# data[].attributes.attachment_link.readable_text
Gilbert Prousch, sometimes referred to as Gilbert Proesch (born 17 September 1943), and George Passmore (born 8 January 1942) are artists who work together as the collaborative art duo Gilbert & George. They are known for their formal appearance and manner in performance art, and for their brightly coloured graphic-style photo-based artworks. In 2017 the pair celebrated their 50th anniversary as collaborators. In April 2023 Gilbert & George opened the Gilbert & George Centre in Heneage Street, London E1, to showcase their work in regular exhibitions.

# data[].attributes.attachment_link.title
Gilbert & George born 1943, born 1942 | Tate

# data[].attributes.attachment_link.description
Artist page for Gilbert & George (born 1943, born 1942)

# data[].attributes.attachment_link.readable_text
Sir Steven Rodney McQueen (born 9 October 1969) is a British filmmaker and video artist. He is known for his film 12 Years a Slave (2013), a historical adaptation of an 1853 slave narrative memoir, for which he won the Academy Award for Best Picture, the BAFTA Award for Best Film, and the Golden Globe Award for Best Motion Picture - Drama, as well as the New York Film Critics Circle Award for Best Director. McQueen is the first black filmmaker to win the Academy Award for Best Picture.

McQueen has frequently collaborated with actor Michael Fassbender, who has starred in three of McQueen's four feature films. His other feature films are Hunger (2008), a historical drama about the 1981 Irish hunger strike, Shame (2011), a drama about an executive struggling with sex addiction, and Widows (2018), an adaptation of the British television series of the same name.

For his artwork, McQueen has received the Turner Prize, the highest award given to a British visual artist. In 2006, he produced Queen and Country, which commemorates the deaths of British soldiers in Iraq by presenting their portraits as a sheet of stamps. For services to the visual arts, he was appointed Commander of the Order of the British Empire in 2011.

In 2014, Time magazine included McQueen in its annual Time 100 list of the "most influential people in the world". In 2016, he was granted the British Film Institute's highest honour, the BFI Fellowship. McQueen was knighted in the 2020 New Year Honours, for services to film.

# data[].attributes.attachment_link.description
Sir Steven Rodney McQueen (born 9 October 1969) is a British filmmaker and video artist. He is known for his film 12 Years a Slave (2013), a historical adaptation of an 1853 slave narrative memoir, for which he won the Academy Award for Best Picture, the BAFTA Award for Best Film, and the Golden Globe Award for Best Motion Picture - Drama, as well as the New York Film Critics Circle Award for Best Director.

# data[].attributes.attachment_link.keywords[]
workers leaving the factory in 11 decades

# data[].attributes.attachment_link.description
Artist page for Harun Farocki (1944-2014)

# data[].attributes.attachment_link.readable_text
Biography

Bill Viola (born 1951) is a contemporary video artist whose artistic expression depends upon electronic, sound, and image technology in new media. His works focus on the ideas behind fundamental human experiences such as birth, death and aspects of consciousness.

# data[].attributes.attachment_link.description
Bill Viola (born 1951) is a contemporary video artist whose artistic expression depends upon electronic, sound, and image technology in new media. His works focus on the ideas behind fundamental human experiences such as birth, death and aspects of consciousness.

# data[].attributes.headline
SHORT FILM SERIES BASED ON DESIGN PRINCIPALS

# data[].attributes.subject
SHORT FILM SERIES BASED ON DESIGN PRINCIPALS

# data[].attributes.body
A series of short films exploring and showing different tones through the design principals allowing the view to feel emotion and tone.

Looking into the idea of projectors and on going medias. (Similar to Nauman)

# data[].attributes.attachment_link.readable_text
So, you want to learn how to become a production designer? We don't blame you-overseeing the visuals on movie and TV show sets and in theatre productions is a pretty cool gig. Plus, production design is also an attention-grabbing addition to your online art portfolio or online design portfolio!

If you're unsure how to break into the industry, we've got you covered with our guide on how to become a production designer. We'll cover the production designer job description and production designer responsibilities (and the difference between a production designer vs. an art director), production design education requirements, production designer salary, production designer unions, and how to create an amazing production designer portfolio.

