Cycle 1

• INRODUCTION TO SET DESIGN

• Expressing a design idea through drawings –plan ,Expressing a design idea through
• Understanding History of set design
drawings- elevations and sketches,
• Definitions and Terminologies
• introduction to the concept of scene design in theatre
• Scope of Set design -the design and creation of the sets used in works of
performance art, including movies and plays.
• introduction to the concept of scene design in films

• Film as cultural texts to better understand history and culture manifestations • introduction to the concept, of scene design in commercials

• Role of an art director-concerned with the organization and appearance of the • introduction to the concept of scene each design in other entertainment media
performance space. • Creating a Concept Wrap -creates a
• Principles of design • design concept, which extends the director's production concept into a complete plan
• Elements of Design for the visual aspects of the production
• Application of elements and principles of design in the expression of an idea.
• Developing the Design Concept
INRODUCTION TO SET DESIGN

Scenic design (also known as scenography, stage design, or set design) is the creation of theatrical, as well as film or
television scenery. here has been a consideration that scenic design is also production design; however, more accurately, it is
a part of the visual production of a film or television.
UNDERSTANDING SET DESIGN
UNDERSTANDING SET
DESIGN
UNDERSTANDING
SET DESIGN
History of set
design
 THE FIRST THEATRES
MINOAN PERIOD
2000 bce

GREEK THEATRES 534 bce, 500 bce

ROMAN THEATRES
341 bce 241 bce 50 bce
History of set design - minoan
• The first theatres
• The oldest existing spaces to be classified as “theatrical areas” are in four Minoan palaces on the island of Crete.
The oldest of these, at Phaestus, dates to as early as 2000 bce, while the one at Amnisus may have been built as late
as 700 bce. These are L-shaped, open-air spaces built of stone with a rectangular stage. The house is a set of wide,
low steps terminating in a blank wall on one side of the stage. A grand staircase (which leads into the palace) provides
additional audience space on an adjoining side. The wide steps seem best suited for the kind of stools that are
illustrated in a number of Minoan murals, while the grand staircase could easily accommodate dozens and dozens of
audience members either sitting or standing. The maximum audience capacity has been estimated to be 500. Nothing
is known about what was witnessed in such spaces, however, so identification of them as theatres is speculative.
These spaces do share some similarities with the earliest-known theatres on mainland Greece, but there is no
evidence that the Greeks knew anything about them.
Greek theatres
• The first identification of theatre as a distinctive art form in the city-state of Athens can be dated to 534 bce, when the first
prize in a competition for tragedy was awarded. The Roman writer Horace, writing 500 years later, believed that Thespis,
who won the competition, had developed theatre while traveling with a cart that he used as a stage in any open area where
an audience could gather. Such portable stages were used for centuries in the performance of variety entertainments
(called mimes). The 12th-century Byzantine encyclopaedia known as the Suda indicates that the earliest theatre in Athens
was built in its market square (agora) and used temporary wooden stands (ikria) for seating and a cleared area of the
market for a stage. This arrangement would have resembled, and may even have inspired, the oldest existing Greek
theatres, which are at Árgos and Thorikos, both of which were built before 500 bce. These were open-air end stage theatres
in which the house (theatron, or “a place of seeing,” in Greek) was a bank of straight-line seats (perhaps originally in wood
but eventually in stone) supported by a hillside, while the stage (orchēstra, or was a roughly rectangular space at the
bottom of the hill. At these sites there is today little evidence of a skene (from the Greek skēnē, or “scene-building”), which
was the third basic component of later Greek theatres, so it is assumed that if such a structure existed, it was temporary.
Greek theatres of this form continued to be built into the 3rd century bce.
Greek theatres
• About 440 bce, Athens became the site of the first documented indoor theatre, the This was a square building with seating along all four w alls and a
performance area in the centre. It had a seating capacity of perhaps 4,000 people, though the view of the stage of more than half the audience members
would have been obstructed by columns. This was a theatre used more often for poetry recitals, music recitals, political ceremonies, and religious events
than for drama. It may, however, have been used for the rehearsal of performances scheduled for the Theatre of Dionysus, which was nearby. Later odea,
especially in Roman times, were laid out much like the open-air stone theatres but scaled down to fit inside a much smaller square or rectangular building
that was as free as possible of column supports for the roof. These were of the end stage, rather than of the thrust stage, form. The semicircular house and
the lower stage were foreshortened to a shallow shape rather than the longer U shape of the outdoor theatres, and most of the performance occurred on
the raised stage (pulpitum) along the rear wall.

• The first great theatrical construction boom came in the Hellenistic period, when the building of theatres in stone became one way in which cities competed
with one another. During this time the house became increasingly ornate, but its basic design, and that of the main stage (orchestra), changed very little. It
was the raised stage (logion) and scene building (skene) that underwent radical change. The skene was now typically two stori es high. Projecting out from its
first story, at about 10 feet (3 metres) above the orchestra, was the raised stage, supported by a row of columns along its front edge (proscenia, from which
the English word proscenium is derived). Decorative panels could be fixed between these columns to create a variety of backgrounds for the orchestra.
Backgrounds for the raised stage were provided by the second story of the skene, which seems to have had a number of large openings that could be used as
entrances, as spaces in which to reveal scenes, and perhaps even as spaces for small sets.
Greek theatres
Roman theatres
• The Romans encountered Greek theatre design as they conquered the Greek colonies of southern Italy between 343 and 341 bce and added Sicily in 241 bce. The start of
Roman theatre is usually dated to 240 bce. It was in all ways based on Greek models, though it did not slavishly copy them. For reasons that are not fully understood, the
Romans did not immediately build theatres in stone, as the Greeks were doing at a remarkable pace. The Romans built their theatres of wood for a specific festival; when
the festival was over, the entire structure was taken down. Gradually these structures became fantastically elaborate. Pliny the Elder reports that, by about 50 bce, wooden
theatres with audience capacities of up to 80,000 were being built three stories high, with decorations made of glass, marble, and gilded lumber. Even allowing for
considerable exaggeration, these theatres were extraordinary feats of engineering. Stone theatres were gradually built in cities outside Rome in the early part of the 1st
century bce, but it was not until 55 bce that a stone theatre was finally erected in the city itself. This was the theatre of Pompey the Great, and it became the model for
Roman-built open-air theatres thereafter.

