fleabag'.

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Specialist advice for filming in the UK and abroad, sustainability, working with animals, storyboarding, pitching, working with police, filming on the London Underground etc

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Filming resumes on Coronation Street from next week, but without the older members of the cast or those with underlying health conditions.

The British Film Commission's production guidance for film and high-end TV drama has been greenlit by government and industry, paving the way for filming to...

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Filming resumes on Coronation Street from next week, but without the older members of the cast or those with underlying health conditions. The British Film Commission's production guidance for film and high-end TV drama has been greenlit by government and industry, paving the way for filming to...

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Supplier directory

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contact info for service companies, freelancers in general

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"the only thing we have to fear is ...fear itself - nameless, unreasoning, unjustified terror which paralyses needed efforts to convert retreat into advance" Franklin D. Roosevelt.

"KAYS has been a source of exceptional information on many topics all through the 22 years I've been working in the industry and I am sure it will remain so."

Owen Harrison - Propertyman, The Crown

"The KAYS Art Department Diary is the go to place for all your crewing and sourcing needs. It is an invaluable source of contacts and a great way to keep organised throughout the year. I always keep a copy to hand. Keep up the good work!"

Martyn Doust - Props Supervisor, Star Wars: Episode IX

"Whether crewing up an art department, searching for widget hire or checking on the availability of a concept artist, I have found myself thanking KAYS on numerous occasions for producing such a working asset."

Paul Ghirardani - Supervising Art Director, Game Of Thrones

"I have only one industry directory on my desk - KAYS - because that's all I need to get hold of crew or companies when I'm putting together any production."

Roopesh Parek - Producer, Poldark (Season 3)

"I have always found KAYS Production Manual to be an invaluable asset whenever I'm looking for suppliers of technicians. I couldn't run an art department without one."

Nick Dent - Senior Art Director, The Nutcracker & The Four Realms

"KAYS is for me a constant source of vital information and contacts. I use it throughout the year."

Matthew Winter - Location Manager, Endeavour

"The KAYS Desk Diary is as essential to the art department as pencils and paper. The easiest, most comprehensive art department directory out there - a publication that makes a hard job a whole lot easier."

Will Hughes-Jones - Production Designer, The White Princess

"Hurrah for KAYS! I've been using their Art Dept Bible for the last 30 years and wouldn't be without it."

Ian Tully - Production Buyer, Gunpowder

"I have been in the film industry for 20 years and take my KAYS Diary everywhere I go. I would be lost without it."

Claire Johnston - Art Director, Little Crackers

"KAYS is integral to Art Departments not just in the UK but worldwide. Always next to me, cannot work without it."

Terry Jones - Production Buyer, The Current War

"The KAYS Art Department Diary is absolutely indispensable."

Donal Woods - Production Designer, Downton Abbey

"I always carry a hard copy of KAYS when setting up productions - easier to use when emailing from listings. A great help to me."

Mary Owen - Line Producer, Inspector George Gently

"The KAYS Production Manual is an invaluable compendium of contacts, facilities and media companies contained within its pages."

Ian Scaife - Line Producer, New Tricks

"A valuable source for new contacts and a great memory jogger for older ones!"

Natalie Astridge - Assistant Production Buyer, Outlaw King

"The Art Department Desk Diary is an essential part of an Art Director's kit!"

David Bowes - Supervising Art Director, Cold Feet

"KAYS directory is brilliant, have used it for years and find it very, very useful."

Garry Dawson - Propmaster, The Current War

"I find the Diary such an asset to my job and many more will agree with me. Keep on doing what you all do well."

Allen Polley - Propmaster, Pride & Prejudice & Zombies

"KAYS is a great resource for any production, with the Desk Diary proving time and again to be invaluable for the needs of the Art Department."

Martin Kelly - Art Director, Outlaw King

"KAYS have always been extremely professional, efficient, helpful, polite and interested in any questions I may have... their publications are always received with great anticipation and are never an anti-climax."

Julie Signy - Set Decorator, Electric Dreams

"I find KAYS a fantastic referral book for when looking for information on the film industry and use it regularly."

Trevor Green - Executive Producer, The Bad Education Movie

"KAYS Production Manual is the hero of all production resources out there. I don't know what I'd do without it, it truly is an excellent source of information - a must for anyone in production."

Angelina Pretty - Stylist, Numerous Commercials

"KAYS is the definitive bible for all that is film and TV, and a valuable tool for all of us at www.translights.com. Copied but never improved upon."

Paul Rutter - Director, Rutters

"KAYS is the ONLY trade publication that matters. All the others are followers but KAYS blaze the trail!"

Simon Stacey - Director, Handles Etcetera

"KAYS has been real value for money for our business promotion with the film and TV industry."

Dicken Warner - Managing Director, Brandon Thatchers

"The reason why KAYS is number one to us is when I visit a new production for the first time, they all know about us already thanks to KAYS keeping us up-to-date with our marketing."

Alexander Michael - Managing Director, Airscreens Inflatables

"The first thing I do when we sell a show is to look for my KAYS... it's where every show starts."

Michael Pilsworth - CEO, Chrysalis Vision

"A fantastic resource, just a few clicks away."

Ant Leake - Managing Director, Bleufin TV

"We like to work with KAYS. The accuracy of our database is very impressive."

Barry Bassett - Managing Director, VMI

"KAYS is in my favourites bar so I can get to it quickly as I'm always using it."

Sheridan Dudley - Production Manager, Blue Thread Productions

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Kays - Film, Television & Commercials Directory

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"the only thing we have to fear is ...fear itself - nameless, unreasoning, unjustified terror which paralyses needed efforts to convert retreat into advance" Franklin D. Roosevelt. "KAYS has been a source of exceptional information on many topics all through the 22 years I've been working in the industry and I am sure it will remain so."