Let's get started by outlining what the production designer's role looks like!

What is the Production Designer Job Description?

Production designers are responsible for working with the director to create the visual concept of a film, television, or theatre production. The production designer job description includes overseeing the overall look of the film and managing the art department that scouts locations, and creates the sets, graphics, and props. The production designer role also entails working with the cinematographer (to ensure the sets will look great in the shot), and the costume, hair, and make-up department (so that every actor fits in with their vision).

What is the Difference Between a Production Designer vs. an Art Director?

Production designer vs art director: what's the deal there? Here's the difference. The production designer is at the head of the art department and is in charge of the overall visual look of the film.

An art director works for the production designer-usually in more specialized areas.

The production designer discusses the direction of the film and its visuals with the director, and the art director delegates specific tasks to the crew so that the production designer's vision becomes a reality.

What Skills are Required for the Production Designer Role?

Being a production designer requires managing a large team and executing a huge vision, so strong communication, multitasking, teamwork, and time management skills are a must.

Attention to detail is also paramount in production design-any little mistake on a prop or set can throw off the whole scene!

Experience in AutoCAD, Photoshop, and InDesign is a great asset, too, since you'll most likely need to produce images and visual designs to share your vision with the team.

What Kind of Production Design Education Do I Need?

The good news: you don't need to go to school for production design to become a successful production designer. It's a creative field, and like most creative fields, your own hustle, creative abilities, and networking skills will be what lands you a job at the end of the day.

It is a good idea, however, to have a bachelor's degree in graphic design, theatre, architecture, or art, as this will give you a solid background in some of the key skills you'll need to get into the industry-and can provide you with valuable connections who may end up in the film, TV, or theatre worlds and can hook you up with gigs.

Another smart production design education option? Take some courses in woodwork and set construction at your local college.

What are Some of the Best Production Design Schools?

These are some of the most well-respected production design education institutions:

Tuition: $59,348 (first year), $61,425 (second year).

Notable Alumni: Todd Cherniawsky ( Star Wars: The Last Jedi), Sharon Seymour ( Argo).

At the AFI Conservatory in Los Angeles, students can register for a two-year MFA that focuses in production design. The curriculum is designed by industry specialists, and students enjoy small classes that encourages them to embrace deep narrative storytelling as well as computer design skills. Students also get the chance to present at the school's annual production design showcase to well-known film and TV production designers in the industry.

Tuition: $56,924 (undergrad), $58,000 (grad).

Notable Alumni: Howard Cummings ( Westworld), Dan Bishop ( Mad Men).

A three-year BFA or three-year MFA is available. Being located in New York City means you have plenty of chances during your undergrad to make industry connections and even start working on your first few productions.

Tuition: $22,640 (undergrad).

Notable Alumni: Tony Fanning ( Ocean's Thirteen), Michael Ward ( Passengers).

The School of the Arts at the University of North Carolina gives its production design students a wide range of skills, and a deep understanding of all things filmmaking. Classes on everything from set construction to historical architecture are available-there's even one on furniture history (perfect for set design!).

Here are a few more of the best production design schools you can look into:

Do I Need to Join a Production Designer Union?

Joining a production designer union usually ensures higher pay and, often, more regular work. Most high-profile film and TV productions require their staff to be in a production union of some kind, so it's smart to investigate which union you'd need to get into, depending on your location and job, and what the requirements are.

What Kind of Production Designer Salary Can I Expect?

The production designer salary is depends on a variety of factors, including where you work, what projects you're involved with (i.e. budget), and your experience level. It's also important to note that your salary can depend on whether you're in a production designer union or not.

According to LinkedIn, the average base salary for production designers is around $54,000 (with a range of $34,400 and $84,000). It can also go as high as $90,000, as per Careers in Film.

How Do I Get Started in Becoming a Production Designer?

Production designers can come from all kinds of different backgrounds, whether it's decorating, costume design, architecture, photography, or fine art. Once you've got whatever production design education you feel you need under your belt, it's time to start reaching out to industry folks to offer your production design services.

Start small! Connect with student filmmakers, local YouTubers, and regional theatres to see if they need help putting together their productions. When you're first starting out, you may also want to seek out some internships or apprenticeships with more established production designers so you can get some hands-on experience ASAP. This will also help you bolster your CV so you can eventually get into the production designer union.