• The theatre of Pompey was built on flat ground, using arched substructures (something the Hellenistic Greeks used only on a small scale). These substructures allowed the
audience to access several levels of corridors that ran beneath the seating and led to entranceways (vomitoria) that opened out into the seating area itself. The house was
much like a traditional Greek theatre except that there was now a covered colonnade running around the uppermost level. This colonnade was broken at the centre by the
entrance to a large temple of Venus that projected out behind the theatre. The builders of nearly all subsequent Roman theatres incorporated this upper shaded walkway
into their designs, though few found it desirable to include the temple.
Roman
theatres
• THEATRE AT POMPEI
Understanding History of set design
asia
• India’s oldest theatre is in the Sitabenga cave at Ramgarh Hill, now in Chhattisgarh state in central India. It was built during the first half of the Hellenistic Age, between 300 and 200 bce. This
is a small theatre carved into the rock at the mouth of a cave facing out over an uncovered area just large enough for a small temporary scene building and stage. Its seating is reminiscent of
a Greek odeum. The second oldest theatre in India is in the hills of Orissa state in northeastern India. It was built during the last half of the Hellenistic period, sometime between 200 and 50
bce, and it includes a large scene building, with an upper stage, cut into the rock. The seating area, however, was of wood, like the ikria of the Greeks, and only some marks in the stone,
where support beams were likely held in place, survive. These theatres lie well outside the area traversed by the armies of Alexander the Great in 325 bce and must either have been the
result of the Indo-Greek trade that continued for many years thereafter or reflect a parallel tradition of theatre design. The Sanskrit theatres of India, described in the Natyashastra, are quite
unlike Greek theatres. Sanskrit theatres came in three shapes—rectangular, square, and triangular—and in three sizes—large, medium, and small. In each form about half the space was given over
to the house, a fourth to the stage, and a fourth to the backstage areas. In some situations the stage was divided into a lower and an upper level. There is considerable controversy over the
size of these buildings; the Natyashastra can be read to apply two different units of measurement, neither of which was standardized. The most surprising aspect of these theatres is that,
while they were built for a culture that was extremely caste-conscious, the theatres were open to all.Little is known about the nature of theatre in Asia from the 6th through the 10th century
ce. By the 11th century the Chinese were building playhouses that are referred to as fenced enclosures. These were square or rectangular structures with a small square stage at one end
covered by a roof that was, in turn, supported by four corner posts. A screen at the back provided two entrances onto the stage. Some of the audience sat on benches along the sides of the
space, and sometimes there was a gallery level above for seating. The bulk of the audience, however, stood in the central area in front of the stage.
Theatres IN ASIA
Definitions and Terminologies

• SET -scenery used to show where drama takes place.

• PROCENIUM - performance arrangement where the audience is seated at one end and the acting area is at the other
• Thrust - performance arrangement where the audience is seated on three sides of the acting area
• Acting area - part of the available space occupied by the set and/or used by actors while acting………………………………………
Check out more on the class activity
.
Class activity -
End of session 1
A PRESENTATION BY
Prof.A.R.Narayani,
School of Architecture and Interior Design.
SRMIST – KTR – 603203.
narayanr2@srmist.edu.in

SET DESIGN
19IDE201T
Session – 2
History of cinemas • The staging challenges of the works produced under the influence of Romanticism, as well as of the widely popular genre
of melodrama, dictated the elimination of painted sets and the wing and boarder systems that had dominated the Baroque
period.
The 19th century • Painted scenery was increasingly replaced by three-dimensional scenery with which the actors could interact.

• This led to the advent of the wooden stage, which, through a combination of traps, slots, and elevators in the stage floor,
was able to provide an extraordinary number of visual effects that gradually drove perspective scenery from the stage.
History of cinemas
20th century

• After 250 years in which the box, pit, and gallery theatre, with its
proscenium stage, dominated the art, there was widespread rebellion
against it.
• numerous attempts to re-create Greek theatre spaces and ultimately
inspired the German architect Walter Gropius to propose his “total theatre”
(1927), which, had it been built, would have allowed a Greek theatre to be
converted into the first complete theatre-in-the-round since medieval
times.
• This vogue led to the proliferation of thrust stages throughout the world. In
the third quarter of the 20th century, theatre designers focused their
efforts on the creation of adaptable spaces that could easily be converted
into at least two major theatre forms.
Motion picture
• Motion picture, also called film or movie, series of still photographs on film, projected in rapid succession onto a screen by means of light. Because of the optical phenomenon known as persistence of
vision, this gives the illusion of actual, smooth, and continuous movement.
• The motion picture is a remarkably effective medium in conveying drama and especially in the evocation of emotion. The art of motion pictures is exceedingly complex, requiring contributions from
nearly all the other arts as well as countless technical skills (for example, in sound recording, photography, and optics).
• Emerging at the end of the 19th century, this new art form became one of the most popular and influential media of the 20th century and beyond.
• As a commercial venture, offering fictional narratives to large audiences in theatres, the motion picture was quickly recognized as perhaps the first truly mass form of entertainment.
• Without losing its broad appeal, the medium also developed as a means of artistic expression in such areas as acting, directing, screenwriting, cinematography, costume and set design, and music.
Film as cultural texts to better understand history and culture manifestations

» The first audience to experience a moving film did so in 1895. The

film, by the lumiere brothers was called “workers leaving the
lumiere factory (1895)”

» Their film “train entering the gare de ciotat (1895)” caused people
to faint with fear as the train loomed from the screen into the
theatre auditorium.

» These films did not carry a story or narrative - they merely

showed a moving image on the screen
a moving film
• “workers leaving the lumiere
factory (1895)”
Their film “train entering the gare de ciotat (1895)”
Film as cultural texts to better understand history and culture manifestations

• Cinema is a reflection of society, both present and past.

• Cinema is a form of communication ,powerful vehicle for culture, education, leisure and propaganda.
• It is “to delight and instruct”. The prior function of any movie is to delight the audience and then to instruct, for movies
are also taken as a form of literature.
• It is “to delight and instruct”. The prior function of any movie is to delight the audience and then to instruct, for movies
are also taken as a form of literature.
 Examples of Evidences in films

. Attitudes about gender, class, and ethnicity, as well as heroism, work,

play, and "the good life" are all portrayed in fictional films as they are in what a Japanese tea ceremony was like in the evidence of what it was like to walk down the streets of Paris in
an era's novels, plays, and paintings. 1940s, the 1890s,
Indian cinema The Dadasaheb Phalke Award, for lifetime contribution to cinema, was instituted in his honour, by the Government of India in 1969,
and is the most prestigious and coveted award in Indian cinema.