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Matthew Clark, Graphic Designer 'Black Mirror'

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Matthew Clark, Graphic Designer 'Black Mirror'

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In this interview, graphic designer Matthew Clark discusses what it is like to work in a British art department for film and television.

Matthew Clark working away on Doctor Who

In the interest of finding out a bit more about the inner workings of the art department around the world, I decided to talk to a member of the art department in each major city that produces film and television. This installment covers the British art department from the perspective of a graphic designer. You can find our first post in the series covering the Los Angeles art department, .

Representing London is a good friend of mine, graphic designer for film and television, Matthew Clark. Matthew has been in the art department for 8 years and worked on such projects as Black Mirror , Doctor Who , Red Dwarf XII , and Loaded .

Life in a British Art Department

Which production city center do you work in? Describe what the scene there is like for British Art Department personnel.

Matthew: I'm in London - most trade papers consider Pinewood, Shepperton, etc to be "London" even though it's in a different county, but our studio space is actually in Central London. Several productions are based in the same high rise towerblock, so you have the studio/backlot experience condensed into several floors. It's always fun to get in a lift and each door opens into a different period or world!

It's great to actually work in the city again - as magical as places like Pinewood are, they're a bit rural by comparison. The majority of the large studios are in a small ring around the outside of London, with the major prop stores and TV studios located more centrally - there's a lot of cross-over between the two worlds. London is relatively small, so it's hard not to go a couple of streets without seeing a location sign. I did a TV show last year that filmed alongside a film based on the same story! We ended up being on the same locations, just around the corner from each other several times.

The nice thing about the industry being so dense here is that it's easy to make new contacts and meet people. The downside is that if you don't live in London, it's hard to find work. There's been a lot of attempts to create more work in Manchester, Scotland, etc but it's early days - the money is still in London which I guess keeps the productions based there.

What brought you to the art department as your career choice?

Matthew: I've always loved how film and TV can create convincing worlds, starting with wood and paint. The best sets have layers of details that work in different ways to create a cohesive whole, and I've always wanted to learn more about those details - I've got hundreds of "The Art Of..." books!

Growing up I wanted to be a prop or model maker, but I got drawn into the design and creation element of working in the art department rather than the making.

How did you successfully get into a British art department?

Matthew: I had an interest in the design side of films from a very early age - I was always making copies of props from cereal packets and yogurt pots as a kid! I planned for years to become a prop-maker, but the University courses relating to that seemed more theatre-based - which at the time wasn't what I was too interested in. I decided to do a practical film-making course - one where you get to use 16 and 35MM, learn lighting and framing, that sort of thing. After my first year there, I found myself making my own sets - usually devoid of actors - and making sets and props for my friends studying there too. I moved from learning about propmaking to production design as a whole; coupled with what I'd learned about cameras and lighting I felt like I had a good crash-course introduction to the art department.

I was midway through my course - which was based in a part of England not usually associated with our film industry - when it suddenly had an influx of regional funding so a lot of films started being made there. They reached into the student community to crew up and I found myself going from making short films at University to working on large, independent films.

My first job was on Bunny and the Bull, an independent film by Paddington director Paul King - it was a strongly visual job full of set builds, miniatures and lots of really charming props - I was very lucky to go into something where the Art Department was so important.

Has it been difficult to get work?

Matthew: The first few years were difficult - when you're an assistant it's hard to stand out. You spend a lot of time making cold calls and sending emails that won't get returned. Twitter was really helpful circa 2010-2012. There were lots of designers using it then so I would post my rendered SketchUp work on there and that helped me get noticed. After I started to specialise solely in Graphic Design I found it much easier to get work. I think the key thing is to find an aspect of the art department that you're really good at, and focus on that. People will gradually be aware of your particular skillset and it'll go from there.

What has kept you going over the years?

Matthew: I've always wanted to do sci-fi shows - I love the opportunities in graphic design they bring - screens, control panels, large-format artwork, interesting signage, etc, and they usually require some level of technical skill - direct media printing, laser cutting and the like - which makes them really enjoyable to work on.

I've been hugely lucky that I've managed to work on several TV sci-fi shows; knowing that one job often leads to another, especially in similar genres, really pushed me to keep refining my skills, practicing different methods, and keeping my folio updated. Luck - in the form of timing, or the people you know - is a key part of this career so it's always good to be prepared for the job you don't have.

What are the differences between the union and non-union worlds in Britain? Are there unions?

Matthew: There is the main media union - BECTU, and there are smaller, more specific unions - like the Graphics Union or the - but membership of them isn't compulsory and they don't affect your ability or eligibility to work. For the Art Department specific ones it's more about making Producers aware of the particular roles of the departments, acting as a guide on working practices, pay, and that sort of thing.

As far as someone in the industry in North America would be concerned, we're very much 'non union'. Having had no experience of the North American industry it's hard to judge the difference between union and non union jobs but broadly speaking, films and higher-end TV shows pay more, and have more reasonable hours - probably in line with how a Union show would run - whereas lower budget TV is much more punishing.

There's usually a lull in work between November through February and that can lead to lower wages as people will take what they can get. The appearance of Netflix and Amazon on the scene has been amazing - they seem dedicated to making high-quality shows, and as a result they spend more time and money on getting them right.

Since the film industry in London is non-union how is new talent found and how do working guidelines, wages officially get decided?

Matthew: BECTU have guideline wages for Art Department positions - graded along the lines of TV, Film, and Commercial (and then subdivided into genres) but to be honest you rarely get the rate suggested - you tend to have to negotiate, and that can often be in very small increments.

