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Technical production is management. Producers manage the designers and work closely with the directors to make sure the artistic vision is followed through. Producers are in charge of making sure budgets are followed, deadlines are met and the designs are cohesive. Producers must have a vast amount of knowledge and must have a basic understanding of all asspects of design. Depending on which route chosen producers can either end up supervising younger technicians throughout the process of a show or end up in pitching movie ideas and producing movies or TV shows.

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What does a theatrical producer do?

Producers raise finances, book theatres, negotiate and issue contracts, and manage how the budget is spent. They organise and manage technical, stage management, and workshop functions, and are responsible for ensuring a successful project all the way through to the first live performance.

Day-to-day operations include:

agreeing projects with financial backers

sourcing and booking theatres, agreeing production timelines, and setting ticket prices

hiring a PR and marketing team

scheduling rehearsals and performances

recruiting production and technical teams, including backstage staff

holding regular meetings with directors, creative teams, and artists

ensuring legal compliance such as copyright law, insurance liability, loyalties, payroll, and tax

securing rights to future production for film and television

What do I need to do to become a theatrical producer?

There are no specific qualifications required, however a degree or HND in a media-related subject will really increase your chances of work, or you can get into the industry by taking an apprenticeship. You will need to get experience, develop a track record in the industry, and gain a detailed understanding of the management and technical processes involved in theatre production.

Where could I be working?

You could be working in a small touring company or a large commercial one, such as those in London's West End. There is growing demand for alternative theatres too, such as mobile and fringe theatres, or educational touring theatres. Be prepared to work long and unsociable hours, sometimes away from home.

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What does a theatrical producer do? Producers raise finances, book theatres, negotiate and issue contracts, and manage how the budget is spent. They organise and manage technical, stage management, and workshop functions, and are responsible for ensuring a successful project all the way through to the first live performance.

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Technical Designing is the more creative side of technical theatre. There are many potential paths for those who study technical design. There are three major options and then many sub genres within those three major choices, Film, television and live theatre. Those that peruse technical design can end up being directors, lighting designers, scenic designers, production managers, etc.
Where organization is the main aspect of the production side of theatre, creativity and the ability to see beyond the words written in a script is the most important aspect of technical design. Being consistent and reliable is one of the most important aspects of being in this field. A really talented designer or producer is great but if you are not realible none of that matters.

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Technical theatre design includes the manual mapping and implementing of lighting, sound and stage design. All of these must work together in order for a theatrical production to succeed. Read on to learn more about technical theatre design, potential careers and education programs.

Is Technical Theatre Design for Me?

Career Overview

In the world of theatre, an actor or actress needs to be seen, heard and placed into a world that is inviting to, but detached from, the viewing public. As a technical theatre designer, it will be your responsibility to create and draw the audience into these imaginary places and times. While some of your training may take place on the job, programs in technical theatre design can be found at both the undergraduate and graduate degree levels. Some general theatre programs may also be available online.

Specializations

As a technical designer, you could pursue a career in theatre or a variety of other media, such as television, film or live performance. Potential job titles include lighting or scenic designer, model maker, production assistant and theatre production manager, to name a few. If you earn a terminal Master of Fine Arts degree in this field, you'll be able to teach these skills at the postsecondary level.

Employment Outlook and Salary Statistics

According to the U.S. Bureau of Labor Statistics (BLS), model makers who work with metals and plastics were paid a median annual wage of $46,080 in May 2013. Professionals in the lowest 10th percentile earned $27,710, while those in the 90th percentile earned $71,380 that same year. Meanwhile, set and exhibit designers had a median annual income of $50,000 in May 2013. Designers in the lowest 10th percentile earned $23,790, and the 90th percentile earned $87,350. During the same period, the median salary for art, drama and music college professors was $62,830 a year ( www.bls.gov).

How Can I Work in Technical Theatre Design?