• Similar to hollywood movies, which during the 1950s portrayed stories from
the bible (old & new testament) in classics like “The Ten commandments”,
“Ben Hur”, “Samson & Delilah” etc, Indian cinema also started to portray
stories from the Ramayana & Mahabharatha. “Raja Harischandra” was one of
such movies. Stories about the royalty also became popular in movies such
as “Mughal-e-Azam” in Hindi & “Chandralekha”, “Uthama puthiran” in
Tamil.
Additional watch
Activity 2
• Watch the movie Indian movie – Making of Raja Harishchandra ( Marathi)
• Write a review of the movie in 300 words.
• Reports in the form of a PDF Should be submitted in GCR.
Goods of cinema evils of cinema
• Depiction of Reality • International relationship
• Recreation • Criminal activities
• Social and political importance
• A sense of dissatisfaction with life
• Mould the Opinions & Change the System
• Youth imagine themselves to be heroes and
• Educative heroines and just blindly behave in their own
• Industry way.
• cosmopolitan outlook and can be used for the • Influence on the fashion.
growth of international understanding
• Love and Lust are key subjects
 Scope of Set design - The Design And Creation Of The Sets Used In Works Of Performance Art, Including
Movies And Plays.

Set design, which is sometimes referred to as scenic design, refers to the design and creation of the sets used in works of performance art, including movies and plays. At times, designing these sets may be as simple
as arranging a few simple pieces of furniture on a stage. Other times, however, it may be as complicated as recreating a complex location, such as the inside of a spaceship, with limited materials.

https://www.theartcareerproject.com/careers/set-design/
Scenic Designer

A designer looks at the details searching for evidence through research to produce conceptual ideas that’s best toward
supporting the content and values with visual elements. The subject of, “How do we generate creative ideas?” is a very
legitimate question. The most consuming part of expanding our horizons toward scenic concepts is much more than
witnessing God’s creativity, and creative people. It starts with us opening our mind to the possibilities. To have an attitude
toward learning, seeking, and engaging in creativity and to be willing to be adventurous, inquisitive and curious. Our
imagination is highly visual. Whether outside or inside, colorful trees or concerts, star lit skies or the architecture of a great
building, scenic design is a process of discovery. Discovering what will best clarify and support the story being told.
What Does a Set Designer Do
• A set designer is responsible for designing and creating the sets for movies and plays. Sets for each of these
types of performance art are often somewhat similar, but they also have a few glaring differences.

• For instance, set designers that work in traditional theaters may be a little more limited in their designs; they are
often limited to the size of the stage, for example. Also, these set designers must keep in mind that the show will
be performed in front of a live audience, so they must include every possible detail. Sets for plays may need to
be very portable as well.
What Does a Set Designer Do
• Set designers for movies and films, on the other hand, are not usually limited by much; they are often able to build much larger sets, and any small details
that are left out can often be added later with a little creative editing.Whether he is creating sets for plays or movies, however, a designer will usually follow a
basic procedure.
• A set designer will usually start his design process by reading the script first. While reading a script, a designer will typically pay careful attention to the
settings and background descriptions. This will help him get an idea of what types of sets he will need to design.
• Collaborating with other members of the crew is also an important aspect of a set designer’s job. A set designer will usually discuss the sets with the director
of a movie or play, in order to create settings that help create or enhance the look and feel of a production. Set designers will also usually collaborate with
lighting technicians, prop masters, and carpenters, among others.
What Does a Set Designer Do
• Research is another extremely important part of a set designer’s job. These professionals will often need to be excellent researchers to create realistic sets. Creating realistic sets
for shows that take place in different time periods, for example, will often require extensive research, including looking at old photographs, if available. Designing sets for
productions that take place during the present day may be a little easier, but research is still usually necessary. For example, in order to create a realistic set for a movie that
takes place in a police station, a set designer will usually visit one or study photographs.

• After a set designer has collaborated with other crew members and done his research, he will then usually make a few sketches of how he envisions each set. While doing this,
most set designers will usually need to adhere to a budget. This means that the materials and labor necessary for creating each set must not cost over a certain amount. Once a
director or producer approve a set designer’s sketches, he can usually begin creating and building the sets.

• A simple set can often be created by arranging some props in a room or on a stage. In some instance, however, entire rooms or even houses might need to be built. For
example, since it would be quite difficult – if not impossible – for a film crew to do their job inside a real airplane, an airplane set would have to be created. Sets for fantasy
worlds, such as other planets, will also usually need to be created
Role of an art director-concerned with the
organization and appearance of the performance space.

• Various artists may create or develop specific parts of an art piece or scene; but it is the charge of a sole art
director to supervise and unify the vision.
• In particular, the art director is in charge of the overall visual appearance and how it communicates visually,
stimulates moods, contrasts features, and psychologically appeals to a target audience. the art director makes
decisions about visual elements used, what artistic style to use, and when to use motion.
• One of the most difficult problems that art directors face is to translate desired moods, messages, concepts,
and underdeveloped ideas into imagery. During the brainstorming process, art directors, co-workers, and
clients are engaged in imagining what the finished piece or scene might look like. At times, an art director is
ultimately responsible for solidifying the vision of the collective imagination while resolving conflicting
agenda and inconsistencies between the various individual inputs.
IN ADVERTISING

• Despite the title, an advertising art director is not

necessarily the head of an art department. In modern
advertising practice, an art director typically works in
tandem with a copywriter. The team usually works
together to devise an overall concept (also known as
the "creative" or "big idea") for the commercial, mailer,
brochure, or other advertisement.
In film

• An art director, in the hierarchical structure of a film art department, works

directly below the production designer, in collaboration with the set decorator, and above
the set designers.
• The Art Director also attends all production meetings and tech scouts in order to
provide information to the set designers in preparation for all departments to have a
visual floor plan of each location visited.
• The title has become more common, and now Production Designer is commonly
used as the title for the head of the Art Department, although the title actually implies
control over every visual aspect of a film, including costumes.
 Set Design for Theatre Plays
Custom back drop Set design for Reality shows
for events Set design for conventions
Elements of Design -
Visual artists'
aesthetic tools:
 1. line:
• the dominant lines of a composition might be vertical, horizontal,
diagonal, curved, or spiral.
• Line itself may dominate the composition or only define the
edges of masses. The composition below is dominated by lines
line
that move radially from the center of both the ground and the
background.

