The Art Department is often the largest department on a production, as you will see from the list of positions below:
Production Designer
A Production Designer is one of the first members of the crew to be appointed in pre-production by the Director and is responsible for bringing the director’s vision to life. Starting early on a production, they are involved in location scouts, set design, visual themes and budgets. As well as working closely with the Director, they manage the Art Department and are required to collaborate with heads of all creative-based departments.
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Supervising Art Director
Supervising Art Directors work closely with Production Designers, relieving them of day-to-day organisation needed in the Art Department. They are involved in all aspects of logistical operations.
Also involved in pre-production; Supervising Art Directors’ work with the Production Manager to estimate the costs of set construction, set decoration and Art Department labour. They spend time analysing the shooting schedule and plan set building and dismantling. They oversee the entire Art Department during shooting to ensure the production stays on schedule and on budget.
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Art Director Commercials
Art Directors in commercials are responsible for ensuring their clients’ message and image is conveyed effectively to consumers. They are responsible for the entire visual aspects of an advertising campaign and coordinate the work of other design staff to ensure everyone is working towards the same goal.
Art Director
In a nutshell, Art Directors act as project managers for the Art Department and liaise between the department and the Production Designer. A highly logistical role, they are responsible for the budget and work schedule and work closely with the Production Designer to facilitate the creative vision for locations and sets. On a large production, they may start 4-5 months before shooting begins. They must be able to breakdown a script to identify specific items (such as key props) that will need sourcing and determine cost-effective solutions for construction and decorating.
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Standby Art Director
Required on set throughout shooting, a Standby Art Director is responsible for finding quick and effective solutions to any design related issues. They are accountable for breaking down the script to identify the props required and passing this information on to the Property Master. This is a versatile role and they can be required to step into multiple roles on set, from working as Draughtsperson or Assistant Art Director depending on what is needed at that time.
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Concept Artist
Involved in pre-production, Concept Artists work to aid the pre-visualisation process and to bridge the gap between the Visual Effects Team and the Art Department. On a large production, there may be several Concept Artists working to design specific elements, that are then presented to the Head of Department, Producer and Director.
Storyboard Artist
Storyboard Artists work closely with the Director and the Production Designer analysing action sequences or sequences with special effects. They produce drawings in sequence to illustrate the action clearly. This enables the optical and mechanical effects to be analysed accurately by the Art Department.
Pixar’s Scott Morse On how to become a Storyboard Artist
Scenic Artists
Scenic Artists work on the backings for the stage sets (for example, painting backdrops of cities/murals) and the cut-out perspectives on exterior sets. They are often involved in special set finishes and painting decorative panels, fabrics or drapes.
Arts Professional article on How to start a career as a Scenic Artist in the Film industry
Construction Manager
Construction Managers are responsible for set building and the large workforce needed to make sets for feature films. They work closely with the Production Designer, Draughtsperson and the Art Directors to bring construction to fruition.
Assistant Art Director
The size of a production determines the responsibilities of an Assistant Art Director. They may be involved in and support the Art Director with the following: research, location scouting, model making and/or set production.
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Portrait & Pastiche Painter
Portrait & Pastiche Painters are responsible for creating visual art that imitates a specific style or theme in response to the requirements of the production.
Draughtsperson/Set Designer
Depending on the scale of the production there may be Senior Draughtspeople, Draughtspeople and Junior Draughtspeople employed to work on the technical drawings that enable the construction crew to do their job. They must be able to draw clearly, accurately and with speed and they often provide hundreds of technical drawings (sketches, plans, elevations, sections, 3D models) that serve as a template for the construction department. Drawings are often still produced by hand, but CAD software like Sketch-Up, Cinema 4D and VectorWorks are also used. Junior Draughtspeople are responsible for specific construction details across a range of sets, such as window or door detailing, and for making accurate models of all sets enabling the production designer and director to visualise camera positions and movements.