Our specific unions such as the Graphics Union has been really good about trying to establish exactly what we do with Producers / Art Directors - for example, most producers don't realise the sheer £ ($) value of a Graphic Designer's kit vs a Set Dec or Art Director, so there's been an effort to educate as well as promote. The Graphics Union is always on the lookout for young/junior members and to help point them towards assisting gigs to train them up. It's very supportive.

Generally, though, a newcomer needs to reach out via email and phone to art directors, get work experience and assisting jobs that way, and move up through reputation and word of mouth. There are a few programmes with funding available to help place people, such as or the BBC Apprenticeships but they have very few spaces open in a year.

In North America, the union brings about "art department proper" who design in the office with Set Dec and Props as separate departments working both on set and in the office. How is the division of departments separated in the UK?

Matthew: Some of it is budget but as far as I can tell it's mostly just the working practice and culture. Set Dec departments don't tend to be huge; I've noticed that Graphics can sometimes fall under Set Dec depending on how the Production Designer structures the crew. I've also done a lot of shows where due to the sci-fi nature there's a huge amount of collaboration between Set Dec, the Art department and the Props department because we're making bespoke stuff, retrofitting bought items, or putting in huge graphic panels that are integral parts of the set. I also do a lot of Set Dec myself as prop men often don't like putting vinyls on sets or labeling things up, so there's a lot of crossover.

What have you learned that you wish you'd known sooner?

Matthew: You never know what's coming, either in work or out of it. I've had down periods that have lasted a few months followed by having to turn down several jobs in a day. In every job I've had moments where I've read a script and my heart has turned cold as I've read that I need to create something and I have no idea how to achieve it. You have to be prepared to embrace a challenge - and learn how to problem solve.

Some of the shows I've done have involved a lot of thinking on my feet. Red Dwarf had, on average, 2 days prep and 3 days shoot per episode. Scripts would change 2-3 times daily, sometimes an hour before the audience would come in for the live recording that night. We really wanted it to look as good as it could given the time constraints, so on the first day we would plot out roughly what the episode would look like - I would create a graphic identity in the first day, and prepare a 'kit of parts' in terms of the look so when a set got extended - or a new one was added - the next day, we already had items for the Standby Props to help make it look right. Being flexible and thinking ahead was key.

I also keep everything. I keep all my work from all my jobs on my computer, because you never known when you are going to need to generate a form or poster or screen with no notice and having an archive to work to repurpose from is a huge help. Always save the PSD files and the unexpanded AI files, keep all your fonts between computers - storage isn't that expensive and being able to pull something together in 5 minutes rather than an hour is something you can't put a price on.

What is the best part of your job?

Matthew: The moment when a set is finished, complete, and lit, but before the shooting crew are on it. A lot of the shows I've done have had very graphic-heavy sets with lots of screens and backlit elements, so to be in that space, finished as it was intended to be, it's really amazing to be able to be in the 'world' you've helped create.

Shooting crews have to treat a set as a working environment, which sometimes means being not entirely sympathetic with it - so for those few minutes where the set is pure and untouched, it's pretty magical.

After everything you've experienced on the job, why do you love the art department?

Matthew: I love the teamwork inside of an art department - with set decorators, construction crews and buyers for example, all working towards the same goal, and the way a set can go from an empty stage to something tangible and real in a short space of time. I know the majority of detail work we put in won't be seen by the audience, but there's something really satisfying about creating a working, living space. If it helps the actors work within that space too - gives them something to interact with, especially if it's a character-based set, then that's really rewarding too.

To see more of Matthew's work, check out his website, here . You can also find Matthew on Twitter at and on Instagram at @clarksworth .

Why do you love your job? I'd love to know in the comments below. I hope this helped you understand a bit more what it might be like working in a British art department.

All photos are the sole property of Matthew Clark. All copy from this post is the property of Art Departmental. Copyright 2017.

For more interviews on Art Departmental, .

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Life in a British Art Department for Film and Television

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In this interview, graphic designer Matthew Clark discusses what it is like to work in a British art department for film and television. Matthew Clark working away on Doctor Who In the interest of finding out a bit more about the inner workings of the art department around the world, I decided to talk to a member of the art department in each major city that produces film and television.

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Skills needed Eye for interiors and creative visual thinking Knowledge of different time periods, cultures, and environments Ability to make direct creative decisions and management Craft skills such as sewing, building, upholstery Physical strength and stamina Able to work efficiently under pressure Job roles Props Trainee Greensman Armourer Drapes Props

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Tips in 60 seconds... How to get into set design

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Skills needed

Practical art/design skills including drawing, interior design, construction

An interest in art and design

Able to keep to a budget and meet deadlines

Working knowledge of CAD programmes such as Maya, Cinema 4D, Sketch-up or Vectorworks

Able to work flexible hours

Job roles

Art department assistant/runner

Set designer

Graphic designer

Art department co-ordinator

Set decorator

Assistant buyer

Production buyer

Assistant art director

Art director

Production designer

Duties include

Hand drawing/technical drawing

Creating accurate models to help with the visual representation of the set for camera positions and direction

Building and constructing props

Source materials or objects for the set

Writing schedules and organising a team

Hiring/purchasing props or materials for the set

Researching and surveying locations

Design sets that are keeping with the narrative

Liaising with the DoP and other departments to create a continuous set

Useful links
How to get into set design | Tips in 60 seconds In Focus: Set Designer

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Skills needed Practical art/design skills including drawing, interior design, construction An interest in art and design Able to keep to a budget and meet deadlines Working knowledge of CAD programmes such as Maya, Cinema 4D, Sketch-up or Vectorworks Able to work flexible hours Job roles Art department assistant/runner Set designer

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Chats with the design teams behind notable film and TV productions.