Undergraduate Programs

Through an associate's degree program in technical theatre design, you can learn how to analyze a light plot and hang lighting equipment, operate technical sound and lighting boards, design a stage and use the correct tools to construct a set. You'll also become familiar with the responsibilities of each member of a production crew, as well as the safety guidelines associated with professional theatre work.

Bachelor's degree programs combine classroom instruction with hands-on work in school productions, which can help you understand how light, scenery and sound come together in a successful production. Expect studio art courses in drawing, as well as classes in design, color, architecture, speech and composition. Costume, lighting and scenic design may be reserved for more advanced courses within the undergraduate curriculum. Many schools also offer internships with professional theatre companies.

Graduate Degree Programs

Master's degree programs in technical theatre design typically take three years to complete. Advantages of a graduate-level program can include the opportunity to pursue concentrated coursework, build a technical portfolio and participate in college and university productions. Depending on the program, your course load may cover topics in structural design, stage rigging, stage machinery physics and theatre production management. In addition to coursework, you may also have to complete an internship and write a thesis.

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Technical theatre design includes the manual mapping and implementing of lighting, sound and stage design. All of these must work together in order for a theatrical production to succeed.

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The day in the life depends on which area of technical theatre you go into whether production or designing.
For a designer your day might consist of meeting with the technical director or producer to make sure everybody is on the correct track and ready to meet deadlines. Meeting with the technicians to make sure your design is being executed properly. Doing research of certain time periods or reading through the hired dramaturgy’s research. Your day could also be filled with sitting at a desk for hours designing or making models or your already designed work. Each day is different based off of which stage of designing you are in.
For producers your day is filled with meeting with directors, finances, designers and technicians. Everyday the job consists of making sure people are meeting their deadlines and the directors vision is being followed and designers are cohesive in their vision. The day also consists of making sure budgets are being followed and figuring out how to navigate hiccups and bumps in the road on the way to the finished product.
Producers and designers need to be able to work well with people, manage time well, and be organized. Producers need to be more financially aware and conscientious than designers and be able to figure out how a designers vision can be done in a time and costly manner. Designers need to be able to create the world the director invisioned and be original and cohevisive with the other designers.

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As a designer or producer the education requirements are the same. A BFA or BA in technical production and design is not required but those who are the most successful in the business have that degree. Many jobs in the field only require a bachelors degree and then rely on your experience in profession theatres or productions to ensure you know your stuff. If a technition wishes to pursue a career in educational production they would need to acquire a teaching certificate and if they wished to teach for colleges, a MFA or MA in technical production and design.

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In general, set designers create plans for the sets used in film, television and theatrical productions. They work closely with directors and other designers to create a particular look and style. Many professionals draw design plans and create small-scale models for crew members to work from and replicate.

There are many different professionals involved in set design, including art directors, carpenters, and artists. These positions all have different salaries. For comparison, those with the actual job title of set designer (along with exhibit designers) earned an average of $61,020 as of May 2018, pet the U.S. Bureau of Labor Statistics (BLS).

Art Director

In a management role, art directors communicate with directors and other supervisors to determine and draw out a set design concept. Some use simple sketches, while others create three-dimensional models out of wood or cardboard. Initial design concepts come from the script, but these ideas may change based on what the director envisions. After the final decisions are made, the art director creates intricate scaled plans of the set and large props for crew members to build. Other duties may include overseeing production budgets, creating pre-production schedules, hiring crafters and artisans, and maintaining communications with all parties involved.

Most employers require a bachelor's degree for this position. Majoring in theater design and technology should provide sufficient training, but degree programs in drama or interior design may also prove useful. Previous experience in the theater or set design industry is also essential for this position, and it is fairly common for professionals to have at least five years of recent experience.

The job outlook for art directors in general, including those who specialize in set design, is only expected minimal growth during the 2018-2028 decade, according to the BLS. With so few new positions becoming available, competition will be fierce. Professionals who have ample experience and impressive portfolios of work may have more of an edge in the job market. In May 2018, the BLS reported that art directors in all areas of specialty earned an average annual salary of $104,590.

