Set Design - From Concept to Working Drawings - Workshop - September 17 and September 24

Nov 4, 2026

Workshop notes for “Set Design - From Concept to Working Drawings” at Langham Court Theatre, presented by Bill Adams on September 17 and September 24. The material frames set design as a producer-like process focused on delivering clear, buildable information to set builders, especially when crews vary in experience, time, and budget. It details how to address key stakeholders—directors, actors, and lighting designers—covering vision alignment, architecture needs, safety and movement, and lighting grid and paint reference requirements.

LanguageEnglish

CategoryTechnology

FormatPDF

Pages21

Reading Time53 min

AccessFree to download

Introduction: Why this workshop

Your other customers (the director)

The director’s architecture requirements

The actors’ safety and stage needs

The lighting designer’s requirements

SET DESIGN – FROM CONCEPT TO WORKING DRAWINGS A LANGHAM COURT THEATRE WORKSHOP September 17 and September 24 Presented by Bill Adams SET DESIGN – FROM CONCEPT TO WORKING DRAWINGS INTRODUCTION: WHY THIS WORKSHOP. A SET DESIGNER; YOU ARE A PRODUCER OF A PRODUCT; WHO ARE YOUR CUSTOMERS? a) THE DIRECTOR b) THE ACTORS c) THE LIGHTING DESIGNER d) THE AUDIENCE e) THE THEATRE COMPANY f) THE SET BUILDING CREW The primary focus of this workshop is to concentrate on what you need to provide to the set builders so that their task is as well-defined, unambiguous and stress free as you can make it. Often the set building crews available to various theatre companies are made up of enthusiastic volunteers with varying degrees of experience and skills working with limiting time lines and on a limited budget. Professional companies such as Pacific Opera Victoria have the luxury of a huge, well equipped scene shop and professional builders earning union wages. The set designers for those productions often provide astoundingly massive and complex designs, and the drawings and other information they provide to the builders is very detailed, very specific and complete in such a way that the builders don’t have to guess what the designer had in mind. All set designers, professional or amateur, should aspire to this. The builders need a detailed, unambiguous design. We’ll get to what that means in a bit. But first, let’s look at items ‘a’ thru ‘d’. YOUR OTHER CUSTOMERS: THE DIRECTOR – Here are some considerations. 1) The director will have a stylistic vision of the play a) It will usually be specific regarding date or era,(Victorian, 17th century, contemporary, etc. ) b) It will usually be specific regarding location,(Mansion interior, 18th C ship hold, modern kitchen, etc.) c) It may have multiple settings and the director needs major scene changes to accommodate this. d) The director may ignore all of the above with an idea of doing an intergalactic Hamlet or something. The set designer MUST follow the director’s lead regarding ‘vision’. 2) The director will be specific regarding architecture a) Some of these elements may be required in the design i) Entrances and doorways,(which way will the doors swing?) ii) Vertical levels,(risers) . These are important for sight lines, acting areas Fig 1 iii) A backstage cross may be required,(space where the actors can move behind the set without being seen by the audience) iv) Specific furniture,(bed, fireplace) v) Exterior elements,(tree, fence) Or some directors may only want suggestions of these elements to let the actors and the lighting designer set the scene so that the audience can use their collective imagination fill in the details,(Goodnight, Mr. Tom set). The set designer must incorporate all these director’s “needs” right from the primary rough design stage. b) Some directors know exactly what they want their set to look like, the designer must carefully listen to the director’s vision, view all the visual references (photos, web images, etc. ) that the director provides and replicate those to the director’s satisfaction. This style of set design still requires considerable skill to take this vision and generate a design that works on the available stage, incorporates all the above elements in clear and detailed drawings, and is buildable given time frame, budget and skill of the builders. c) On the other hand, some directors are happy to give the designers a free hand to come up with their own interpretation; still incorporating the elements while being true to the dynamic thrust of the script. This usually requires a lot of back and forth to work out details which is often done in the company of not only the director but the lighting and costume designers as well. 3) A SET DESIGN SHOULD NEVER BECOME A MONUMENT TO THE DESIGNERS ARTISTIC CREATIVITY. IT SHOULD NEVER UPSTAGE THE ACTORS, THE SCRIPT OR THE DIRECTION. It can be a rea

FAQs

What is the workshop’s primary goal for set designers?

Provide what set builders need so their work is well-defined, unambiguous, and low-stress, using detailed and complete drawings that eliminate guessing.

How should a set designer work with the director?

Follow the director’s vision closely, carefully listen and replicate visual references, and ensure the final design remains buildable for the stage, time frame, budget, and builder skills.

What key considerations does the workshop list for actors?

Safety railings and clear movement space, adequate contrast on stairs and levels, no sharp protrusions, secure and non-flimsy construction, and offstage shielded areas for quick costume changes.

Nov 4, 2026

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