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"production design" "film design" "art department" "set decorator" "production designer" "art director" bfdg bafta awards

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The original Society of British Film Directors and Designers was founded in 1946. Out of this society grew the Guild of Film Art Directors, and the present British Film Designers Guild (BFDG). Our Guild was formed with the aim of raising the standards and profile of the Art Department and protecting the interests of its members.

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UK wide cross all screen industries, including unscripted TV. Applications are reviewed by committee monthly. Membership offers networking, events (inc the Portfolio Surgeries) insurance, discounts etc

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Production Designer Jonathan Paul Green and his team discuss designing the sets for the hit TV series 'Fleabag', including a guest appearance from actor and writer Phoebe Waller-Bridge.

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BFDG Design Forum 'Fleabag' - Designing Sets with Character.

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Jonathan Paul Green, Production Designer 'Fleabag'

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Jonathan Paul Green, Production Designer 'Fleabag'

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TV Production Designer, Jonathan Paul Green describes getting a job in the art dept.

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Jonathon Green is a very experienced Production Designer whose credits range from Daybreak and Watchdog to Green Wing and The Chase. Jonathan is obviously a man who knows all about designing the look of a TV programme and he kindly agreed to share his advice to anyone interested in a job in a TV Art Department. And even if you don't want a job in the art department it wouldn't hurt to understand how it works. The more you know about roles other than your own in TV the better you are able to communicate with different departments. Over to Jonathan:
"I often get many emails from people asking me how to get a job in a TV Art Department.

Most people track me down through my website www.setdesign.tv and because it's really designed as a showcase for my work, doesn't really offer any advice.
I almost always respond to every email with a short message offering some basic help. It's very easy to spot the time wasters, and I just don't write back to them.

The people that are really interested, will write back, and then I know they are serious.

To get into TV, you need to have a passion for it, a yearning to get involved, and willingness to work hard.

I was that person when I started out. I was ambitious then, and would write letters to all sorts of people. Big-Wigs in the Film Industry, celebrities, in fact anybody I thought might be interested in my plight.
Some responded, most didn't, but I had an enormous spirit to work in the business and achieve something.

Fundamentally, you need to have some skill and some artistic background.
The more you can do, the easier it is to employ you.
It's good to have some technical drawing skills, and be computer literate.
You need to be artistic and creative.
Being able to drive also helps.
I came from a Fine Art background and taught myself technical drawing, so not every route is the same.

The next most important thing, is that you need to be nice. Getting on with people is a huge part of your work. The rest is ability and talent. Nobody will employ you if you're not a nice person.

The first thing I would advise, is target the right people.
Don't write to Directors or Producers or Production Companies.If you want to work in the Art Dept. The people that employ you first off will be Designers. When you're a Designer, then you can write to Producers.

The best place to start, is your TV. Watch the credits of shows you like, and make a note of the Designers. Then do a google search to see if they have a website.

There's also a directory called The Knowledge. It's expensive, so try to borrow one, and get the contact details of Designers that interest you.
I think you can subscribe to it online if you're not in the business: http://www.theknowledgeonline.com/ or www.kays.co.uk is another directory.

Next, be persistent, but not overly so.

I will almost never meet up with a student or new person unless: a) something remarkable catches my eye in their CV; b) their email has a quality to it that needs following up; c) they badger me.
It's a very fine line between badgering and becoming a pest, and I'm afraid I can't tell you what that is. You need to know it yourself, otherwise you're annoying and I probably won't want to see you!

Timing is also crucial, and sadly completely out of your hands.
I recently had a CV from a petty cash buyer, three days before I needed to find a new petty cash buyer. Sometimes luck does play a part.

Once you've made contact with a Designer, it's important to know that your first job in the business, will not be as a Designer.
I get many emails from people asking how to become a Designer, and they want to get work as a Designer.
You do need to realise that your first job will probably be un-paid, and you'll be doing runner type work. Be ambitious, but be realistic. In a mixed metaphor kind of way, it's a long hard road up the ladder.
Write to Designers and say you want to work in the Art Dept. Don't tell a Designer that's worked his whole career to become a Designer that you want his job.

I've also had letters from people wanting to be Directors....know your target audience.
Also write to people in the type of work you're interested in.
A Theatre Designer will have not have much work in the LE sector (usually), so research the route you want to take.

I absolutely HATE employing people un-paid. I worked for nothing myself to get started, and its abhorrent, but unfortunately, sometimes it has to be done. Please don't do it more than once. Twice at a push, but above all, if you don't value yourself, nobody else will.
The flip side of that, is don't expect huge wealth. Budgets are getting smaller, and crews are shrinking. It's not a great time to start off in any business, and the TV Industry is no exception.
You can expect to be paid anything from £350-£450 per week as an art dept assistant starting out.

So in summary:

Have the right skills, and have many of them. The more you can do, the easier it is to give you a chance.

Write to Designers in the field you're interested in (TV & Film generally don't mix).

Send an email that shows you're interested. Be relaxed and be yourself, and show your passion.

Be persistent but not pushy or over-confident.

Make sure you meet face to face. This is so important I cannot stress it enough.

Be willing to work for nothing for your favourite Designer just to get a foot in the door (experience on a job is worth far more than your degree).

Research the business, and try to find out what people's jobs involve.

Be willing to work hard and long hours.

Have an amenable character.

Have a real passion to work in the business.

Try to work for a number of Designers if possible to gain a wide range of experience.

I have a really fantastic Art Dept that I use on a regular basis. Consequently, it's very very hard to get work with me, because I tend to hang on to all the good folk that work with me. Having said that, sometimes some of my team are busy and I need to look elsewhere, and sometimes I'm so busy with jobs that I need more people.
Please feel free to write to me, but I'm afraid I can't promise to see you or even to employ you. But you never know....