Carpenter

Many sets are built out of wood, so carpenters are often hired as set builders. In general, carpenters follow instructions or make their own plans to construct buildings, frames, doorways, stairs, furniture, and additional structures. They possess an extensive knowledge of woodworking tools and they know the strength of different building materials. Carpenters who specialize in set design will require good communication skills to follow directions and to offer recommendations about designing sets that are both structurally sound and aesthetically pleasing.

The typical pathway to becoming a carpenter involves completing a 3-4 year apprenticeship program. During the apprenticeship, individuals may learn related skills, such as welding or rigging. Most carpentry apprenticeship programs are in the field of construction, so finding a set design apprenticeship program may prove difficult. There are also carpentry degree programs at the associate degree level. Individuals dedicated to working in set design may consider such program options as an associate degree in carpentry and a minor in theater.

The BLS predicts an average rate of growth for carpenters during the 2018-2028 decade, as new positions are expected to increase faster than average. The majority of these positions are within the construction and manufacturing industries, however, so this data may not reflect the amount of available positions for carpenters who want to go into set design. As of 2018, the average annual salary earned by all carpenters was $51,120, as reported by the BLS.

Artist

Once a set design has been drawn up and after builders have created different structures, artists are required to paint and embellish all the elements of the set. For example, some artists may be hired to paint large-scale murals for backdrops. Other artists might be needed for fabricating props. There are many different job opportunities for an artist within the set design industry, and most professionals specialize within their preferred artistic area of choice.

Education requirements vary significantly by employer. Artists are usually hired because of their advanced level of skill, which is portrayed in their portfolios. Therefore, possession of a formal degree may not be required. Many artists do pursue bachelor's or master's degree programs, though, but it is not a hard-set requirement within the profession. Experience in stagecraft may prove necessary for set design artists. Likewise, professionals in this industry are often hired based on their professional connections with industry leaders, so gaining related work experience in the industry may help boost a person's career.

Open positions for craft and fine artists are only expected minimal or no change in employment growth during the 2018-2028 decade, according to the BLS. The market is flooded with artist candidates seeking employment, and there simply are not enough positions available, so professionals will need to prepare for heavy competition. The average annual salary reported by the BLS in 2018 for fine artists was $58,370.

Every scene in a play, movie or television show has a setting, which is created by a set designer. Set designers work with the director to develop a look and style that's effective for the film or show they're working on. They may be involved in constructing rooms or buildings, determining set pieces that should be placed in specific locations within the set, or decorating an existing set.

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begin a career in set design: information and requirements

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Begin a Career in Set Design: Information and Requirements

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In general, set designers create plans for the sets used in film, television and theatrical productions. They work closely with directors and other designers to create a particular look and style. Many professionals draw design plans and create small-scale models for crew members to work from and replicate.

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The school of Arts at University of Arizona offers a BFA degree in Theatrical production- design and technical production. Their theatrical design program is 15 in the nation and offers in-depth hands on expirence to those students whom wish to peruse a job in the theatrical realm. The degree provide students with opportunities in both an academic study of theatre and real life application of production work. With three proformance spaces to work with students get a lot of hands on experience.

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Bachelor of Fine Arts: Theatre Production - Design & Technical Production

Program Overview

The BFA Degree in Theatre Production with an emphasis in Design & Technical Production offers comprehensive training to students who seek careers in the professional theatre. This training includes a balance of academic study of theatre and practical production experience in one or more of our three performance spaces. Students study with faculty actively working professionally in their field.
BFA Theatre Production - Design & Technical Production
BFA students can choose from the following areas of specialization:

Student learn costume rendering and figure drawing.

Besides design courses, students learn draping, pattern drafting, and flat patterning skills.

Students can expect practical and realized stage design experience.

We offer costume craft courses including mask making, armor making, fabric dyeing, and wig design.

Our costume shop is modeled after a professional working shop with high standards and expectations.

For more info or to arrange a tour please contact Patrick Holt at pholt@email.arizona.edu.

