Welcome to the fascinating world of the art department! Behind every visually stunning film or TV show, there is a team of dedicated professionals working tirelessly to create captivating sets, props, and graphics that transport us into the story. Led by the production designer, the art department plays a pivotal role in shaping the visual aesthetics and overall atmosphere of a production, bringing the director’s vision to life through meticulous attention to detail.
But how does it all happen? What are the must haves when working on set? And what on earth is pate dugay? We spoke to Natalie Beak, Discipline Lead of Production Design and Production Designer behind the new Stan series Year Of, to find out her top five trade secrets and learn how the Art Department, comprised of AFTRS alumni and students, brought this funny and refreshing show to life.
1. Location Location Location!
Location Managers and Scouts are the Production Designer’s best friend, especially in Australian tele, as most of our beloved shows are filmed on location. Think of Palm Beach for Summer Bay, Offspring in the uber trendy Fitzroy, Love Child in Kings Cross and Year Of which was set in the same Glebe-centred universe as Bump. A good location can set the tone of the show, so form that relationship early and drive the process with clear briefs, references and guidelines.
On Year Of, I spent long days in the car with the set-up Director and Locations Manager looking for unexplored pockets of the city and houses that spoke to our characters. Once you’ve locked in the locations, the Art Department sets to work transforming them into the bespoke worlds of your show. On Year Of, the Art Department wallpapered, painted, refurnished, landscaped, removed fences and even installed a backyard spa to make our locations work!
2. Printed solutions are the best solutions
Graphics are a huge part of the Art Department and can include anything from set dec wallpapers, background artwork, hero props as well as screen graphics like text messages and websites. It’s important to establish a relationship with a good printer – a business that can work with tight turnarounds and print a range of formats. We’re very lucky to have so many local ‘film friendly’ printers and made good use of them on Year Of!
One impressive install was the 4-metre-long graffiti artwork that lead character Kate’s dad, a famous artist, had painted in an underground tunnel. This was actually a printed vinyl that was applied with heat and attached to the textured bricks like a skin. The level of detail that can be achieved with a print is astounding and Art Department Graphic Designers are skilled masters of illusion when making the most of these techniques.
3. Pracs are everything
A Production Designer works very closely with the Cinematographer and together with the Director, they define the visual language of the production. We wanted Year Of to feel grounded, encased in realism, shot with a verité style and natural light. Pracs (practical lighting such as table, standing or wall-mounted lamps) became an essential element when lighting our interior spaces.
Whilst the Art Department provides lamps that suit the set decoration of each space, who determines the colour temp of the globe? It’s a big-cross over area between the Art Department and Electrics, and communication is key. Rechargeable battery-operated LED globes are finding their way onto Gaffer trucks, which, whilst an expensive up-front cost, save in the long run as they allow for greater control of the colour temperature and negate the need to test and tag lamps.
4. Product placement, clearances and props
Clearance is an ever-growing area of the Art Department, particularly with the use of mobile phones on camera. Gaining clearance for recognisable brands, labels and products is a time-consuming process but a necessary one, so make sure you start the conversation early. With our always tight budgets, it’s also worth knowing companies are open to giving you products for free! Prop Masters have a good understanding of what brands are best suited to the production and it’s essential to respect the relationships they have nurtured over many years. Always follow the contractual obligations of any product placement agreement – you certainly don’t want to ruin it for the next show through a lack of awareness or a simple mistake!
On Year Of, our Props Master was meticulous in matching each character with a particular brand and model of mobile phone – it’s an important storytelling device and a good Props Master will thrive in the opportunity to impart greater meaning through detailed prop choices.
5. Art Huns can’t live without…
Every production has its own challenges and requires Art Departments to stretch their skills in ways they didn’t know possible (3695 painted cups in a fence anyone?!). But there are a few essentials you will find in every Art Hun’s tool kit:
- Cable ties can be used to arrange flowers just ‘so’, to raise ceiling lights out of shot or attach curtains to rods without brackets.
- We all know the magic of gaff, but snot tape is the super strong, super stretchy goo that really knows its way around an Art Dept- perfect for mounting artworks, securing drinks to waiter trays, or rolled in a ball to angle a mirror’s reflections.
- Finally pate dugay is a little less known product, that our Set Decorator swears by! It’s a tinted furniture wax perfect for scenic aging walls, furniture and props and came in handy when grubbing up our school bags, street art and just about everything.
The Year Of Art Department holds a wealth of knowledge and expertise in creating the world you’re witnessing on screen, starting their production design journeys here at AFTRS. If you have a passion for art and design for film and TV, you can follow in their footsteps and gain the skills to launch a creative and versatile career in the art department with the Master of Arts Screen: Production Design. Encompassing conceptual and practical design skills, collaboration, and teamwork, this program explores new platforms and technologies and offers emerging production designers and artists a space to develop a strong creative practice and discover their own design process.
Alongside the alumni that worked on Year Of, there are many more graduates who have embarked on successful careers since completing their studies at AFTRS. Award-winning production designer Melinda Doring has several AACTA accolades to her name, including consecutive Best Production Design in Television awards for Stateless (2020) and The Newsreader (2021). 2018 graduate Emma Bourke recently won the APDG Award for Best Emerging Designer for Screen for Sweet Tooth (2019), an award that current MAS Production Design student Lufan Shi is nominated for for her 2022 collaborative production Occam’s Razer.
To find out more about the Master of Arts Screen: Production Design, join us for our Postgraduate Info Sessions on July 26-27. Learn more about the program from Natalie and Year Of Set Decorator and alum Caley Miles, before exploring our state-of-the-art workshops and studios on our campus tour. You’ll also have the opportunity to ask any burning questions about the program, application process, student experience, scholarships and AFTRS. Register here.