So that's it. Life in the TV business.
Rewarding, rarely glamourous, arduous, but if it's your thing, it's the best job in the world".
Thank you, Jonathan, and you can find the original of that article on Jonathan's own site - well worth a look at. Coming up more TV profiles, including advice from VT editors, Sound, Camera, Producers and Directors. Subscribe to get those sent directly to your inbox.

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Jonathon Green is a very experienced Production Designer whose credits range from Daybreak and Watchdog to Green Wing and The Chase. Jonathan is obviously a man who knows all about designing the look of a TV programme and he kindly agreed to share his advice to anyone interested in a job in a TV Art Department.

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How do I become a production buyer?

There is no set route to being a buyer, but it's helpful to have a background in art. Consider becoming an art trainee first and working your way up to working on a big budget feature film from there. This will help you make the contacts and build up the industry knowledge to get work in the art department of a film or TV drama.

At school or college:
If you want to go to university, A-levels or Highers in art and design, theatre, graphic design and graphic communication are useful. Or you might want to take the following Level 3 vocational qualifications:

NCFE Applied General Certificate in Art and Design

BTEC National Diploma/Extended Diploma in Art and Design

UAL Applied General Diploma/Extended Diploma in Art and Design

If you want to go straight into a job or apprenticeship, the following Level 3 vocational qualifications will equip you:

OCR Cambridge Technical Diploma in Art and Design (3D Design)

OCR Cambridge Technical Diploma in Art and Design (Graphic Design

OCR Cambridge Technical Diploma in Art and Design (Photography)

BTEC National Diploma in 3D Design and Crafts

BTEC National Diploma in Photography

UAL Diploma/Extended Diploma in Art and Design

Get a degree:
It's by no means essential. But if you want one, have a look at ScreenSkills' list of recommended courses in film and TV. We recognise courses with our ScreenSkills Select award where they offer training in the relevant software, dedicated time to building a portfolio and have strong links with the film and TV industries.

Go to ScreenSkills' events like Open Doors to meet people working in art departments. Show them your portfolio and give them your number.

Become a trainee:
Get onto ScreenSkills' Trainee Finder scheme.Get the skills, make contacts and start working in art departments.

You might also be interested in...

Being a production buyer for unscripted TV. This role is more office-based with fewer opportunities to go out on set.

Further resources

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There is no set route to being a buyer, but it's helpful to have a background in art. Consider becoming an art trainee first and working your way up to working on a big budget feature film from there.

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How do I become a set decorator?

There is no standard career path to be a set decorator. Often, they will have experience working as a production buyer or an assistant set decorator. They have usually worked in the art department for several years or in set design in the theatre. One route in would be to apply to be a ScreenSkills' art department trainee. This will help you make the contacts and build up the industry knowledge to get work in the art department of a film or TV drama.

At school or college:
If you want to go to university, A-levels or Highers in art and design, architecture, photography, theatre, graphic design or graphic communication are useful. Or you might want to take the following Level 3 vocational qualifications:

NCFE Applied General Certificate in Art and Design

BTEC National Diploma/Extended Diploma in Art and Design

UAL Applied General Diploma/Extended Diploma in Art and Design

If you want to go straight into a job or apprenticeship, the following Level 3 vocational qualifications will equip you:

OCR Cambridge Technical Diploma in Art and Design (3D Design)

OCR Cambridge Technical Diploma in Art and Design (Graphic Design)

OCR Cambridge Technical Diploma in Art and Design (Photography)

BTEC National Diploma in 3D Design and Crafts

BTEC National Diploma in Photography

UAL Diploma/Extended Diploma in Art and Design

Get an apprenticeship:
It can be challenging to find jobs as an apprentice with production companies as many are not able to take on people for a whole year, which is an apprenticeship requirement at the moment. However, it might be worth looking for a job as an apprentice in an industry that uses similar skills, such as being a furniture maker, an illustrator in publishing or a graphic artist in advertising. This could help you develop your craft and create a body of work for a portfolio that you can use to find your way into film and TV drama at a later point.

These are the standards and frameworks through which relevant apprenticeships might be available throughout the UK:

Props technician (Film and TV drama) (Level 3, England)

Design (SCQF, Level 5, Scotland)

Furniture, Furnishings and Interiors (SCQF, Level 5, 6, Scotland)

Design (Level 3, Northern Ireland)

Design (Level 2, 3, Wales)

Design Practice (Level 5, Wales)

Furniture and Furnishings (Level 2, 3, Wales)

In Scotland, you might be able to find degree-level apprenticeships through the following frameworks:

Design (SCQF Level 6/7, Scotland)

Architecture (degree) (Level 7, Scotland)

Design (SCQF Level 6/7, Scotland)

Before taking any apprenticeship, check what you'll be learning with your prospective employer and college, so you can be sure it will be giving you the skills you want. Go to how to become an apprentice to learn how to find apprenticeships in your region or approach companies directly.

Get experience:
Volunteer to do set decorating for student videos. Or decorate stage sets in amateur theatre productions.

Get a degree:
It's by no means essential, but if you want one, have a look at ScreenSkills' list of recommended courses in film and TV. We recognise courses with our ScreenSkills Select award where they offer training in the relevant software, dedicated time to building a portfolio and have strong links with the film and TV industries.

Meet people in the industry:
Got to ScreenSkills' events like Open Doors to people in the art department. Show them your portfolio and give them your number.

Network online:
Create a LinkedIn profile. See if there's a Facebook page or other social media group for people making films or videos in your area. Join it and take part. Create a ScreenSkills profile.

Become a trainee:
Get onto ScreenSkills' Trainee Finder scheme. Get the skills, make contacts and start working in an art department.

You might also be interested in...

Many set decorators work on commercials, where they are known as stylists. There, the set decorator must think about where the advertised product is placed. Or you could work as a theatre set designer.