Through coursework, production work in our professional costume shop and opportunities on our Arizona Repertory Theatre productions you will learn:

Patternmaking by drafting and draping techniques for contemporary and period garments

Fundamental to advanced garment construction techniques

Women's historical garment construction techniques, including corsets and 18th/19th century women's wear

Men's wear construction techniques, including modern and historical tailoring

Costume craft skills, including millinery/hatmaking, fabric dyeing, mask making, armor, and wig styling

Costume shop organization and wardrobe crew management skills following professional regional theatre practices

For more info or to arrange a tour please contact Rick Tuckett at rtuckett@email.arizona.edu.

Train hands-on in lighting design and production practices on up to 6 Arizona Repertory Theatre, 4 Studio Series and numerous auxiliary events

Work as a stage electrician, programmer, assistant master electrician, master electrician, assistant lighting designer and lighting designer

Study all areas of theatre design and production, textual analysis and history

Take additional course work in advanced lighting design, automated lighting programming and stage electrics

Cultivate collaboration, communication and leadership skills in the context of the lighting design team as well as the production creative team

Receive strong mentorship and career advisement from professionally working faculty

For more info or to arrange a tour, please contact Deanna Fitzgerald at deannaf@email.arizona.edu.

Coursework in the areas of stage management, design, and production technology

Opportunity to work as a Stage Manager, Assistant Stage Manager, or Production Assistant on 2 to 3 productions per year including plays, musicals, and operas

Discussions with guest speakers currently working in the entertainment industry

Networking and shadowing opportunities with professional stage managers

Internship opportunities with local and national arts organizations

For more info or to arrange a tour please contact Jenny Lang at jennylang@email.arizona.edu.

Create sound designs that reinforce, illuminate, and punctuate, the story of a play.

Design, install, and program multi-channel sound systems to create complex aural environments.

Record, mix, and edit a vast stylistic array of sounds to use in your designs.

Learn and practice advanced techniques of live sound mixing in a professionally modeled, fast paced setting.

Benefit from our extensive network of contacts working professionally in the entertainment industry.

Take advantage of opportunities across the College of Fine Arts to broaden your skills.

For more info or to arrange a tour please contact Matt Marcus at msmarcus@email.arizona.edu.

Production opportunities in two main stage theatres

Six main stage productions each year

Learn hand and computer-aided drafting

Learn model making, drawing, and digital rendering

Learn scene painting and props fabrication

For more info or to arrange a tour please contact Clare Rowe at cprowe@email.arizona.edu.

Between your time in our shop, your classes, and our two main stage spaces you will learn:

AutoCAD, Vectorworks, and hand drafting

Basic and advanced wood working

Welding and metal work

Project management and problem solving

Shop management and work flow

Rigging fundamentals

Show control and stage automation

For more info or to arrange a tour please contact Ted Kraus at tedkraus@email.arizona.edu.

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The BFA Degree in Theatre Production with an emphasis in Design & Technical Production offers comprehensive training to students who seek careers in the professional theatre. This training includes a balance of academic study of theatre and practical production experience in one or more of our three performance spaces.

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The annual rate for producers and directors is about $71,000. The estimated rate of growth for producers and directors in 5%. There is a very low rate of career change of those who pursue this career.
Those that work as designers earn an average of $72,000 as of 2018. Considered a highly stressful job but has a very low career change percentage.

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Summary

Video transcript available at https://www.youtube.com/watch?v=lFyGWnWtXdw.

Quick Facts: Producers and Directors
2019 Median Pay

$74,420 per year
$35.78 per hour

Producers and directors create motion pictures, television shows, live theater, commercials, and other performing arts productions.

Producers and directors work under a lot of pressure, and many are under stress to finish their work on time. Work hours for producers and directors can be long and irregular.

Most producers and directors have a bachelor's degree and several years of experience in motion picture, TV, or theater production, working as an actor, a film and video editor, or a cinematographer, or in another, related occupation.

The median annual wage for producers and directors was $74,420 in May 2019.