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Researcher
Researchers are employed during pre-production and continue throughout filming. They can be specialised and required to carry out in-depth research by talking to curators, academics and other experts to gain as much insight into a subject. They then feedback this information to Production Designers and work alongside Draughtspersons to aid the look of the film.
Model Maker
Model makers are responsible for building models and miniatures. They may work with clay, plaster of Paris, plastic or metal and a range of techniques. They may use freehand drawing skills or computer-aided design (CAD) to create designs.
Set Decorator
Head of the Set Decorating Department, the Set Decorator is responsible for the decoration of a set both in studios and/or on location, including furnishings and all objects that are on view. Through breaking down the script, they work with the Production Buyer to identify/source/commission props for the production. Working closely with the Construction Team to ensure all sets are ready for shooting and struck afterwards. On larger productions, they will have an Assistant Set Decorator to provide support.
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Assistant Set Decorator
An Assistant Set Decorator reports to and works with the Set Decorator to realise the vision for the look and visual style of a production, by assisting with sourcing suitable props and set dressings on larger productions. They break down the script for set dressing and props requirements and undertake research on locations, periods and characters in advance of filming. Under the direction of the Set Decorator, they will be given their own sets to look after. They work with the Set Decorator to agree on the style of props such as furniture, fabrics, and wallpaper and communicate this to the Assistant Production Buyer. They may manage junior colleagues depending on the size of the department.
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Production Buyer
Production Buyers are required to source the props needed and will visit rental houses, shops, flea markets, second-hand stalls, antique warehouses etc. to find them. On larger productions, they will have an Assistant Production Buyer to provide support.
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Assistant Production Buyer
The Assistant Production Buyer works closely with the Production Buyer, Petty Cash Buyer, Set Decorator and Props Master to source items to meet the visual concept and design of the production. They report to the Production Buyer. They work within a given budget, negotiating the best possible prices for rentals and purchases, maintaining a wide range of contacts with specialist suppliers.
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Petty Cash Buyer
The Petty Cash Buyer works with the Production Buyer and Set Decorator to source and purchase items requested for the set dressing of a production. They work with a given cash float to source and purchase approved items both online and physically for set dressing and hand props. They also work closely with the Production Buyer and accounts team in order to reconcile their petty cash float by submitting VAT receipts and relevant paperwork listing their purchases.
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Graphic Designer/Décor Artist
Working closely with the Production Designer, Researcher and Effects Department, Graphic Designers may build specialist props that will feature prominently on screen throughout a production. Depending on the size of a production, they will have Assistant Graphic Designers to provide support.
Art Department/Set Decorating Department/Construction Department Coordinators
Department Coordinators are responsible for the smooth running of their Department during the entirety of a production, from the very start of a project through to the end. They ensure excellent communication within the department and provide daily administrative support, which can include liaising with the production office, overseeing schedules, booking meetings, budget support, and ordering materials.
Download the ScreenSkills Art Department Coordinator Skills Checklist Download the ScreenSkills Set Decoration Coordinator Skills Checklist
Art Department/Set Decorating Assistant/Runner
To become a Runner is the foot in the door for many newcomers to the industry.
Runners usually start work in the early stages of pre-production and can be both trainees and assistants to the Art Department. They are responsible for basic administrative tasks, in addition to making tea/coffee and getting lunch.
Art Department Assistants usually start work in the early stages of pre-production by helping out with research. They fulfil both the role of a Trainee, working to improve their drawing and model-making skills, and of a Runner, providing support to the Art Department. They’ll also make sure that everyone in the department has the necessary materials and order any supplies required.
Art Department Assistants work closely with the Art Department Coordinator, providing backup and basic running duties between the Art Department office, the drawing and construction studios and the production office.
During filming, Art Department Assistants carry out vital roles, assisting the Standby Art Director and the Art Department Coordinator with any last-minute requests or changes to the sets.
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Further information can be found at ScreenSkills.