Further resources

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There is no standard career path to be a set decorator. Often, they will have experience working as a production buyer or an assistant set decorator. They have usually worked in the art department for several years or in set design in the theatre.

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How do I become an art department trainee?

Get onto ScreenSkills' Trainee Finder scheme. This will help you make the contacts and build up the industry knowledge to work in the art department of a film or TV drama.

At school or college:
If you want to go to university, A-levels or Highers in art, architecture, photography, graphic design or graphic communication are useful. Or you might want to take the following Level 3 vocational qualifications:

BTEC National Diploma/Extended Diploma Art and Design

UAL Applied General Diploma in 3D Design and Crafts

NCFE Applied General Certificate in Art and Design

If you want to go straight into a job or apprenticeship, the following Level 3 vocational qualifications will equip you:

BTEC National Diploma in 3D Design and Crafts

UAL Diploma/Extended Diploma in Art and Design

Get an apprenticeship:
An apprenticeship is a job with training, so it's a great opportunity to earn while you learn. It can be challenging to find jobs as an apprentice with production companies as many are not able to take on people for a whole year, which is an apprenticeship requirement at the moment. However, it might be worth looking for a job as an apprentice in an industry that uses similar skills, such as being an illustrator in publishing or a graphic artist in advertising. This could help you develop your craft and create a body of work for a that you can use to find your way into film and TV drama at a later point.

These are the relevant apprenticeships available throughout the UK:

Props technician (Film and TV drama) (Level 3, England)

Junior 2D Artist (Visual Effects) (Level 4, England)

Furniture, furnishings and interiors (SCQF Level 5, 6, Scotland)

Design (Level 3, Northern Ireland)

Creative and Digital Media (Level 3, 4, Wales)

Design (Level 2, 3, Wales)

Design Practice (Level 5, Wales)

Furniture and Furnishings (Level 2, 3, Wales)

In Scotland, you might be able to find the following degree-level apprenticeships:

Creative (SCQF Level 6/7, Scotland)

Creative and Digital Media (SCQF Level 6/7, Scotland)

Design (SCQF Level 5, 6/7, Scotland)

Before taking any apprenticeship, check what you'll be learning with your prospective employer and college, so you can be sure it will be giving you the skills you want. Go to how to become an apprentice to learn how to find apprenticeships in your region or approach companies directly.

Develop a wide range of art skills:
Learn how to paint, do 3D modelling and graphic art. The more you can do at this stage, the more chance you have of being useful in the art department later on.

Learn to drive:
If possible, get access to a car. This makes you more versatile and means you can help more.

Get a degree:
It isn't essential, but if you want one, have a look at ScreenSkills' list of recommended courses in film and TV and select ones in quality-assured higher education courses in film and TV, visual art or design. We recognise courses with our ScreenSkills Select award where they offer training in the relevant software, dedicated time to building a portfolio and have strong links with the film and TV drama industries.

Build a portfolio:
This is essential for impressing admissions tutors and people in the film industry. Go to build your art portfolio to learn how.

Meet people in the industry:
Go to ScreenSkills' events like Open Doors to people in the art department. Show them your portfolio and give them your professional contact details.

Network online:
Create a LinkedIn profile. See if there's a Facebook page or other social media group for people making films or videos in your area. Join it and take part. Create a ScreenSkills profile.

Become a trainee:
Get onto ScreenSkills' Trainee Finder scheme. Get the skills, make contacts and start working in an art department.

You might also be interested in...

Being an art department runner in unscripted TV. Some independent TV companies (indies) run art department trainee schemes.

Further resources

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Get onto ScreenSkills' Trainee Finder scheme. This will help you make the contacts and build up the industry knowledge to work in the art department of a film or TV drama. At school or college: If you want to go to university, A-levels or Highers in art, architecture, photography, graphic design or graphic communication are useful.

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Mark Farley, CEO Farley Prop Hire

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David Allen - Behind The Scenes with Mark Farley - BBC Sounds

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Catch up on your favourite BBC radio show from your favourite DJ right here, whenever you like. Listen without limits with BBC Sounds.

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Resource aimed at new entrants to help them navigate into gainful employment and avoid bottom-feeding exploiters.
Currently collating Covid-19 info - advice on getting furloughed and a roll of honour for TV companies supporting their freelancers.

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Fun flow diagram to help you recognise when you are being exploited.

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hey there!

Who's ready to stop working for free? Hopefully you are! If you have any doubts, consult this handy chart below. Start in the middle and work your way to your answer!

Since I am a crazy person and we are all nerds, this chart is entirely css and html. Faster loading and you can translate it into any language! Google translation is a little funky, but it should hopefully get the point across.

Did they promise you "lots of future work"?

Did they promise you "exposure" or "a good portfolio piece"?

No

Just because a business isn't profitable, that doesn't make them a non-profit.

is it for

a legitimate business?

You mean a band?

Enough to write an angry letter for even considering you'd work for them?

Are they promising you their proverbial kidney?

Do you owe them a proverbial kidney?

is it for

your friend?

is it for

a charity or non-profit?

Do you vehemently oppose the cause or what they do?

Is it through an ad agency or design firm?

Are you sure about that?

Will they flake out on you when you need them?

Are we talking, like, brother-from-another-mother friend?

You mean the company your friend works for?

is it for

your mom?

Are they doing it pro-bono?

Are you "good friends" ifyaknowwhatimean?

Do you still really want to do it?

Will they give you creative freedom?

Are they a buncha a-holes?

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hey there! Who's ready to stop working for free? Hopefully you are! If you have any doubts, consult this handy chart below. Start in the middle and work your way to your answer! Since I am a crazy person and we are all nerds, this chart is entirely css and html.

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UK wide with regional centres. Events, resources, product discounts.

