How to become A Set Designer

“Design is intelligence made visible.” This quote by Alina Wheeler is an apt description of Set Designers who transform the typically abstract performing arts into an immersive experience for an appreciative audience.

• Production Designer
• Scenic Designer
• Stage Designer
• Stage Set Designer
• Movie Set Designer
• Film Set Designer

What do Set Designers do?

A Set Designer would typically need to:

• Design the scenery and the artificial environment in which a stage, television, or film performance occurs, so it conveys the director’s vision to the audience and tells them a story
• Study and understand the script and production specifications; brainstorm and finalise ideas with the director
• Research and incorporate relevant historical and contemporary or futuristic architectural and cultural details into the set
• Use pencil sketches and software to design the layout and look of the set in close collaboration with the director; use design ideas to produce a storyboard
• Communicate approved ideas to the costume, prop, make-up, camera, and lighting crews; ensure everybody is agreed on set details
• Create budget-friendly set designs that will appeal to the target audience; build and photograph scale models for director’s approval; make requisite changes
• Delegate tasks, develop time schedules, and order essential material for the set; select lighting, furniture, wall and floor coverings, and all other props
• Provide accurate cost estimates for the set designs; negotiate with vendors to secure optimal deals; meet with and commission set construction companies
• Supervise set construction; ensure open flow of communication with set builders; confirm the set design takes into account all entry and exit pathways
• Figure out solutions for minor and major set-related issues such as scene changes and lighting
• Illustrate the working of the set to crew and actors; make sure all relevant personnel are aware of set safety regulations
• Attend production rehearsals and live performances for an accurate appraisal of the set design and value addition

Set Designers typically work in theatres, offices, creative studios, film studios, film sets, or from home. Outdoor work is often required, and Set Designers may need to travel long distances on the job.

Design work is being increasingly done on computers in offices. Those employed by large corporations generally work in a relatively more comfortable office environment when compared to freelancers or employees of small firms. 

Set Designers often have irregular work schedules that vary according to the production company's project size and time constraints. 

The primary goal is to complete the set construction before production starts, making a Set Designer’s schedule extremely hectic during that period and almost completely free when production begins. 

Generally, Set Designers employed in large corporations work regular hours, whereas freelancers and employees of smaller firms may be required to work irregular and long hours to meet deadlines.

Research suggests that flexible hours and generous telework policies appeal more than salary to the younger generation. There has been an incremental increase in employers willing to give promising employees a chance to adjust their schedules per the job demands.

Finding a new job might seem challenging. Set Designers can boost their job search by asking their network for referrals, contacting companies directly, using job search platforms, and leveraging social media.

Set Designers are generally employed by:

• Theatres
• Television Companies
• Advertising Agencies
• Film & Video Production Companies 
• Music Video Production Companies

Professional associations and organisations, such as the Set Decorators Society of America (SDSA), are crucial for Set Designers interested in pursuing professional development or connecting with like-minded professionals in their industry or occupation.

Professional associations provide members with continuing education, networking opportunities, and mentorship services. Membership in one or more adds value to your resume while bolstering your credentials and qualifications.

• Injuries due to accidental exposure to flammable props and decoration
• Workplace injuries caused by structural problems with the set
• Hazardous work responsibilities leading to potential exposure to chemicals
• Accidents and injuries from the use of power tools on the set
• Risks associated with uncleared leftover construction material lying around the set
• Physical strain from lifting heavy objects and operating machinery
• Exhausting production deadlines that call for hectic schedules including long and irregular hours
• Frequent frustration and stress due to spacial and budget constraints

Many Set Designers begin as prop makers and runners in film/TV productions, art department trainees, or assistants to established set designers. 

Prior work experience as a carpenter, painter or lighting technician may prove useful in bagging apprentice or assistant roles that usually pan out into full-fledged Set Designer jobs on a community or regional theatre production.

Student theatre or film productions, local amateur or community theatre, and low-budget independent films offer valuable opportunities to gain practical experience and build a portfolio of design work that appeals to prospective employers.

Summer internships, part-time work at an entry-level position, or short-term paid/voluntary work offer a taste of the career and help build useful contacts. You can have fun while learning about yourself and be directed toward a future career. 