The film, TV, and theatre industries are, more than most industries, all about who you know. Stay in touch with your production design classmates and everyone you ever meet or work with who is even remotely connected to the industry-you never know when they may have a gig for you!

You can also try and get your art into a movie or TV show as a way to start making connects.

Most importantly, make sure your online production design portfolio is always up-to-date, so that any productions looking into your work will be impressed!

Ready to build a production design portfolio website that captures clients' attention? We've got you covered. Start your free trial with Format today!

What Should I Include in My Production Designer Portfolio?

Don't have a production designer portfolio yet? No sweat-use a website builder to make one in a few minutes. Pick one with cool templates, to show off your work as beautifully as possible, and video embedding, so you can feature movie, TV, and theatre clips showcasing your production design.

Another important tip: keep it tight! Be very selective and only select the very best images for your portfolio.

If you're new to the game and don't have that much production design to fill the pages of your production designer portfolio, there are still other things you can add. You could include a production design blog where you blog about your favourite production design work in eighties movies, or do a production design recap of every episode of a hot TV show. Or you could make a YouTube video offering a production design tutorial. You could even write a case study reviewing how you put together a production design project, so prospective clients can get a sense of your aesthetic and design process.

With such an amazing production designer portfolio, you're sure to start racking up fancy credits-and that sweet production designer salary-in no time!
Want some more career guidance?
Why This Key & Peele Production Designer Says Yes to Everything
Well-Designed Career Advice for Design Graduates
5 Designers Reveal How to Get Clients with Your Portfolio

# data[].attributes.attachment_link.description
So, you want to learn how to become a production designer? We don't blame you-overseeing the visuals on movie and TV show sets and in theatre productions is a pretty cool gig. Plus, production design is also an attention-grabbing addition to your online art portfolio or online design portfolio!

# data[].attributes.attachment_link.readable_text
Production designers are responsible for the visual concept of a film, television or theatre production

As a production designer, you'll identify a design style for sets, locations, graphics, props, lighting, camera angles and costumes, while working closely with the director and producer.

Once the concept is decided, you'll usually appoint and manage an art department, which includes a design and construction team. You'll often form a strong partnership with a particular director, who they'll then work with on many productions.

Designers tend to specialise in film, television, or theatre, although there is some overlap. In the theatre, production designers are also called stage or set designers.

Responsibilities

Most production designers work as freelancers and so an important part of their work is marketing their skills and experience, making contacts and briefing agents.

In addition to this, you'll generally need to carry out the following tasks:

agree on a project, and if freelance agree an appropriate fee and timescale - this may be carried out by an agent

clarify the brief which may be written or given orally

read scripts to identify factors indicating a particular visual style

meet the producer and director to discuss concepts and production requirements

research art history, background politics, historical information and produce design ideas

plan and monitor the design budget

provide scale drawings or models for studio or theatre sets

produce design ideas for costumes, wigs, props, special effects, make-up and graphics

identify and assess potential studios and locations

source appropriate materials and research effects

present ideas to others involved in the production, such as actors and camera operators

research, estimate and prepare a property list

hire and manage an art department team or teams (depending on the size of the production)

instruct the set construction company, scenic artists and special effects specialists and monitor their work

liaise with the costume designer and the director of photography, as well as the props, lighting and sound directors

attend progress meetings, rehearsals and filming to advise on visual presentation

check sets and locations during filming to make sure requirements are met and to deal with any queries.

Salary

Production designer is not typically an entry-level position. Those breaking into the field usually start as art department runners, assistants, junior draughtspeople or set designers.

Pay varies hugely between the different roles in design production, across theatre, television and film. There are further variations depending on the budget of each production. Most roles are freelance, so it is best to check the current agreed rates with Bectu ( Broadcasting Entertainment Cinematograph and Theatre Union). You can check theatre rates with UK Theatre.

Rates increase as roles become more senior and at the higher levels can reach over £3,000. This can only be achieved with extensive experience. At production designer level, rates tend to be negotiated on an individual basis.

