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((Short description|Person responsible for the overall look of a filmed event))
((Use Oxford spelling|date=October 2018))
((Use dmy dates|date=October 2018))
((more citations needed|date=March 2011))
In [[film industry|film]] and [[television]], the '''production designer'''  is the individual responsible for the overall aesthetic of the story. The production design gives the viewers a sense of the time period, the plot location, and character actions and feelings. Working directly with the [[film director|director]], [[cinematographer]], and [[film producer|producer]], production designers have a key creative role in the creation of motion pictures and television. The term ''production designer'' was coined by [[William Cameron Menzies]] while he was working on the film ''[[Gone with the Wind (film)|Gone with the Wind]]''.<ref>((cite magazine |last=Cairns |first=David |year=2011 |title=The Dreams of a Creative Begetter |url=https://believermag.com/the-dreams-of-a-creative-begetter/ |magazine=The Believer |issue=79 |access-date=8 October 2018))</ref> Production designers are commonly confused with ''[[art director]]s''<ref>((Cite book|last=Preston|first=Ward|title=What an Art Director Does: An Introduction to Motion Picture Production Design|publisher=Silman-James Press|year=1994|isbn=978-1-879505-18-6|location=Los Angeles|pages=150))</ref> as the roles have similar responsibilities. Production designers decide the visual concept and deal with the many and varied logistics of [[filmmaking]] including, schedules, budgets, and staffing. Art directors manage the process of making the visuals, which is done by [[concept art]]ists, [[graphic designer]]s, [[Set decorator|set designers]], [[costume designer]]s, [[lighting designer]]s, etc.<ref>((Cite book|last=Barnwell|first=Jane|title=Production Design for Screen: Visual Storytelling in Film and Television|publisher=Bloomsbury Visual Arts|year=2017|isbn=9781474223409|location=London|pages=23–25))</ref> The production designer and the art director lead a team of individuals to assist with the visual component of the film. Depending on the size of the production the rest of the team can include [[set decorator]]s, buyers, dressers, runners, [[graphic designer]]s, drafts people, props makers, and set builders.<ref>((Cite web|last=Salom|first=Leon|date=March 17, 2014|title=Explainer: what is production design?|url=http://theconversation.com/explainer-what-is-production-design-24062|website=The Conversation))</ref>

== Process ==

# The production designer will read the script and allocate categories based on the required visual components such as interior, exterior, location, graphic, vehicles, etc. Discussion with the director is essential in the beginning of the production design process. In this discussion, the production designer will clarify the approach and focus required for the visual design of each scene. 
# The production designer will move to researching which is important in every design process. They will use [[mood board]] which consists of images, sketches, inspiration, color swatches, photos, textiles, etc. that help with the ideation. Learning about the time period, the place and the culture also assists with coming up with an idea. Moreover, the PD has to plan to create a convincing space within a budget, therefore, it is important that the space can speak about the character or enhance the flow of the story, rather than being filled with unnecessary decoration. Additionally, it also affects the location of filming, whether it is in a studio or at a specific location. 
# The production designer will ensure that ((cl-span|all visual components of the film are complete in all stages of the production process.|date=October 2020))

== The importance of production design ==
((cleanup|section|reason=too much detailed emphasis on one example- The Wizard of Oz|date=October 2020))
Production design plays an essential role in storytelling, for instance, in the movie ''[[Titanic (1997 film)|Titanic]]'', when the characters Jack and Rose are in the cold water after the ship sank, we know that they are cold because of the setting: it is nighttime and there is ice on their hair. A more specific example is ''[[The Wizard of Oz (1939 film)|The Wizard of Oz]]'', in which we know the story takes place on a farm because of the bale of hay Dorothy leans on and the animals around, as well as the typical wooden fence. In the scene in which Dorothy's dog is taken away, we know that it happens in her aunt and uncle's house, which adds more tension because her beloved friend, Toto is not killed, lost or kidnapped on the street, but is forced to leave by an outsider, Ms. Gulch, who enters Dorothy's private and safe zone (her home). Jane Barnwell states that the place the characters exist in gives information about them and enhances the fluency of the narrative (175).<ref>((Cite book|last=Barnwell|first=Jane|title=Production Design for Screen: Visual Storytelling in Film and Television|publisher=Bloomsbury Visual Arts|year=2017|isbn=9781474223409|location=London|pages=175))</ref> Imagine Dorothy's home was dirty and everyone in her house were dressed untidily, the viewer would have supported the outsider instead, perhaps thinking that the outsider in a way, rescued the dog from an unhealthy environment. Additionally, the characters' clothing, especially that of Ms. Gulch, makes the description "own half the county" more reliable in portraying Ms. Gulch, and also supports the reason why Dorothy cannot rebel against Ms. Gulch by making the dog stay. However, this does not mean that the setting or costume should be extremely detailed and cluttered with information.  The goal is to not let the viewer notice these elements, which, however, is how production design works. Jon Boorstin states in his book, ''Making Movies Work Thinking Like a Filmmaker'', that the background, the camera motion or even the sound effect is considered well-done if the viewer does not notice their appearance.<ref>((Cite book|last=Boorstin|first=Jon|title=Making Movies Work Thinking Like a Filmmaker|publisher=Silman-James Press|year=1995))</ref>