Read about the profession and interview or job shadow experts working in set design to prove your commitment to course providers and prospective employers. 

There are no mandatory academic requirements to become a Set Designer.

However, employees tend to favour candidates with a bachelor’s degree or higher national diploma in fine art, interior design, architecture, 3D design, theatre design, performing arts production, and design for film and television.

Do your homework and look into all available options for education and employment before enrolling in a specific programme. Reliable sources that help you make an educated decision include associations and employers in your field.

Certification demonstrates a Set Designer’s competence in a skill set, typically through work experience, training, and passing an examination. 

Certification in interior design, set design, construction, or production design from an objective and reputed organisation can help you stand out in a competitive job market and increase your chances of becoming an independent consultant.

Most certification courses will provide practical experience in drafting, construction, drawing techniques, and scenic design theory. Successful certification programs protect public welfare by incorporating a Code of Ethics.

Set Designers may also need to undergo an employment background check, including but not limited to a person’s work history, education, credit history, motor vehicle reports (MVRs), criminal record, medical history, use of social media, and drug screening.

Performance, experience, relevant knowledge, and the acquisition of professional qualifications drive the career progression of Set Designers who may be asked to work on larger or more prestigious TV, film, or theatre productions. 

Once you have acquired important contacts and built an extensive portfolio, you could also start working freelance, especially in the film industry. A Set Designer with extensive technical knowledge may be promoted to Technical Director. Some may go on to become successful Directors.

Studies prove that job hopping, earlier dismissed as “flaky” behaviour, can lead to greater job fulfilment. Employees searching for a positive culture and interesting work are willing to try out various roles and workplaces and learn valuable, transferable skills.

Candidates with a well-built portfolio of work, a bachelor’s degree in set design, and  relevant work experience have the best job prospects.

Acquiring a master’s degree in fine arts during your career may prove extremely beneficial to progression and allow you to work in prestigious top-level jobs.

Continuing professional development (CPD) will help an active Set Designer build personal skills and proficiency through work-based learning, a professional activity, formal education, or self-directed learning. It allows you to continually upskill regardless of age, job, or level of knowledge.

Current Scenario

Although the employment of Set Designers is projected to remain stable, an increasingly avant-garde movie industry is leaning towards experts in computer-generated imagery (CGI) rather than those sticking to traditional methods. 

However, the theatre production industry sees no such change in the skill set required and is likely to continue hiring traditionally-trained Set Designers. 

Teamwork Makes the Dream Work

Set Designers typically work with a team of professionals: the director, lighting designers, sound designers, stage managers, music directors, costume designers, choreographers, and writers. 

A Set Designer’s work begins after the initial plans receive unanimous approval from all team members. They build a small model of the set, known as a maquette, incorporating all the concepts adopted earlier.

Further clearance signals the opportunity to work with the team in turning the fanciful visions into a spell-binding reality. The physical construction of the set requires comprehensive coordination between diverse team members focused on carpentry, budgeting, scheduling, and logistics.

Potential Pros & Cons of Freelancing vs Full-Time Employment

Freelancing Set Designers have more flexible work schedules and locations. They fully own the business and can select their projects and clients. However, they experience inconsistent work and cash flow, which means more responsibility, effort and risk.

On the other hand, a full-time Set Designer has company-sponsored health benefits, insurance, and retirement plans. They have job security with a fixed, reliable source of income and guidance from their bosses. Yet, they may experience boredom due to a lack of flexibility, ownership, and variety.

When deciding between freelancing or being a full-time employee, consider the pros and cons to see what works best.

The scarcely-automated mechanics of the Nutcracker’s set design haven’t changed since 1954, e.g. the sleigh that carries Marie and the prince is raised and guided manually by two separate groups.

Dark horses who don’t receive enough credit for the success of a project, Set Designers remain champions of creativity and art who forge through myriad challenges to bring the director’s intangible visions to life.

Make sure to start building on your portfolio as soon as possible. Keep adding to it meticulously to display your passion for the subject and ambition in your potential career as a Set Designer.