https://www.geneseo.edu/~blood/SetDesign1.html
 • the size of the elements on the stage. On stage, mass relative to the actor's body is important: does the

mass: scenery dominate an actor (a big cathedral, huge stone palace, large
• forest) or is it in scale with the actor (an everyday kitchen, a subway car, a corporate office)?
composition: how are the scenic elements arranged in space (along an x,y, and z axis)? Along any given axis, the composition
might be symmetrical, balanced, or unbalanced.
SPACE
Positive space is three dimensional space taken up by
scenic objects.
Negative space is open space, which may be taken up
by actors and perhaps by movement of actors and other
pieces of scenery. The example below leaves a great deal
of negative space, and dwarfs that actor with its massive
size and scale.
 texture:
• can be two dimensional or three dimensional.
• Two dimensional texture is variation in color, pattern and
material.
• Three dimensional texture is a tactile property: objects could
be rough, smooth, silky, bumpy, gritty.
• Because stage lights tend to hide an object's texture and
because texture is harder to see across a distance, a scene
designer usually exaggerates stage objects' textures.
color:
• Has four properties.
• Hue is what we normally think of as color;
• in paint it is a specific mix of primary colors red, yellow, and blue;
• in light it is the wavelengths absorbed by the object while the rest of the wavlengths are reflected and caught by the eye.

• Saturation is how much of the hue, the hue could be faintly or strongly present.

• Value is the scale from black (value=0) to white (value=100); if you think of converting the colors of a picture into a black and white movie, which is really a grayscale
with black and white at either end of a spectrum, you will arrive at the picture's values.

• Temperature is a metaphor used for the emotional qualities of a color: reds, oranges and yellows are warm colors while blues, greens and purples are cool
COLOUR PALETTE
FUN FACT
What Disney Villains Can Tell Us About Color Psychology

https://venngage.com/blog/disney-villains/
All of these aesthetic tools will have metaphorical and emotional qualities for an audience member. Vertical lines might be
described as "imposing" and the color red as "passionate" or "violent". These associations are culturally relative; in other words
they are not innate but learned. Nevertheless, they can be put to use by a designer who wants his set to have a specific
emotional impact on an audience.
Principles of design - In applying the elements of design, certain
principles must be used if the results are to be effective. The principles
of design are harmony, variety, balance, proportion, emphasis, and
rhythm.
 Harmony
• Harmony creates the impression of unity. Typically directors and
designers seek to harmonize the parts of each setting or costume
and to relate the various settings and costumes in such a way that
all are clearly parts of a whole. If monotony is to be avoided,
however, variety is needed. Similarly, directors seek both harmony
and variety through their choice of actors and through each actor’s
use of movement and gesture.

https://scenography.wordpress.com/2009/06/18/theatre-design-principles-scenography-theory-alina-
nicoleta/#:~:text=The%20principles%20of%20design%20are,clearly%20parts%20of%20a%20whole.
Balance
• Balance is the sense of stability that results from the distribution of the parts that make up the total picture.
• There are three types of balance. The most common is axial, achieved by the apparent equal distribution of weight on either side of a central axis. This type is
especially pertinent to the proscenium stage, which may be thought of as a fulcrum (or seesaw) with the point of balance at the center.
• Axial balance is achieved if the elements placed on each side of the central line appear equal in weight. Apparent visual weight is not the same as actual weight,
because a large light-colored object may appear to weigh no more than a small dark-colored object, and a small object near the outer edge may balance a large
object near the center.
• A second type of balance, radial, is organization that radiates in every direction from a central point. It is especially important on arena and thrust stages because
these stages are viewed from several ang4s. A third kind of balance is usually called occult. It is especially pertinent to flexible and variable staging, in which there
may be no readily discernible axis or center. Occult balance results from the relationship of mass to space and among unlike objects.
• Balance, especially axial, may also be thought of as symmetrical or asymmetrical.
 Principles of design

• Symmetrical balance means that if an object or space is divided down the

middle, each side mirrors the other most costumes (especially before
ornaments or accessories are added) are symmetrical.
• Complete symmetry in a stage setting creates a sense of formality and order;
asymmetry, which depends on irregularity; may create a sense of in-formality
or casualness.
• In performance, when the stage picture is constantly shifting because of the
movement of the actors, directors must be especially aware of balance and
how it is affected by what the actors do. During rehearsals, a director may
adjust the position of actors in order to achieve balance.
Principles of design

• Proportion involves the relationship between the parts of individual elements as

well as the relationship among all the parts that make up the total picture: the
scale of each part in relation to all the others; the relationship among shapes;
and the division of the space (for example, the length of a dress bodice in
relation to the skirt). Proportion can create the impression of stability or
instability of grace or awkwardness.
• Furniture disproportionate to the size of a room may create either a cramped or
meager feeling. Our perception of beauty or ugliness depends largely on the
proportion of parts. In costume, the manipulation of proportion can do much to
change an actor’s appearance and enhance or disguise attributes.
 emphasis

• All designs need a focal point, or center of emphasis. Directors are constantly
seeking to focus attention on what they consider most important and to
subordinate the things of lesser importance.
• A well-composed scene or design directs attention to the most important point
immediately and then to the subordinate parts. Emphasis may be achieved in
several ways, among them line, mass, color, texture, ornamentation, contrast, and
movement
• The setting may make one area of the stage more emphatic than others; a
costume may use emphasis to draw attention to an actor’s good points and away
from defects; movement within an otherwise still picture will always attract the
eye.
Rhythm
• Rhythm is the principle that leads the eye easily and smoothly
from one part of a design to another. All of the elements of
design may be used for rhythmic purposes.
• Lines and shapes may be repeated; the size of objects or the
amount of movement may be changed gradually to give a sense
of progression; gradations in hue, saturation, and value may lead
the eye from one point to another; changes or repetitions in
texture and ornament may give a sense of flow and change; and
the movement of the actors may increase or decrease in tempo.
END OF SESSION 2
Application of elements and principles of design in the expression of an idea.
Expressing a design idea through drawings –plan, elevations and sketches,
ADDITIONAL REFERENCES
• https://infocusfilmschool.com/introduction-production-design/
A PRESENTATION BY
Prof.A.R.Narayani,
School of Architecture and Interior Design.
SRMIST – KTR – 603203.
narayanr2@srmist.edu.in

SET DESIGN
19IDE201T
Session – 3
Expressing a design idea through drawings
–plan, elevations and sketches,
Application of elements and principles of
design in the expression of an idea.