Employment of producers and directors is projected to grow 10 percent from 2019 to 2029, much faster than the average for all occupations. Job growth in the motion picture and video industry is expected to stem from strong demand from the public for more movies and television shows, as well as an increased demand from foreign audiences for U.S.-produced films.

Explore resources for employment and wages by state and area for producers and directors.

Compare the job duties, education, job growth, and pay of producers and directors with similar occupations.

Learn more about producers and directors by visiting additional resources, including O*NET, a source on key characteristics of workers and occupations.

Producers and directors create motion pictures, television shows, live theater, commercials, and other performing arts productions. They interpret a writer's script to entertain or inform an audience.

Duties

Producers and directors typically do the following:

Select scripts or topics for a film, show, commercial, or play

Audition and select cast members and the film or stage crew

Approve the design and financial aspects of a production

Oversee the production process, including performances, lighting, and choreography

Oversee the postproduction process, including editing, special effects, music selection, and a performance's overall tone

Ensure that a project stays on schedule and within budget

Promote finished works or productions through interviews, advertisements, and film festivals

Producers make the business and financial decisions for a motion picture, TV show, commercial, or stage production. They raise money for the project and hire the director and crew. The crew may include set and costume designers, film and video editors, a musical director, a choreographer, and other workers. Some producers may assist in the selection of cast members. Producers set the budget and approve any major changes to the project. They make sure that the production is completed on time, and they are ultimately responsible for the final product.

Directors are responsible for the creative decisions of a production. They select cast members, conduct rehearsals, and direct the work of the cast and crew. During rehearsals, they work with the actors to help them portray their characters more accurately. For nonfiction video, such as documentaries or live broadcasts, directors choose topics or subjects to film. They investigate the topic and may interview relevant participants or experts on camera. Directors also work with cinematographers and other crew members to ensure that the final product matches the overall vision.

Directors work with set designers, costume designers, location scouts, and art directors to build a project's set. During a film's postproduction phase, they work closely with film editors and music supervisors to make sure that the final product comes out the way the producer and director envisioned. Stage directors, unlike television or film directors, who document their product with cameras, make sure that the cast and crew give a consistently strong live performance. For more information, see the profiles on actors, writers and authors, film and video editors and camera operators, dancers and choreographers, and multimedia artists and animators.

Large productions often have various producers who share responsibilities. For example, on a large movie set, an executive producer is in charge of the entire production and a line producer runs the day-to-day operations. A TV show may employ several assistant producers to whom the head or executive producer gives certain duties, such as supervising the costume and makeup teams.

Similarly, large productions usually employ several assistant directors, who help the director with smaller production tasks such as making set changes or notifying the performers when it is their time to go onstage. The specific responsibilities of assistant producers or directors vary with the size and type of production they work on.

Although directors are in charge of the creative aspects of a show, they ultimately answer to producers. Some directors also share producing duties for their own films.

Producers and directors held about 159,500 jobs in 2019. The largest employers of producers and directors were as follows:

Motion picture and video industries

28%

Radio and television broadcasting

20

Self-employed workers

17

Performing arts, spectator sports, and related industries

8

Advertising, public relations, and related services

5

Producers and directors work under a lot of pressure, and many are under constant stress to finish their work on time. Work assignments may be short, ranging from 1 day to a few months. They sometimes must work in unpleasant conditions, such as bad weather.

Theater directors and producers may travel with a touring show across the country, while those in film and television may work on location (a site away from the studio and where all or part of the filming occurs).

Work Schedules

Work hours for producers and directors can be long and irregular. Evening, weekend, and holiday work is common. Some work more than 40 hours per week. Many producers and directors do not work a standard workweek, because their schedules may change with each assignment or project.

How to Become a Producer or Director About this section

Most producers and directors have a bachelor's degree and several years of work experience in an occupation related to motion picture, TV, or theater production, such as experience as an actor, a film and video editor, or a cinematographer.