Salaries may vary a great deal from one production to the next and your income will depend on the nature and number of contracts you take on. If you're on a low income, you might consider supplementing your earnings with other activities, such as teaching, model-making and exhibition design.

Only a few designers command high salaries. Those fortunate enough to work on West End productions may receive a percentage of box office takings or royalties.

Income figures are intended as a guide only.

Working hours

Working hours can be long and typically include regular unsocial hours and weekends.

The nature of contract work often results in intensely busy periods interspersed with inactivity if no work comes in.

Part-time work is unlikely, although freelancers can control their workload by deciding which contracts to accept. The length of contracts varies according to the nature of the production and its budget. Career breaks are possible.

What to expect

The working environment varies. You may work in theatre workshops, television and film studios, in a design office, at home or away on location.

Work is mostly available in cities where studios and theatres are located, although location work means that you must also be prepared to be away from home, for long periods of time, at short notice, either in the UK or overseas.

You may also be required to travel frequently within a working day.

Employment may be insecure, and flexibility is required.

Time and budget constraints and working with demanding personalities can be stressful, but the work can also be very stimulating and exciting.

Study at a top London drama school

Masters degrees available in acting, producing or writing

Qualifications

Relevant degree and HND subjects include those related to art and design. The following subjects in particular are most likely to provide relevant skills and knowledge:

architecture

creative, performing or technical arts

drama or theatre studies

fine art or visual art

graphic design or illustration

interior design

landscape architecture and design

theatre or performance design

3D design.

A design qualification is good preparation for work in production design as it will allow you to build up a portfolio, which you can use to demonstrate your imagination, technical ability and strong sense of spatial understanding.

Some courses have been approved by ScreenSkills, the skills body for the screen industries. Relevant courses include degrees in TV and film set design and a Masters in production design.

Specialist postgraduate qualifications may be useful and could help you to make valuable contacts in the industry.

Entry without a degree or HND is sometimes possible, but you would usually need an excellent design portfolio and to have worked your way up from a craft-level job in the industry.

Skills

You'll need:

a flair for generating original creative ideas

the ability to communicate ideas through technical drawing and model making

a good working knowledge of the visual arts and production processes

a critical view of film, television or theatre, and familiarity with the work of specific designers

persistence to follow up leads and gain work

good teamwork skills

to be able manage a design project from start to finish, to tight deadlines

to be resourceful and adaptable and be able to solve practical and conceptual problems

the capability to work independently

the confidence and ability to appoint and supervise a design team or art department.

Work experience

As with most jobs in the creative industries, competition is fierce. Getting involved with student theatre, film or music societies will enable you to make contacts, gain experience of working on a production and build up your portfolio with examples of spatial design.

Finding and entering competitions is another good way to put yourself ahead, as successful entrants have the chance to work with leading British companies on opera, theatre or dance productions. Competitions sometimes give short-listed designers the opportunity to exhibit their models and designs.

ScreenSkills runs a one year trainee scheme, Trainee Finder, which places successful candidates in film or high-end TV projects. Trainees will also be required to attend training events including health and safety, finance for freelancers, carbon literacy, branding and networking as well as industry masterclasses to improve their employability in the industry. Trainees also can gain access to an industry mentor.

You could start by working as an assistant to an established freelancer, who might take on an extra pair of hands for a particular project if timescales are short.

In film, an accepted route to gaining practical experience of the production process is to start as a runner in the art department, progressing through design assistant to art director.

In theatre, some new entrants assist experienced designers with model-making. Working on fringe productions is also a good way into the theatre scene, enabling you to showcase your work to potential employers.

Most designers start with irregular contracts and low wages, and this can be difficult to manage if you have financial commitments. However, a move across from a related area, such as interior design or architecture, may be possible mid-career.

Employers

In the UK television industry, production designers are employed (usually on a freelance basis) by independent production companies and the BBC.

There are also openings in cable and satellite companies, though these have limited in-house production design opportunities of their own.

The principal organisations responsible for developing the UK film industry are the British Film Institute (BFI) and the various screen agencies operating across specific regions as well as nationally.

Theatre designers work for national theatre and opera companies, in regional repertory companies based mainly in large towns and cities in the UK, and for smaller theatre or dance companies based all over the country.