START WITH THE SCRIPT

The workspace of The workspace of
Production Designer Matt Gant
Conceptual sketches
plan
elevation
details
 Class activity

1 2 3
Take a scene from Try to visualize a Represent in the
a comic story concept for the form of sketches
Take a scene from scene. plan and elevation.
a novel (Draw a 3d
(one liner ) view)(mood board)
Conversio
n of ideas
into
workable
designs
Additional watch
• https://www.youtube.com/watch?time_continue=3&v=V-o4q-Y0-
gE&feature=emb_logo
• https://www.livedesignonline.com/theatre/john-lee-beatty-honor
ed-at-sharaff-awards
 END OF
SESSION 3
 SET DESIGN
19IDE201T
Session – 4

A PRESENTATION BY
Prof.A.R.Narayani,
School of Architecture and Interior Design.
SRMIST – KTR – 603203.
narayanr2@srmist.edu.in
Cycle 2
• Understanding the processes of stage design.
• Development of Project brief –process from
inception to performance.
• Script reading and Analysis
• Understanding Story boarding
• Analysis of the visual Arts
• Steps involved in the design process
• Understanding stage setting through
language
• Understanding stage setting through color.
• Understanding stage setting through
architectural analysis.
• Team and sequence performance -
• Functions of scene design –defining the
performance space by establishing
• distinctions between onstage and offstage.
• Establishing Tone of a Set
• Establishing Style Of a Set
• Establishing Mood of a Set
• Exercise: Students are required to identify a
Movie scene and analyses
• the tone, style and mood of the scene18
Presentation:
 1 2 3 4 5 6 7 8

STEP 1 STEP 2 STEP 3: STEP 4 STEP 5 STEP 6 STEP 7 STEP 8

•READ AND •REFINE YOUR COLLABORATE •DRAW AND •DRAFTING, •FULL-COLOR, •REHEARSALS •TECHNICAL
ANALYZE THE IDEAS WITH AND REVISE RENDER PLANNING, AND SCALE MODEL AND REHEARSALS,
SCRIPT THUMBNAILS WHITE MODELS OR RENDERING DEVELOPMENT OPENING
AND ROUGH NIGHT, AND
MODELS PERFORMANCES

Understanding the processes of stage design.

Development of Project brief –process from inception to
performance.
1 2
4

5
6
Script reading and Analysis

• A scenic designer takes a different approach to

reading a script than actors and directors do.
• A scenic designer does not focus on objectives,
motivations, subtext, or tactics of the characters
but rather takes interest in the visuals and stated
needs of the production.
1
• First, read the script for enjoyment.
• Read it all the way through — without stopping.
• Unlike a novel, theatrical performances are meant to be experienced uninterrupted.
When seeing a live performance, the only time the show is interrupted is at
intermission.
• Give yourself plenty of time to read the entire script from beginning to end. Time your
bathroom break to when you get to the written intermission break.
• Do not think about what your specific version of the show might look like.
• Do not draw anything.
• Do not take any notes. Just experience what the playwright has written.
• If working on a musical, try to have the soundtrack to listen to as you read the script.
2

SECOND, READ THE SCRIPT THE PURPOSE OF THIS STEP IS
FOR SENSORY AND PHYSICAL TO IDENTIFY ALL OF THE
NEEDS. PRODUCTION’S SENSORY
ELEMENTS.
BREAK DOWN WHAT THE USE THE FOLLOWING PICK ONE COLOR OF
SHOW NEEDS FOR THE STORY CATEGORIES TO ORGANIZE HIGHLIGHTER FOR EACH
TO BE TOLD. YOUR THOUGHTS: SETS, CATEGORY AND USE A RED
COSTUMES, LIGHTS, SOUNDS, PEN TO UNDERLINE PROPS.
PROPS, COLORS, IMAGERY,
AND “OTHER.”
3
• Take your time to mark everything having to do with these
categories. The color-coding system helps you to quickly
see each element and any repetition in imagery, metaphors,
symbols, and colors — which will aid you in exploring how
this repetition might affect the production’s story.
• While color-coding your script, take an opportunity to write
notes in the margins.
• Write anything that comes to mind: things, questions, names
of visual artists, etc.
 4
• Finally, create a list of what you found.
• You have created a multi-coloured script full of notes and
scribbled thoughts and observations.
• Organize this into a clear list.
• Everything you highlighted or underlined should be
categorized as a set need, prop, costume, etc.
• As you create these lists, pay attention to where the information comes
from.
• Did it come from the lines spoken by
the actors or from the stage directions?
• Items that come from the spoken lines
are more important than those that come
from the stage directions.
•
With some exceptions, people associated
with the original production (usually, the
stage manager) write the stage directions.

It is important to know what was done in the

original production, but if someone does not
speak it onstage, then it does not necessarily
reflect the playwright’s original intention or
idea.

It is most important that the playwright’s

intent be the primary focus of what is created
and told.
END OF SESSION 4
Additional Watch
• https://www.youtube.com/watch?time_continue=29&v=UY9j8NOQh
GQ&feature=emb_logo
• https://www.youtube.com/watch?v=1mNFf2VSMUg

• References
• https://dramatics.org/read-render-realize/
SET DESIGN A PRESENTATION BY
19IDE201T •Prof.A.R.Narayani,
•School of Architecture and Interior Design.
Session – 5 •SRMIST – KTR – 603203.
•narayanr2@srmist.edu.in
STORY
BOARDING
•A storyboard is a graphic
representation of how your video
will unfold, shot by shot. It's made
up of a number of squares with
illustrations or pictures
representing each shot, with notes
about what's going on in the scene
and what's being said in the script
during that shot.
FUN WITH
STORY
BOARDS –
Additional Watch
• https://www.youtube.com/watch?time_continue=63&v=dnlQN_L5H
C0&feature=emb_logo
• https://www.youtube.com/watch?time_continue=13&v=IomgUWKjU
xA&feature=emb_logo
 General characteristics of Visual
Analysis of art/Fundamentals of visual art:
Visual Arts Space, form, size, shape, line, colour,
texture, tonal values, perspective, design
and aesthetic organization
of visual elements in art object
(composition).
 • All images project ideas or claims. Advertisements generally make these claims
openly and even tell you the claim in the text. Works of art may be more subtle but
they usually are also trying to get the viewer to believe something. How can you
What is Visual analyze visual images? You look at:
1. The purpose of the artist.
Analysis? 2. The audience.
3. The way the image was composed.
4. The historical context when it was produced and when it is viewed.
What sort of image will you be analyzing
for your Visual Analysis

•Artwork such as a painting or drawing

• Sculpture or other 3-dimensional art

• Advertisement

• Video

• Photograph
Visual
Elements of • Start by Looking Closely:
• Trust Your Own Eyes:
Design • Use Chart and Questions for Help:
Element Definition
Composition How image is put together.
Where things are placed in
relationship to one another and
to the space of the canvas.
Key Questions
What is main figure? How are other
figures placed in relation to main
figure? What is left out?
Why important
The way different parts of an image
are put together draws the viewers
attention to some parts more than
others. It also creates tone, mood and
meaning.

