Every story, play, TV show, or movie takes place somewhere specific. Sometimes that setting is more realistic while other times it can be more abstract or fantastic. No matter the style of setting, a designer is key in making the world of the story come to life. To talk about set, or scenic, design, I sat down with Janice Chan- a scenic designer based in Utah County.
Janice is a first-generation immigrant; born in Hong Kong and raised in Australia. She graduated this year from UVU with a B.F.A. in Theatre Arts: Scenic Design. Since her debut in 2017, Janice has designed over 15 theatrical productions. UVU credits include The Laramie Project, Urinetown, Agamemnon, The Taming of the Shrew, and Tribes. Janice also recently associate-designed Sweeney Todd at UVU’s Noorda Center. Over the past few years, Janice has painted scenery for Sundance Summer Theatre, Utah Renaissance Faire, and An Other Theater Company, and created scenic draftings for theatrical and architectural designs. Janice enjoys exploring local natural scenery, drawing inspiration from mountainscapes, and not labeling herself as a foodie.
Where do you pull inspiration from when you are designing?
I begin every design with lots of research. I’d say I spend about ⅔ of my design process on just research alone. This is critical when it comes to finding inspiration, and ultimately creating the design. I love spending time diving into Pinterest, Tumblr, Google Images, textbooks from college, advertisements, photos I’ve taken from my travels, and film. When I start on a project, I try to visit museums and environments to find inspiration. Keeping an open mind and exploring a variety of sources is key. As a set designer, I not only draw inspiration from architecture, but I also like to pull from graphic design, fashion, and various art-forms.
How do you create a design concept?
The concept process begins with the script I’m working with. I study the script and start a conversation with the director and creative team I’m working with. Most of the time, the director comes in with their vision of what story they want to tell, and it’s my job to help them tell it visually. Inspired by the director’s vision, I come up with a concept that is specific to set design; the story I want to tell scenically. I study the themes and motifs of the story along with the director’s vision, and bring these ideas to life through tangible design elements.
Once you have a concept, what’s your first step in creating designs/renderings?
When I’ve solidified my concept, it becomes my mission statement and guides me along the whole process to create a meaningful and intentional design. At this stage of the process, I narrow down my research and draw connections between my research and my concept. I keep a small sketchbook and pen with me everywhere I go, so when design inspiration hits (and it usually does at the most unexpected moments), I can quickly sketch it out or jot down my ideas.
What tools do you use to make your renderings?
I present my renderings in multiple mediums, ranging from sketchbook drawings to digital renderings, and even photography depending on the project. As I finalize my ideas, I create digital renderings to communicate my design with the creative team. Towards the final stage of the design process, minor additions or changes are made to achieve a more cohesive design with the team. Working with a digital rendering makes the editing process more efficient.
How does your design become actualized from a rendering?
From a two-dimensional rendering, I transfer the design into a CAD program, Vectorworks, to start digitally drafting a three-dimensional set. I sometimes work on the rendering and drafting simultaneously, as presenting both visual elements to the creative team tends to better communicate my design as a whole. I also build a scaled model to further physically illustrate my design. Drafting the design communicates with the technical director and crew on how the design needs to be built and realized for the stage. Specifics and details are important at this stage, especially when lighting and costume designers need to ensure that their elements can be visualized safely and artistically on the set. While the design is being built, I love to visit the scene shop to check on the progress, and watch the design transfer from page to stage.
What design process has been your favorite and why?
I loved working on UVU’s Urinetown: The Musical in 2019. This was my senior project and it was one of the most enjoyable designs I’ve worked on. The director’s concept was inspired by the anti-art movement, Dada, so I researched a lot of abstract art, protest-art, and art-forms that are unique and unconventional. Building my library of research images was only half the fun. The set was inspired by playground structures; meant to be climbed on, creating visually exciting moving pieces. I loved watching this set come to life in the scene shop, and even more so on the stage when the overall design came together. This project was one of my favorites because of the collaboration within the creative team. I worked with the designers at every step of the process to create a cohesive design that shows off our individual elements, from lighting to costumes and makeup.
Want to try your hand at set design? Try one, or more, of the activities below:
- Create a collage of buildings or landscapes inspired by your favorite story, TV show, or movie.
- Draw your home in the style of your favorite story, TV show, or movie.
- Build a fort and decorate it with things around the house that remind you of a favorite story, TV show, or movie.
We’d love to see what you come up with! You can share your ideas here.