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In One Night, three friends discover the past is never really gone. In the present day, the pressure is on for Ronnie O'Sullivan, while hundreds of people are trying to win the real-life adaptation of Squid Game. Meanwhile, the Doctor is back and whizzing about all time.

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In One Night, three friends discover the past is never really gone. In the present day, the pressure is on for Ronnie O'Sullivan, while hundreds of people are trying to win the real-life adaptation of Squid Game. Meanwhile, the Doctor is back and whizzing about all time.

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Charity training young people from under-represented backgrounds. Supported by industry patrons including Sky, the 'Whats Up TV' programme broadcast by Sky trains talent on-the-job then offers work placements. A range of roles are offered inc Trainee Camera Operator

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The misrepresentation of people from under-represented groups in the media negatively affects society. We want to change this. The MAMA Youth Project recruits, trains and nurtures young people between 18-25 years of age from under-represented groups or with limited educational or employment opportunities.

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David Thomas Media - finances for freelancers

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David Thomas Media - finances for freelancers

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Courses and downloadable templates to help screen industry talent manage their finances more effectively.

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Whether you are a creative freelancer or a spokesperson for a charity, our aim is to help you learn new skills while enjoying yourself.

We also pride ourselves in supporting you after the training. Whether it's with downloadable resources or by phone and email.

Business skills for creatives

Freelancer? Small business owner? You know how tricky it is to stay on top of the finances, organise your time efficiently, and keep up the networking.

So we help you learn how to do it, with fun workshops, plenty of tips, and downloadable templates to save you time.

Whether it's understanding tax and NI, finding new clients or planning how not to run out of money, you'll come away feeling more confident and thinking more like a business.

What our clients say:

"The materials are the most useful I have ever received on any course""Superb - hugely knowledgable and helpful"

Media skills training for charities and NGOs

You're a charity spokesperson and you're going to be interviewed for radio and TV.

How do you make sure you say the right thing? What if they ask you a question you can't answer?

Our fuss-free media training will help you prepare and control your nerves.

With plenty of practical tips and practice interviews, we'll help you get your message across more clearly, and feel more confident.

What our clients say:

"I've made my TV debut today! Your tips for preparation and delivery really helped."

Take that first step now

Get in touch and see how we can help.

We're happy to chat, even if you're not sure what you need.

Call us on 020 7096 1995, or email training@davidthomasmedia.com

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Whether you are a creative freelancer or a spokesperson for a charity, our aim is to help you learn new skills while enjoying yourself. We also pride ourselves in supporting you after the training. Whether it's with downloadable resources or by phone and email. Freelancer? Small business owner?

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BOOK: Breaking Into UK Film And TV Drama by Matt Gallagher

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BOOK: Breaking Into UK Film And TV Drama by Matt Gallagher

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A comprehensive guide to finding work in UK Film and TV Drama for new entrants and graduates. Paperback and Kindle available.

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Breaking Into UK Film And TV Drama: A comprehensive guide to finding work in UK Film and TV Drama for new entrants and graduates for

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Buy Breaking Into UK Film And TV Drama: A comprehensive guide to finding work in UK Film and TV Drama for new entrants and graduates for by Gallagher, Matt (ISBN: 9781523676002) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.

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Created in 2012 to help new entrants find work in TV, by providing resources and guidance from seasoned professionals, it is now the choice resource for employers looking for Runners and other junior TV talent.

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This is a sister group to “People in TV: Available”. It is intended for new entrants to the industry and anyone who wishes to employ them. PLEASE ANSWER THE QUESTIONS! PLEASE NOTE that while...

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Specially trained counsellors available 24-7 for legal queries, mental health and well-being (inc bullying or harassment), financial troubles, family issues.

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Welcome to the Film and Television Charity. Calls are recorded for the purposes of quality and staff training. This is a confidential service, however, there are some exceptions to this and these are where there may be a risk to your own health and safety, that of others or if you have been involved in a crime. An advisor will be with you shortly, Thank You.

I understand and agree that video interactions will be recorded.

All of our advisors are busy at the moment. Would you like to book an appointment?

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24-hour support line - Film and TV Charity

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You may have a problem or question at any time, day or night. That's why we bring you a 24/7 Support Line which is free and confidential for anyone in the community working behind the scenes in film, TV and cinema. Just pick up the phone, email or click online chat - whatever's most comfortable.

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BECTU: The Broadcasting, Entertainment, Communications and Theatre Union 

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BECTU: The Broadcasting, Entertainment, Communications and Theatre Union 

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Union representation, events, networking, discounts on industry products and services inc insurance

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Bectu: The union for creative ambition Join 40,000 others in the...

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The TV Studio Production Handbook Paperback by Lucy Brown & Lyndsay Duthie

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The TV Studio Production Handbook Paperback by Lucy Brown & Lyndsay Duthie

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Explains the production process from beginning to end and covers everything media students need to know to create a successful studio television programme.

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TV & Film industry initiative that aims to provide professional and peer support for freelancers, particularly with mental health, as well as bring meaningful change to working practices in the industry.
Lots of videos and online events on good mental health and career development.

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A new TV & Film industry initiative that aims to provide professional and peer support for freelancers, particularly with mental health, as well as bring meaningful change to working practices in the...

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BAFTA - British Academy of Film & Television Arts

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BAFTA - British Academy of Film & Television Arts

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World-leading independent arts charity. Mentoring, career development, events and infamous awards ceremonies. Exclusive screenings and bar in London Piccadilly.

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An independent British charity that supports, develops & promotes the art forms of the moving image

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Training in a range of technical, legal, storytelling and management skills.

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The Indie Training Fund's courses are open to member and non-member companies, individuals and freelancers (who can get discounted rates for most courses). Training covers the digital, diversity, legal and business, people skills, production, scripting and technical aspects of TV and film. Browse our full directory of courses to book or register interest in upcoming training.