Elements of The different aspects the artist Which elements of design are most Meaning comes from what the artist
Design can use to put together the important in this piece (color, line, uses and also what they don't use.
image. texture, shape, form, value, size, text,
movement)

Focal Point Where your attention is drawn to What is the focal point? What Understanding the focal point helps
in the picture elements of design does the artist you understand the meaning of the
use to create the focal point? picture.

Color All of the colors as well as black,
white and neutrals.
Monocromatic means using one
color. Complementary means
using colors opposite one
another on the color wheel
What colors are used? How do these
colors affect the tone, mood and
meaning of the image? Are colors
used in predictable or unpredictable
ways (example: predictable is red for
danger)
Color can create meaning by creating
moods, highlighting particular parts of
the image, connecting aspects of the
image, or by being symbolic
Line actual lines in picture or lines created by the How do lines draw your attention towards or Artists use lines to draw your attention to
placement of other objects away from certain parts of the picture? How the focal point.
are different

Texture Texture is how rough or smooth something is, Where is texture in the image and how does Texture links images to real objects and
or the pattern it has. Texture can be real on 3 this texture create an expectation in the the use of senses other than sight.
dimensional art, or represented on 2 audience of a particular touch sensation?
dimensional art.

Shape The way in which the artist uses circles, How are shapes used in the art? Where does Our eyes tend to focus on familiar
squares, rectangles, ovals and other shapes shape, or relationships between shapes help shapes and see shapes in two
in the art. your eye to focus? dimentional art through shading and use
of light.

Form How light and shading techniques make a 2 Where has the artist used shading or light to Form can contribute to making an image
dimensional object look like it has 3 highlight some aspect of the image? Does seem more real, and also to add
dimensions. some part of the image stand out as having 3 importance to a part of the picture.
dimensions?

Value Degree of light and dark in different parts of How are light and dark used in this picture? Is Value can be used along with color.
the picture. there a symbolic use of light and dark? Does Extreme changes in value createst
the artist use light or dark to highlight the focal contrast which often is used to provide
point? meaning.
Size Size can refer to the Why did the artist Variation in the size of
overall size of the choose this size for shapes and lines indicates
image and also the the piece? What is the relative significance.
relative size of items meaning of the
in the image. difference between
sizes of elements in
the image?

Symbolic Elements Specific parts of the Are any of the Symbols draw on cultural
design which have aspects of this piece meanings which can work
symbolic or historical symbolic? Does the differently for different
meaning (such as a artist intend to use the
cross for Christianity, symbolism directly or
or triangles for the to invert it?
Trinity).
Principle What it Means What to look for
Balance How the different visual Symmetrical balance
elements are distributed so means things on both sides
that they seem stable or are even, asymmetrical
unstable. balance means that the
design is weighted on one
side, radical balance means
things are organized around
a center point.
Emphasis What catches your The artist usually uses size,
attention when you look at texture, shape, color or
the image. some other element to
make one part of the image
stand out
Movement How your eye moves in a path Where do your eyes go, and what
through the picture, sometimes makes your eyes move through the
stopping to focus on certain parts. picture in a certain way. Is it lines?
Colors? Shapes? Edges?

Pattern and Is there an object or a symbol that If it is repeated, it is probably important

Repetition repeats in the design? to the meaning. You might want to find
out what that image means.

Proportion The relationship of sizes inside the Are the proportions realistic or
piece of art, for example the size of distorted?
one building to another, or a head to
the body.

Variety and Variety is the use of several elements See how the different elements of
Rhythm of design to make the audience see design work together to produce a
the image as dynamic and in an active mood or meaning.
rhythm.
Analyzing Meaning of Visual
Images

• Analyzing the meaning of the image for the artist and

his or her time.
• Analyzing the meaning of the image for you and your
time.
• Analyzing the changes in the meaning of an image
over the course of time.
• Analyze the audience reaction to the image.
• Analyze your own reaction and evaluate the
effectiveness of the image.
How to start?

• 1. Claims: What claims does the image make?

What type of claim is it?
• Fact Claim: Is it real?
• Definition Claim: What does it mean?
• Cause Claim: What is the Cause? What are the
effects? How are these related?
• Value Claim: How important is this? How
should we evaluate it?
• Policy Claim: What is the solution? What
should we do about it?
 • How is the image arranged or
composed? Which of the following
aspects of composition help makes the
claim? Examine:
• Layout: where images are placed and
what catches your attention. How visual
lines draw your attention to or away from
the focal point.
• Balance: size of images and how they
compare with one another. Is the focal
point centered or offset?
• Color: how color (or lack of color) draws
your attention or creates a mood
• Key figures: what is the main focus? How
does this contribute to meaning?
• Symbols: are there cultural symbols in
the image? What do these mean?
• Stereotypes : how does image support
stereotypes or challenge them?
2. Visual Composition: • Exclusions: is there anything left out of
the image that you expect to be there?
3. Genre:
• What is the genre of this
image? (examples: fine
art, movie, advertisement,
poster, pamphlet, news
photograph, graphic art
etc.). How does it follow
the rules of that genre or
break away from them?
How does that affect the
meaning of the image for
the audience?
4. Text:
How does
any text or
caption work
to provide
meaning to
the visual?
5. Appeals: How does it appeal to the audience to believe the
claims? Are appeals to logic? Emotion? Character? Authority?
Are any of these appeals false or deceiving?

6. Selling: Does the claim move into a sales pitch? Does it use
a cultural value or common cultural symbol in a way that
exploits that image?

7. Story: What story does this image convey? How does this
story help the claim or appeal to the audience?
Examining Context and
History

To get ready to analyze the meaning of the image for the

artist and the people viewing the art, it helps first to find
out the rhetorical situation. That means you need to
know what the artist was trying to do at that particular
point in time, and how the audience reacted. Sometimes
the reaction of the audience that first saw the piece is
very different from the response you might have. If it is,
that can do an interesting paper thesis.
 Distinctions between
onstage and offstage.

Establishing Tone of a Set

Session 6
Establishing Style Of a Set

Establishing Mood of a Set

Distinctions between onstage and offstage.