Education

Producers and directors usually have a bachelor's degree. Many students study film or cinema in programs at colleges and universities. In these programs, students learn about film history, editing, screenwriting, cinematography, and the filmmaking process. As of 2017, the National Association of Schools of Theatre provided accreditation to more than 180 postsecondary institutions for their programs in theater arts.

Others producers and directors have degrees in writing, acting, journalism, or communications. Some producers earn a degree in business, arts management, or nonprofit management.

Many stage directors complete a degree in theater, and some go on to earn a Master of Fine Arts (MFA) degree. Classes may include directing, playwriting, set design, and acting.

Work Experience in a Related Occupation

Producers and directors might start out working in theatrical management offices as business or company managers. In television or film, they might start out as assistants or in other low-profile studio jobs. For more information, see the profiles on film and video editors and camera operators.

Advancement

As a producer's or director's reputation grows, he or she may work on larger, more expensive projects that attract more attention or publicity.

Important Qualities

Communication skills. Producers and directors must coordinate the work of many different people to finish a production on time and within budget.

Creativity. Because a script can be interpreted in different ways, directors must decide how they want to interpret it and then how to represent the script's ideas on the screen or stage.

Leadership skills. Directors instruct actors and help them portray their characters in a believable manner. They also supervise the crew, which is responsible for behind-the-scenes work.

Time-management skills. Producers must find and hire the best director and crew for the production. They make sure that all involved do their jobs effectively, keeping within a production schedule and a budget.

Median annual wages, May 2019

The median annual wage for producers and directors was $74,420 in May 2019. The median wage is the wage at which half the workers in an occupation earned more than that amount and half earned less. The lowest 10 percent earned less than $35,480, and the highest 10 percent earned more than $173,680.

In May 2019, the median annual wages for producers and directors in the top industries in which they worked were as follows:

Advertising, public relations, and related services

$93,100

Motion picture and video industries

87,790

Radio and television broadcasting

64,030

Performing arts, spectator sports, and related industries

61,340

Some producers and directors earn a percentage of ticket sales. A few of the most successful producers and directors have extraordinarily high earnings, but most do not.

Work hours for producers and directors can be long and irregular. Evening, weekend, and holiday work is common. Some work more than 40 hours per week. Many producers and directors do not work a standard workweek, because their schedules may change with each assignment or project.

Employment of producers and directors is projected to grow 10 percent from 2019 to 2029, much faster than the average for all occupations. Some job growth in the motion picture and video industry is expected to stem from strong demand from the public for movies and television shows, as well as an increased demand from foreign audiences for U.S.-produced films.

Consumer demand for reality shows on television is likely to increase, so more producers and directors will be needed to create and oversee editing of these programs. In addition, the volume of TV shows is expected to grow as the number of Internet-only platforms, such as streaming services, increases along with the number of shows produced for these platforms. This growth should lead to more work opportunities for producers and directors.

Theater producers and directors who work in small- and medium-sized theaters may see slower job growth because many of those theaters have difficulty finding funding as fewer tickets are sold. Large theaters in big cities, such as New York and Los Angeles, which usually have more stable sources of funding, should provide more opportunities.

Job Prospects

Producers and directors face intense competition for jobs because there are more people who want to work in this field than there are jobs available. In film, directors who have experience on film sets should have the best job prospects. Producers who have good business skills will likely have the best prospects.

Occupational Title

SOC Code

Employment, 2019

Projected Employment, 2029

Change, 2019-29

Employment by Industry

Percent

Numeric

Producers and directors

27-2012

159,500

175,500

10

16,000
Get data

Occupational Employment Statistics (OES)

The Occupational Employment Statistics (OES) program produces employment and wage estimates annually for over 800 occupations. These estimates are available for the nation as a whole, for individual states, and for metropolitan and nonmetropolitan areas. The link(s) below go to OES data maps for employment and wages by state and area.