There may be occasional opportunities to work as a resident designer in national or repertory companies. Rare but prestigious opportunities arise for designers to work on West End productions and musicals.

Look for job vacancies at:

Specialist directories are available that provide contacts useful for making speculative applications. They include:

Theatre designers who work regularly as assistants and are members of The Society of British Theatre Designers can add their details to the Society's assistant designer register.

Professional development

After completing a degree or postgraduate course, you'll likely start in an entry-level position. You'll be expected to learn on the job, picking up the necessary skills and experience to eventually progress after many years to production manager level.

Because you'll be working to tight deadlines and on more than one project at once, opportunities for further training may be limited due to conflicts of time. Also, if you're working freelance, any professional development will be self-funded, which may present an obstacle.

You may decide that you want to learn or update specific technical skills, e.g. in computer-aided design (CAD), and could enrol on local part-time or evening courses.

Supply companies offering specialist lighting, materials or effects may run product demonstration days, which can help you to expand your repertoire.

If you work in theatre, details of courses and information about degree exhibitions and relevant shows are available from The Society of British Theatre Designers.

Useful careers information on production design, details of training courses and relevant publications are available from ScreenSkills.

Career prospects

To reach the position of production designer, you must have extensive experience built up over many years.

It's common, in the early stages of your career, to work across more than one genre, to maximise your chances of finding work, and to develop skills. It's also quite common to work in exhibition design, museum design or design for corporate events to begin with.

Once you start to get paid work as a production designer, you build up your portfolio, contacts and expertise on an ongoing basis. This may take a substantial amount of time, but as your career develops you may be able to command higher rates and work on higher-profile productions. At this point, many designers choose to employ an agent to negotiate on their behalf.

As your career progresses, you may become more involved in the conceptual aspect of a project. Bigger productions with larger budgets often have art department staff who do much of the practical realisation work, while the production designer focuses on the design ideas and concepts.

You may decide to shift your career direction slightly by moving into teaching on foundation, degree or postgraduate courses in art and design. Alternatively, you could begin directing your own productions.

A similar but alternative career option is that of costume designer. Also working in television, film and theatre productions, costume designers liaise with the director, lighting and set designers to establish the right look and feel for the costumes for a production.

# data[].attributes.attachment_link.description
Discover what it takes to be a Production designer, theatre/television/film. Find out expected salary, working hours, qualifications and more.

# data[].attributes.body
Influential on the look of cinematography

Strong colours can put major emphasis on elements in a shot and also establish mood (I.e. Vibrant) as well as many different colours for visually appealing shots (more interesting)

Colour can enhance the meaning of certain films, for example, red could relate to death, violence etc, where as blue would relate to calm, sad upsetting.

The three colours trilogy (French film trilogy) each film is called the colour of the flag and depicts the three political ideals of France.

# data[].attributes.body
Lighting and tonal contrast

Lighting can be used to set the mood or establish new characters

Lighting and tonal contrast link back to emphasis

# data[].attributes.body
Cinematography and sound

Usually occur in gritty films or films associated with natural elements and rural depictions

# data[].attributes.body
'To be apart of something'

Can be shown through similar colour palettes, similar lens filters or a setting that fits with the character or story.

# data[].attributes.body
Focuses on the shot that catches the viewers eye

- Mostly related to colour

- Strong colour

- Tonal contrast (light and dark)

Lack of colour in B&W films allow cinematograohers to create more visually appealing shots through contrast

Proportion and perspective

Create depth in scenes

Changing the cameras placement can make something look dominant (will change a shots visual balance)

# data[].attributes.body
Sense of balance and stability

Use of specific colours/shapes

I.e supermarkets

This allows the scenes to become unified and recognisable which doesn’t create a disconnection from the story

# data[].attributes.body
Symmetrical - is when both sides of a shot are similar

A symetrical - both sides are different, visual weight is evenly distributed but allows stability

Radial - elements around a central point

# data[].attributes.body
Silhouettes and other cinematography shots which build up shape can also fall into emphasis on a scene and visual appeal.

Defined shapes within a scene can hold the viewers attention for longer and hold a an entertaining visual balance

Relates to contrast I.E Silhouettes