ONSTAGE IS TAKING PLACE IN THE PART OFFSTAGE IS OF, OR RELATING TO THAT

OF A STAGE THAT IS VISIBLE TO THE PART OF A STAGE NOT VISIBLE TO THE
AUDIENCE AUDIENCE.
Establishing Tone,Style,Mood of a Set

• 'set the tone' is to establish a particular mood or character for something.

• When something someone does or says sets the tone for an event or
activity, it establishes the way the event or activity will continue, especially
the mood of the people involved.
• Some other examples of literary tone are: airy, comic, condescending,
facetious, funny, heavy, intimate, ironic, light, playful, sad, serious, sinister,
solemn, somber, and threatening.
• The set gives the first information on time period and location. A gothic
cathedral will tell the audience the play will be set in Medieval Europe, but
a fast food restaurant will probably indicate contemporary America.
 Set the style and
tone of the
production.
• Today many theatres do not use the main
drape, or curtain which separates the stage
and audience; instead, the audience sees the
set when it walks into the theatre. Therefore,
the audience makes assumptions about the
play's style and tone based on the set
designer's work, before an actor
• walks on stage or a line of the play is delivered.
 Set the style and
tone of the production.

• The style might range from a highly

illusionistic setting, in which we might
recognize three walls of a room with
complete furnishings, to a more theatrical
setting in which we recognize some
practical objects which only suggest the full
environment
Set the style and tone of the production.

• The tone of the set usually reflects the dramatic genre: for example,
tragedy may use a darker or less varied color pallette and a few, large
objects, whereas comedy may use a brighter and broader color pallette and
many realistic or comically exaggerated details
Additional watch

https://www.youtube.com/watch?time_continue=20&v=pigFSxi25qc&feature=emb_logo
https://www.premiumbeat.com/blog/how-to-create-mood-board-for-film/

Reference
https://owlcation.com/humanities/How-to-Write-a-Visual-Analysis-Paper
https://www.geneseo.edu/~blood/SetDesign1.html
https://blog.pond5.com/23909-setting-the-mood-how-to-create-great-mood-boards-for-your-project/
• Basic design
• IDENTIFY THE BASIC PRINCIPLES
BALANCE
CONTRAST
PATTERN
PROPORTION
COLOUR
POINT
LINE
TEXTURE
THANK YOU
SET DESIGN A PRESENTATION BY
19IDE201T •Prof.A.R.Narayani,
•School of Architecture and Interior Design.
Session – 5 •SRMIST – KTR – 603203.
•narayanr2@srmist.edu.in
STORY
BOARDING
•A storyboard is a graphic
representation of how your video
will unfold, shot by shot. It's made
up of a number of squares with
illustrations or pictures
representing each shot, with notes
about what's going on in the scene
and what's being said in the script
during that shot.
FUN WITH STORY
BOARDS –
Additional Watch
• https://www.youtube.com/watch?time_continue=63&v=dnlQN_L5H
C0&feature=emb_logo
• https://www.youtube.com/watch?time_continue=13&v=IomgUWKjU
xA&feature=emb_logo
 General characteristics of Visual
Analysis of art/Fundamentals of visual art:
Visual Arts Space, form, size, shape, line, colour,
texture, tonal values, perspective, design
and aesthetic organization
of visual elements in art object
(composition).
 • All images project ideas or claims. Advertisements generally make these claims
openly and even tell you the claim in the text. Works of art may be more subtle but
they usually are also trying to get the viewer to believe something. How can you
What is Visual analyze visual images? You look at:
1. The purpose of the artist.
Analysis? 2. The audience.
3. The way the image was composed.
4. The historical context when it was produced and when it is viewed.
What sort of image will you be analyzing
for your Visual Analysis

•Artwork such as a painting or drawing

• Sculpture or other 3-dimensional art

• Advertisement

• Video

• Photograph
Visual
Elements of • Start by Looking Closely:
• Trust Your Own Eyes:
Design • Use Chart and Questions for Help:
Element Definition
Composition How image is put together.
Where things are placed in
relationship to one another and
to the space of the canvas.
Key Questions
What is main figure? How are other
figures placed in relation to main
figure? What is left out?
Why important
The way different parts of an image
are put together draws the viewers
attention to some parts more than
others. It also creates tone, mood and
meaning.

Elements of The different aspects the artist Which elements of design are most Meaning comes from what the artist
Design can use to put together the important in this piece (color, line, uses and also what they don't use.
image. texture, shape, form, value, size, text,
movement)

Focal Point Where your attention is drawn to What is the focal point? What Understanding the focal point helps
in the picture elements of design does the artist you understand the meaning of the
use to create the focal point? picture.

Color All of the colors as well as black,
white and neutrals.
Monocromatic means using one
color. Complementary means
using colors opposite one
another on the color wheel
What colors are used? How do these
colors affect the tone, mood and
meaning of the image? Are colors
used in predictable or unpredictable
ways (example: predictable is red for
danger)
Color can create meaning by creating
moods, highlighting particular parts of
the image, connecting aspects of the
image, or by being symbolic
Line actual lines in picture or lines created by the How do lines draw your attention towards or Artists use lines to draw your attention to
placement of other objects away from certain parts of the picture? How the focal point.
are different

Texture Texture is how rough or smooth something is, Where is texture in the image and how does Texture links images to real objects and
or the pattern it has. Texture can be real on 3 this texture create an expectation in the the use of senses other than sight.
dimensional art, or represented on 2 audience of a particular touch sensation?
dimensional art.

Shape The way in which the artist uses circles, How are shapes used in the art? Where does Our eyes tend to focus on familiar
squares, rectangles, ovals and other shapes shape, or relationships between shapes help shapes and see shapes in two
in the art. your eye to focus? dimentional art through shading and use
of light.

Form How light and shading techniques make a 2 Where has the artist used shading or light to Form can contribute to making an image
dimensional object look like it has 3 highlight some aspect of the image? Does seem more real, and also to add
dimensions. some part of the image stand out as having 3 importance to a part of the picture.
dimensions?

Value Degree of light and dark in different parts of How are light and dark used in this picture? Is Value can be used along with color.
the picture. there a symbolic use of light and dark? Does Extreme changes in value createst
the artist use light or dark to highlight the focal contrast which often is used to provide
point? meaning.
Size Size can refer to the Why did the artist Variation in the size of
overall size of the choose this size for shapes and lines indicates
image and also the the piece? What is the relative significance.
relative size of items meaning of the
in the image. difference between
sizes of elements in
the image?

