Designer/Technician Guidelines

Design Process

For purposes of expediency in this document, “the director” refers equally to a singular director as well as to a “directing team” on a musical/opera – i.e. director/choreographer/music director.

Each show will have its own Sakai site, and all associated design/production members will be granted access. It is incumbent on all parties to keep and share files via this Sakai site, as well as to regularly update files so that the most recent information is readily available to all. If other file sharing methods are used, the same information should also be posted on Sakai.

Each production is assigned a design process mentor by the TPA faculty/staff. These assignments can be found on the production assignment grid. This mentor is a design faculty member who facilitates the design process described below. The design process mentor initiates the process, attends and runs each formal design meeting, and acts as liaison to the TPA area. Each student designer also has a faculty design advisor in his/her design field (scenic, costume, lighting or sound). This advisor will be involved in the design process in a variety of ways, and at a variety of times, depending upon the nature of the project, and the needs of the student designer.

These formalized meetings are intended to provide snapshots that allow everyone to keep up-to-date as the design process evolves. As such, they are not the only meetings that should take place between the director and designers. Outside meetings (labeled INTERIM herein) with various sub-groups of the production team will be necessary and it is up to the director and designers to schedule those INTERIM meetings. It is imperative that the design process mentor is kept in the loop about these meeting times and outcomes in order to keep the TPA area informed. Every production will vary in the steps needed to complete the design process, but keeping this framework of meetings – which is based on professional process – is our primary tool for preparing design students for the profession.

Meeting 1 – FIRST THOUGHTS and RESEARCH                                                           week 0

The expectation for this meeting is that all designers have thoroughly read/listened to the materials (script, libretto, score, recordings as applicable) and come ready to talk about the show. They should also be familiar with the dramaturgical baseline of the piece. At this meeting, the director will share his/her initial thoughts about the piece and its tone and set an initial approach for the production. For the designers, a list of questions for the director is expected, as well as concrete thoughts about the piece's themes and meaning.

INTERIM – All designers meet with the director (as individuals or in sub-groups) to further explore the ideas presented in Meeting 1 and have deeper conversations about the story, basic staging needs and overall aesthetic, as well as sharing their initial research.

Meeting 2 – REFINED RESEARCH – (1 week after Meeting 1)                                    week 1

The expectation for this meeting is that all of the designers and the director will share their progress from their INTERIM meeting(s) and that the group will respond. This meeting is predominately geared toward scenery and costumes; however, lighting and sound designers should be proactive, sharing their ideas and research as well. The costume designer is expected to have a rough costume plot with copies to distribute as appropriate. The scenic designer should have a list of major elements/necessities derived from the text and from their interim conversation(s) with the director. All of these materials should also be posted on the Sakai site.

INTERIM – Individually or together, the scenic and costume designers meet with the director (a minimum of once, more is recommended) in order to share preliminary sketch ideas of set and costumes that move toward a more cohesive design. The sound designer meets with the director to share sound examples and begin to develop an aural palette.

Meeting 3 – EARLY IDEAS – (2 weeks AFTER Meeting 2)                                           week 3

The expectation for this meeting is that the scenic and costume designer will share rough ideas and any additional research. For scenery this should include a rough model or color sketch(es) and ground plan (or others documentary items as detailed by the student’s design advisor or the design process mentor). For the costume designer this should include rough sketches and visual research that begins to focus the design, as well as specific character and color palette choices. Sound designers will present examples of sound/music ideas as appropriate. The entire collaborative team will respond to and further shape these ideas.

INTERIM – Shortly following meeting 3, the creative team meets with the director to talk through the show scene by scene, discussing technical needs and cue locations.

Meeting 4 – REFINED IDEAS – (2 weeks after Meeting 3)                                            week 5

The expectation for this meeting is that all designers will share their current progress. In particular, the scenic designer has refined the roughs into a preliminary draft that is presented to the director and design team for their response. Depending on the response, ongoing revisions to the preliminary draft, or perhaps a major change in approach may be necessary.

INTERIM – The designers and director should meet to stay up to date with the progress of the designs in preparation for meeting 5. The director and designers should already be familiar with, and agree with, the designs that will be presented to the wider group during meeting 5.

Meeting 5 – FIRST LOOK:PRELIMS – (1 week after Meeting 4)                                   week 6

The expectation for this meeting is that the designers will present refined ideas so that the production staff and the directors of artistic programming and production can comment on the general feasibility/appropriateness of the designs.

The scenic designer will present a basic drafting package (i.e. ground plan(s), initial draft of all major scenic elements, and a section-view), a white model with basic scenic art info or a rough color model, as well as basic properties/furniture info. The costume designer will present specific visual research or a sketch for each character with a complete costume plot. The lighting and sound designers will present any ideas that may require unusual technologies or that have the potential to exceed standard resources.

INTERIM – The designers will meet with the respective shops to discuss the scope and feasibility of the designs presented in Meeting 5. The scenic designer will meet with the TD, prop shop supervisor, faculty scenic artist, scene design advisor, and appropriate associated students. The costume designer will meet with the costume shop supervisor and costume design advisor. The lighting and sound designers will meet with the lighting and sound supervisor and their respective advisors.

The TD, costume shop supervisor, and lighting and sound supervisor will do rough pricing and inform the designers whether or not the current designs can be produced within budget. If they cannot, the designers will work with the director, design advisors and production staff to revise the designs. These revisions should be shared with the director and the entire design team no later than one week before Meeting 6, in case revisions in one design necessitate changes in other designs.

Meeting 6 – REVISIONS/FINALS – (2 weeks after Meeting 5)                                      week 8

The expectation for this meeting is that completed scenic draftings and a color model (from the scene designer); finished costume renderings and plot (from the costume designer); and preliminary sound cue sheets, questions for the director, and a sources list (from the sound designer) will be presented to the director and the full design team. All of these documents should also be posted on Sakai.          

NOTE: If the designs are determined to be feasible and within budget prior to meeting 6, and no revisions are made after meeting 5, then meeting 6 may not need to happen.

Additional Scenic Deadline:

Following Meeting 6, the scenic designer will, under the advisement of the production staff and the scene design adviser, make a firm schedule for completion of the final prop packet and scenic art elevations.

Subsequent Events:

PRE-PRODUCTION MEETING   (typically the week after meeting 6)
At this meeting the director will talk to the full production team about the show, and the approach. The designers will present their completed [and approved] designs to the entire production staff. Scenic designers will present their design via model, research and drawings. Costume designers will present their design via color renderings and research. Costume designers frequently use a .ppt for their presentation. Lighting and sound designers will present their approach to the production, which may take a variety of forms. (See Sound Design and Lighting Design Process section in the handbook for a complete set of expectations for those disciplines).

DESIGN PRESENTATIONS: FIRST REHEARSAL
Design presentations typically occur during the first rehearsal for the actors. All designers will present their finalized designs to the cast, full stage management team, and representatives from the TAM area. Costume designers frequently use a .ppt for their presentation It is mandatory that all designers be present at this meeting.

 

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