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Indie Training Fund Courses - ScreenSkills

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The Indie Training Fund's courses are open to member and non-member companies, individuals and freelancers (who can get discounted rates for most courses). Training covers the digital, diversity, legal and business, people skills, production, scripting and technical aspects of TV and film. Browse our full directory of courses to book or register interest in upcoming training.

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Huge list of TV and film related websites, training, video, podcasts, radio, books, classic movies.
Huge hat tip for helping with this page!

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Podcast series on good mental health when working in TV, Film, Music

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Leo Anna Thomas and Matt Longley from 6ft From The Spotlight talk to renowned Director, Stella Corradi.

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Professional development programme designed to support trainees working behind the camera in High End TV drama and film.
10 days training over 10 months for a range of roles .
One-off fee payable if
selected.

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Sara Putt - leading independent UK agency for film and television heads of department.

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Trainee Scheme - Sara Putt - leading independent UK agency for film and television heads of department.

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The Sara Putt Associates Trainee Scheme is a professional development programme designed to support trainees working behind the camera in High End TV drama and film. Over ten online workshops you will receive a range of professional training and support that will help you successfully manage a freelance career. Sessions include:

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The GTC's membership magazine, special edition on mental health working in cameras and screen industries in general.
Look out for update coming in 2020.

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Issue 2, 2020

Pre the COVID-19 lockdown, the GTC had already decided to produce a second edition of our Mental Health Supplement, first released in 2018. It was planned to look at the exceptional stresses that working practices in the industry place on people, particularly freelancers. Then the pandemic struck, increasing pressures on many camera professionals and industry colleagues - so the urgency to bring out this resource seemed even greater.

In producing this issue, we were supported by therapists, counsellors and professionals from various specialisms, with the aim of introducing a range of different approaches that may help individuals who are experiencing a range of issues. Our research was underpinned by the 2020 GTC Mental Health Survey - and we are grateful to all who took the time to reply.
Our key messages for this issue are:

You are not alone - mental health issues affect most people at some time, particularly in our industry.

Be kind - a colleague working right next to you may be suffering in silence: try to be receptive to signs and encourage them to talk to you, to someone else or to seek one of many kinds of help available.

Your employer (however short-term) has a responsibility towards your mental health support; if this is now evident, then lobby them to make sure this improves.

Issue 1, 2018

The Spr ing 2018 issue of Zerb included a special supplement around the issue of mental health, looking at how it can affect people working in the camera department and TV/film industry more generally - and, most importantly, explaining various avenues where help can be found if you or a colleague are suffering from any form of mental health problem, particularly depression.

Film & Television Charity

In putting both issues of the supplement together, we worked with our friends at The Film & Television Charity who run a 24/7 helpline, where support and advice across a wide range of issues, including:

bullying and harassment

depression and anxiety

debt and money advice

specialist addiction counselling

legal advice and support

bereavement counselling

financial assistance.

The charity has also recently launched an Mental Health online community, where people can talk in groups, or one-on-one. Find out more:
filmtvcharity.org.uk/community

Other organisations offering support...

Backup

Backup provides financial support to entertainment technology industry professionals who are seriously ill or injured or to their surviving family members.

Phone: 01323 524138
www.backuptech.uk/apply

CALM

(Campaign Against Living Miserably)
Helpline: 5pm to midnight daily
0800 585858

Community Advice & Listening Line

Community Advice & Listening Line offers emotional support and information on mental health and related matters to people in Wales.
Phone: 0800 132 737 (24/7) or text "help" to 81066
www.callhelpline.org.uk
Find a pyschotherapist in your area:
www.psychotherapy.org.uk/find-a-therapist
Inspire

Inspire (Northern Ireland Association for Mental Health) provides local services to support the mental health and wellbeing of people across Northern Ireland.

Phone: 028 9032 8474
www.inspirewellbeing.org

Mental Health Foundation

Mental Health Foundation provides a guide to mental health problems, topical issues and treatment options via their website.
www.mentalhealth.org.uk
MIND

0300 123 3393
www.mind.org.uk

Rehab 4 Addiction

Rehab 4 Addiction offers a free helpline to assist those suffering from drug, alcohol and mental health issues. Rehab 4 Addiction was established in 2011 by people who overcame drug and alcohol addiction themselves.
www.rehab4addiction.co.uk; 0800 140 4690.

Rory Peck Trust (including for PTSD)

0203 219 7860
www.rorypecktrust.org

Samaritans

24 hours daily
116 123
www.samaritans.org

SAMH

SAMH (Scottish Association for Mental Health) can provide general mental health information and signpost you to your local services.
Phone: 0141 530 1000 (Mon-Fri 9-5)
www.samh.org.uk
SANE

SANEline 0300 304 7000

Social Media Addiction

Overusing social media can be a serious problem. Social media addiction is a psychological condition that compels someone to be overly concerned about social media, spending so much time on these platforms that it impacts other aspects of their life. More information on the problem and how to combat it:
https://webserv.io/social-media-addiction

BBC News Mental Health app and support

The BBC has a mental health app and list of mental health support resources: www.bbc.co.uk/programmes/articles/1NGvFrTqWChr03LrYlw2Hkk/information-and-support-mental-health

Urgent medical advice

NHS 111 or NHS Direct (Wales)
0845 46 47

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The Guild of Television Camera Professionals : Mental Health and Other Helplines - GTC | The Guild of Television Camera Professionals

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Pre the COVID-19 lockdown, the GTC had already decided to produce a second edition of our Mental Health Supplement, first released in 2018. It was planned to look at the exceptional stresses that working practices in the industry place on people, particularly freelancers.