Projections Central

Occupational employment projections are developed for all states by Labor Market Information (LMI) or individual state Employment Projections offices. All state projections data are available at www.projectionscentral.com. Information on this site allows projected employment growth for an occupation to be compared among states or to be compared within one state. In addition, states may produce projections for areas; there are links to each state's websites where these data may be retrieved.

CareerOneStop

CareerOneStop includes hundreds of occupational profiles with data available by state and metro area. There are links in the left-hand side menu to compare occupational employment by state and occupational wages by local area or metro area. There is also a salary info tool to search for wages by zip code.

For more information about producers and directors, visit
Directors Guild of America Producers Guild of America National Association of Schools of Theatre National Endowment for the Arts
O*NET
Directors- Stage, Motion Pictures, Television, and Radio Producers Producers and Directors Program Directors Talent Directors Technical Directors/Managers

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Video transcript available at https://www.youtube.com/watch?v=lFyGWnWtXdw. Quick Facts: Producers and Directors 2019 Median Pay $74,420 per year $35.78 per hour Producers and directors create motion pictures, television shows, live theater, commercials, and other performing arts productions. Producers and directors work under a lot of pressure, and many are under stress to finish their work on time.

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As someone trying to break into the business there are 3 major things needed to succeed. Grit, patience, and connections. Know that it can take up 10 years to establish a notable reputation. Both designers and producers are required to do research. Designers and producers work with many people through out the day and course of a show.
Designers and producers will need a resume, a “making skill”, a portfolio and will need an agent only to go over contracts.

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It's trickier than ever to break into set or costume design for the stage, but it's greatly rewarding if you have the patience, grit and resources to stay the distance. It can take up to around 10 years to get properly established. So how do you become one? When I give advice on the subject, I try to string together all those vital things I would have liked to have known when setting out.

It was a confusing picture then - and still is at times. I didn't even know the questions, let alone solutions, but here are a few that should help you to achieve that dream career in stage design.

Who are theatre designers?
Theatre designers are polymaths in a magpie artform. They are single-minded lone wolves one minute and consummate collaborators the next. Life in the theatre is not kind to the shy and retiring, so you have to be able to give (consistently) 100%, made up of the clichéd but no-less-truthful 99% perspiration and 1% inspiration. What if you don't find "that spark" in a project? If you want the job, you'll just have to, to challenge yourself.
What's in a theatre designer's DNA?
Whether you're a natural, someone nurtured through training or a convert from another walk of life, you'll need to be at least three of the following five personae: an artist observing and challenging the audience; an architect shaping their space; a stylist understanding and making powerful images; a technician who realises their responsibility to a live event (your designs must work reliably every night); and last but never least, a diplomat who reads the room well.

Playing in the theatre is a team sport and play is the springboard for innovation. Producing exciting work is the key to your next job.
What do theatre designers do all day?
We are curious. Researching - in libraries, on the web or by interviewing or taking trips and photographs - is perhaps one of the most stimulating aspects of theatre design. Whether it's discovering a new material and its qualities or a new philosopher and their ideas, research is both an exciting and broadening activity. What more could you ask for in a job? If it's loadsamoney, you'll probably be disappointed, but you can certainly expect to do better than just survive.

We also draw. A lot. You need to have the confidence to draw, but not in the classical sense. It's simply about communicating an idea, which can be done by making what most would call a sketch: a flexible picture that's a means to an end to get your design on stage. Having said that, software is incredibly useful for technical drawing and collaging images, so try to overcome any technophobia; you'll love it once you master the buttons and get into the substance. Crave making images!

Designers work with almost everyone in a theatre company. Design drives just about everything, one way or another. In the professional food chain, it's directors who usually offer you work, so do your homework, and get out and about to see their shows.

You may not be best mates with performers, but you have to appreciate the risks they take and match the skill and discipline they have. Never forget that the audience will - and should - probably be watching them most of the night, not your design. You must enjoy the process of making something, even if it's others, the builders and cutters, who make your ideas.