Symbolic Elements Specific parts of the Are any of the Symbols draw on cultural
design which have aspects of this piece meanings which can work
symbolic or historical symbolic? Does the differently for different
meaning (such as a artist intend to use the images
cross for Christianity, symbolism directly or
or triangles for the to invert it?
Trinity).
Principle What it Means What to look for
Balance How the different visual Symmetrical balance
elements are distributed so means things on both sides
that they seem stable or are even, asymmetrical
unstable. balance means that the
design is weighted on one
side, radical balance means
things are organized around
a center point.
Emphasis What catches your The artist usually uses size,
attention when you look at texture, shape, color or
the image. some other element to
make one part of the image
stand out
Movement How your eye moves in a path Where do your eyes go, and what
through the picture, sometimes makes your eyes move through the
stopping to focus on certain parts. picture in a certain way. Is it lines?
Colors? Shapes? Edges?

Pattern and Is there an object or a symbol that If it is repeated, it is probably important

Repetition repeats in the design? to the meaning. You might want to find
out what that image means.

Proportion The relationship of sizes inside the Are the proportions realistic or
piece of art, for example the size of distorted?
one building to another, or a head to
the body.

Variety and Variety is the use of several elements See how the different elements of
Rhythm of design to make the audience see design work together to produce a
the image as dynamic and in an active mood or meaning.
rhythm.
Analyzing Meaning of Visual
Images

• Analyzing the meaning of the image for the artist and

his or her time.
• Analyzing the meaning of the image for you and your
time.
• Analyzing the changes in the meaning of an image
over the course of time.
• Analyze the audience reaction to the image.
• Analyze your own reaction and evaluate the
effectiveness of the image.
How to start?

• 1. Claims: What claims does the image make?

What type of claim is it?
• Fact Claim: Is it real?
• Definition Claim: What does it mean?
• Cause Claim: What is the Cause? What are the
effects? How are these related?
• Value Claim: How important is this? How
should we evaluate it?
• Policy Claim: What is the solution? What
should we do about it?
 • How is the image arranged or
composed? Which of the following
aspects of composition help makes the
claim? Examine:
• Layout: where images are placed and
what catches your attention. How visual
lines draw your attention to or away from
the focal point.
• Balance: size of images and how they
compare with one another. Is the focal
point centered or offset?
• Color: how color (or lack of color) draws
your attention or creates a mood
• Key figures: what is the main focus? How
does this contribute to meaning?
• Symbols: are there cultural symbols in
the image? What do these mean?
• Stereotypes : how does image support
stereotypes or challenge them?
2. Visual Composition: • Exclusions: is there anything left out of
the image that you expect to be there?
3. Genre:
• What is the genre of this
image? (examples: fine
art, movie, advertisement,
poster, pamphlet, news
photograph, graphic art
etc.). How does it follow
the rules of that genre or
break away from them?
How does that affect the
meaning of the image for
the audience?
4. Text:
How does
any text or
caption work
to provide
meaning to
the visual?
5. Appeals: How does it appeal to the audience to believe the
claims? Are appeals to logic? Emotion? Character? Authority?
Are any of these appeals false or deceiving?

6. Selling: Does the claim move into a sales pitch? Does it use
a cultural value or common cultural symbol in a way that
exploits that image?

7. Story: What story does this image convey? How does this
story help the claim or appeal to the audience?
Examining Context and
History

To get ready to analyze the meaning of the image for the

artist and the people viewing the art, it helps first to find
out the rhetorical situation. That means you need to
know what the artist was trying to do at that particular
point in time, and how the audience reacted. Sometimes
the reaction of the audience that first saw the piece is
very different from the response you might have. If it is,
that can do an interesting paper thesis.
Additional watch

https://www.youtube.com/watch?time_continue=20&v=pigFSxi25qc&feature=emb_logo

Reference
https://owlcation.com/humanities/How-to-Write-a-Visual-Analysis-Paper
 SET DESIGN
19IDE201T
Session – 6

A PRESENTATION BY
Prof.A.R.Narayani,
School of Architecture and Interior Design.
SRMIST – KTR – 603203.
narayanr2@srmist.edu.in
 Distinctions between
onstage and offstage.

Establishing Tone of a Set

Session 6
Establishing Style Of a Set

Establishing Mood of a Set

Distinctions between onstage and offstage.

ONSTAGE IS TAKING PLACE IN THE PART OFFSTAGE IS OF, OR RELATING TO THAT

OF A STAGE THAT IS VISIBLE TO THE PART OF A STAGE NOT VISIBLE TO THE
AUDIENCE AUDIENCE.
Establishing Tone,Style,Mood of a Set

• 'set the tone' is to establish a particular mood or character for something.

• When something someone does or says sets the tone for an event or
activity, it establishes the way the event or activity will continue, especially
the mood of the people involved.
• Some other examples of literary tone are: airy, comic, condescending,
facetious, funny, heavy, intimate, ironic, light, playful, sad, serious, sinister,
solemn, somber, and threatening.
• The set gives the first information on time period and location. A gothic
cathedral will tell the audience the play will be set in Medieval Europe, but
a fast food restaurant will probably indicate contemporary America.
 Set the style and
tone of the
production.
• Today many theatres do not use the main
drape, or curtain which separates the stage
and audience; instead, the audience sees the
set when it walks into the theatre. Therefore,
the audience makes assumptions about the
play's style and tone based on the set
designer's work, before an actor
• walks on stage or a line of the play is delivered.
 Set the style and
tone of the production.

• The style might range from a highly

illusionistic setting, in which we might
recognize three walls of a room with
complete furnishings, to a more theatrical
setting in which we recognize some
practical objects which only suggest the full
environment
Set the style and tone of the production.

• The tone of the set usually reflects the dramatic genre: for example,
tragedy may use a darker or less varied color pallette and a few, large
objects, whereas comedy may use a brighter and broader color pallette and
many realistic or comically exaggerated details
3. Genre:
• What is the genre of this
image? (examples: fine
art, movie, advertisement,
poster, pamphlet, news
photograph, graphic art
etc.). How does it follow
the rules of that genre or
break away from them?
How does that affect the
meaning of the image for
the audience?
Class activity
• Identify a genre which you would like to design the set for
• Create the mood board, using various elements and principles.
Additional watch

https://www.youtube.com/watch?time_continue=20&v=pigFSxi25qc&feature=emb_logo
https://www.premiumbeat.com/blog/how-to-create-mood-board-for-film/

Reference
https://owlcation.com/humanities/How-to-Write-a-Visual-Analysis-Paper
https://www.geneseo.edu/~blood/SetDesign1.html
https://blog.pond5.com/23909-setting-the-mood-how-to-create-great-mood-boards-for-your-project/