== Societies and trade organizations ==
In the United States and [[British Columbia]], production designers are represented by several local unions of the [[International Alliance of Theatrical Stage Employees]] (IATSE). Local 800, the [[Art Directors Guild]], represents production designers in the U.S., with the exception of New York City and its vicinity.<ref>((Cite book|title=The Art Direction Handbook for Film & Television|last=Rizzo|first=Michael|publisher=Routledge|year=2014|isbn=978-0415842792|pages=394))</ref> Those members are represented by Local 829, the [[United Scenic Artists]]. In the rest of Canada, production designers are represented by the [[Directors Guild of Canada]]. In the United Kingdom, members of the art department are represented by the non-union [[British Film Designers Guild]].

The production design credit must be requested by a film's producer, prior to completion of photography, and submitted to the Art Directors Guild Board of Directors for the credit approval.

== See also ==
((Portal|Film|Television))
* [[Academy Award for Best Production Design]]
* [[Art Directors Guild Hall of Fame]]
* [[List of British production designers]]
* [[:Category:Production designers]]
* [[:Category:Women production designers|Category:Women production designers]]
* [[Scenic design]]

== References ==
=== Footnotes ===
((Reflist))

=== Bibliography ===
((Refbegin|indent=yes))
* ((cite book
|last=Preston
|first=Ward
|author-link=Ward Preston
|year=1994
|title=What an Art Director Does: An Introduction to Motion Picture Production Design
|location=Los Angeles
|publisher=Silman-James Press
|isbn=978-1-879505-18-6
))
* ((cite book
|last=Rizzo
|first=Michael
|year=2015
|title=The Art Direction Handbook for Film & Television
|edition=2nd
|location=New York
|publisher=Focal Press
|isbn=978-1-315-77087-1
))
((Refend))

== Further reading ==
((Refbegin|indent=yes))
* ((cite book
|last=Barnwell
|first=Jane
|year=2004
|title=Production Design: Architects of the Screen
|location=London
|publisher=Wallflower
|isbn=978-1-903364-55-0
))
* ((cite book
|last=Block
|first=Bruce
|author-link=Bruce A. Block
|year=2001
|title=The Visual Story: Seeing the Structure of Film, TV, and New Media
|location=Boston
|publisher=Focal Press
|isbn=978-0-240-80467-5
))
* ((cite book
|last=Ede
|first=Laurie N.
|year=2010
|title=British Film Design: A History
|location=London
|publisher=I.B. Tauris
|isbn=978-1-84-885108-5
))
* ((cite book
|last=Katz
|first=Ephraim
|author-link=Ephraim Katz
|year=2005
|title=The Film Encyclopedia
|edition=5th
|location=New York
|publisher=Collins
|isbn=978-0-06-074214-0
))
* ((cite book
|year=2005
|editor-last=Tast
|editor-first=Hans-Jürgen
|title=Anton Weber (1904–1979): Filmarchitekt bei der UFA
|location=Schellerten, Germany
|publisher=Kulleraugen
|isbn=978-3-88842-030-6
))
((Refend))

== External links ==
*[http://www.artdirectors.org/ Art Directors Guild, IATSE Local 800] Union local representing Art Directors and Production Designers 
**[https://web.archive.org/web/20080820220751/http://www.wiki.artdirectors.org/ ADG Art Direction Wiki] Online community and knowledge base relating to film design
*[http://www.filmdesigners.co.uk/ British Film Designers Guild] 
*[http://www.filmdesigners.at/ The Austrian Filmdesigners Association] (VÖF - Verband Österreichischer FilmausstatterInnen).
*[http://www.toiwhakaari.ac.nz/study-at-toi-whakaari/design-for-stage-screen/ Production Design Training Toi Whakaari: NZ Drama School]
*[https://web.archive.org/web/20130119014048/http://www.unitec.ac.nz/creative-industries-business/performing-screen-arts/programmes_perf/performance-technology/bachelor-of-performing-and-screen-arts-production-design-management.cfm Production Design training in Auckland NZ at Unitec Performing and Screen Arts]

((film crew))
((Authority control))

[[Category:Production designers| ]]
[[Category:Arts occupations]]
[[Category:Design]]
[[Category:Filmmaking occupations]]
[[Category:Scenic design]]

[[de:Production Designer]]

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