You'll also probably need a "making skill" under your belt to begin with, but theatre design is so varied there will be lots of choice, from costume construction to scene painting to model making.
What's in your folio?
Whether the "shop window" you create of your work is a hard copy portfolio, a disk or a website, there are some basic principles to adhere to. First, be clear and brief; anyone viewing your work will have limited time and, like most of us nowadays, a limited attention span.

You need to have the confidence to draw, but not in the classical sense. It's simply about communicating an idea

Second, put yourself in the shoes of the viewer and ask: how often would I spend more than 30 seconds looking at any image? Your folio may have 50 of these. Would you seriously spend 25 minutes scrutinising all the images in one person's portfolio? Ensure the nub of your projects can be consumed and digested in roughly half that.

Finally, display your work in a narrative sequence. Play to your strength: visual storytelling. The way you structure your folio will say as much about how you go about work as its content. It should aim to lead the viewer on and want more. Your story could be shaped by colour, time, theme, form or genre.
Do you need an agent?
You'll know when you do, which is when you're truly out of your depth before or during a project. Agents don't often find you work but will be a big help when you're sorting out the knotty details of a contract. Until then, your circle of friends in the business will advise and stand by you. There's nothing like the value of the theatre family.

Michael Pavelka is author of So You Want to be a Theatre Designer? and leads on the MA theatre design course at Wimbledon College of Arts - find out more about his work here
Join our community of arts, culture and creative professionals by signing up free to the Guardian Culture Pros Network. Topics

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It's trickier than ever to break into set or costume design for the stage, but it's greatly rewarding if you have the patience, grit and resources to stay the distance. It can take up to around 10 years to get properly established. So how do you become one?

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IATSE is a union that represents all and benefits all sides of technicians. Whether in the costume, makeup, scenic, sound, light, directing, etc side of tech the union benefits you. Being apart of a union ensures training for new technology, overtime pay, compensation for cancelled calls, health care and retirement benefits, and ensure compliance with your contract. IATSE specifically benefits freelance workers as well as those who work in professional theatre.

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IATSE Labor Union, representing the technicians, artisans and craftpersons in the entertainment industry

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The IATSE represents stagehands, wardrobe attendants, makeup artists and hair stylists, motion picture and television production technicians, broadcast technicians, scenic artists, designers, animators, audio visual technicians, and a host of others. These workers are organized into local unions by craft and geography. There are over 380 local unions in the United States and Canada. The members of the local unions of the IATSE govern their individual organizations. They elect their leaders, determine their internal rules, establish their local dues structure, negotiate and ratify their contracts with employers. The IATSE provides support to the local unions in all these areas.

Whether you're working for a small shop or a national vendor, an independent producer or a major studio, a local TV station or a national television network, a local community theater or a regional theater, we've negotiated contracts that improved similar workers' lives. Some of the common provisions of our contracts are:

Recognition of union stewards at job sites, to ensure compliance with contract.

Protection against discrimination in hiring.

Grievance procedure to resolve contract disputes with binding arbitration.

Penalties for missed meal breaks.

Overtime pay for extended hours.

Guaranteed rest between calls.

Compensation for cancelled calls.

Holiday pay.

Safety committee.

Training for new technology.

Labor/Management committee to foster cooperation during term of contract.

Employer-paid health and retirement benefits.

'Just cause' requirement for any discipline and/or termination.

The IATSE has existing relationships with all of the major employers in the entertainment industry. Chances are, if you're working for an employer that has nationwide operations, we have a contract with them somewhere. This can give us an advantage when it comes time to negotiate a contract.

The IATSE is uniquely qualified to represent freelance employees. Most of our members work for multiple employers during the course of a year. For these workers, it is critical to provide health and retirement funds that are portable. The IATSE National Benefit Plans are specifically structured to satisfy the needs of freelance employees.

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The IATSE represents stagehands, wardrobe attendants, makeup artists and hair stylists, motion picture and television production technicians, broadcast technicians, scenic artists, designers, animators, audio visual technicians, and a host of others. These workers are organized into local unions by craft and geography. There are over 380 local unions in the United States and Canada.