8.2: The Design Process
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Throughout our industry and beyond, design is a simple yet important and often underappreciated subject. There are entire courses, and indeed majors, dedicated to design. For our purposes, we will study the process a designer takes in theatre. Using a simple ordered method, we can better organize our thoughts and create a better design than we otherwise would have when taking an unstructured approach.
Engineers often follow a design process to create structures and devices. Their method usually consists of some combination of the following ordered steps: (1) define the problem, (2) research solutions, (3) prototype design, and (4) test the design; only then to repeat the process until the best design is created. In theatre, we take a similar cyclical process more suited to our theatrical needs. J. Michael Gillette defined a seven-step design process in his book Theatrical Design and Production.[1] We will use his system as a groundwork for ours. Gillette’s model comprises of seven phases: (1) commitment, (2) analysis, (3) research, (4) incubation, (5) selection, (6) implementation, and (7) evaluation. Easily remembered as the acronym CARISIE. This process, when orderly followed, will lead us to a better design than one we could have created without such a framework.
Design is art, complex and messy. And to stay true to this chaotic medium, we should always use our emotions to influence our designs. As we explore the seven steps of design, remember to internalize your research and solutions. If you connect to your own emotions, so will the audience better connect your designs to their emotions.
Commitment
Commitment should always be the first step in any process. When committing to a project, you are showing dedication and resolve to complete a design. Because of this, commitment is arguably one of the most important steps of the design process. After committing, let nothing slow you down and agree to put 100% of your efforts to a design.
Commitment can take many forms; it can be a personal agreement, a promise among friends, or simply a handshake. But ideally, every project as a designer should begin with a contract, a written document that clearly describes what is being required of you as a designer, and what – if any – compensation the producer will give you in return. Take special care when attempting a design without a contract.
Analysis
Usually when designing for the stage, designers work from a script. Perhaps it is a play that was written long ago, or it could be a new work yet to be performed. Either way, the first place to begin a design is by analyzing the script. For centuries, language classes have been teaching textual analysis, and in reality, analysis for the theater is no different. We need to understand the messages and themes of the work so we can enhance them with our design. But even more than that, as a theatrical designer we need to convey emotion through our designs; and one of the best ways to do that is to follow a procedural approach to script analysis.
When analyzing a script, it is important to read it multiple times before making any decisions. We will read it three times, and with each reading extract different pieces of information to inform our design. On the first read, pay attention only to how the script makes you feel. On the second read, pay close attention to why you felt that way on the first read. And on the third reading, begin to think of what the play requires from you as a designer.
First Reading
Your first read of the script is one of the most important. It is the first time you are experiencing the story as the writer intended. Your mind is uncluttered with preconceptions of future plot points or the knowledge of any required theatrical magic. Take note of the emotions that surface as you read for the first time. Jotting specific adjectives in the margin can act as a reference for a future audience, who should feel the same way as you do now. This reading is for you to connect with the story. Do not bother crowding your mind with thoughts of technical elements or problem-solving techniques. Sit back and enjoy the story.
Second Reading
On the second reading we are still not ready to think about technical elements. We are still analyzing the story, further discovering the themes and emotion of the piece. As you read the script again, begin asking yourself questions about why you felt the way you did through the first reading. “Why did I feel sad here?”, “Why was I shocked when I learned the last name of the villain for the first time?” Answer these questions in the margins for yourself to aid in your analysis. Pay close attention to the words of the play for this reading, is there a unique rhythm, or unusual language used? Does the author create unique themes that influence your emotions? Write all of this down.
Third Reading
Finally, we can now read the script looking for the technical elements that the play requires of us. Read the script a third time and write down every technical requirement of the play that is contained in the text. Different designers may approach this a bit differently. A sound designer may focus on any aural requirements, while a set designer may pay more attention to locations. However, every technical element is important to every designer. If the location is an old, abandoned warehouse, that location can influence light and sound, just as much as it does the set.
Even if you are producing a play that calls for no scenery, like Thorton Wilder’s Our Town, you should still write down all the locations, sounds or times of day to help influence your design. When we get to the research phase of the design process, we can connect the technical elements with our adjectives from the first reading to begin melding all our design ideas together.
Research
Now that you have fully analyzed the text of the script, it is time to deepen your understanding of the play by researching it in greater detail. Use what you have learned from the analysis phase and let it influence your research. There are three main categories of research that designers use to deepen their understanding of a play: historical, conceptual, and image research.
Historical
Research the time period of events in the play using your knowledge of when the play was written and when and where it takes place. Begin asking questions about the play and its history. What is the audience's paradigm of that era? For some, the 1970’s are only about hippies and bellbottoms, and it is important to also know their view. But it can often be much more than learning about a single fad or trend. What was the historical context at the time the play was written? Furthermore, what were the architectural trends and design aesthetics of that era? If the play calls for a library, what were libraries like in that time? Be sure to analyze what the title means. On a cursory glance, the title of August Wilson’s Gem of the Ocean, is the name of a slave ship that brought African slaves to America, but with further research and textual understanding from your readings in step two, it can come to refer also to the liquid graves of the African’s that did not make the journey and chose a watery home over a life of slavery.
Historical research is not, and should not, be an excuse for you to research how other people designed this play in the past. Plagiarism of other people’s projects and ideas are not design. It may be important to watch the movie version of a play like The Wizard of Oz as an example, because the audience may come to expect some common design elements, but that does not mean you should give it to them. You are telling your version of the play, not recreating history.
Conceptual
Conceptual research centers around a design concept; a general idea used to formulate your design plans. Traditionally this can be created in collaboration between directors and their many designers, but it can also be a great exercise for any design task. In most cases, a design concept can be condensed into a simple sentence about the play or project you are working on. Your design concept becomes the framework for all your design decisions, it is a broad umbrella of steps of how to envision a design.
Imagine how the two following concept statements could create starkly different designs for William Shakespeare’s Romeo and Juliet:
- “Romeo and Juliet is a play about how love can lead to one’s demise.”
- “Romeo and Juliet is a play about the destructive nature of longstanding family rivalries and the tragic consequences of political interference.”
A notable design begins with a good design concept. Your concept will lead your choices in color and style. It will choose your aesthetic and determine symbols and the overall atmosphere. Every design decision you make will fall back on your concept statement.
Image
If “an image is worth 1,000 words,” it is easy to understand the importance of image research. Image research provides inspiration and guidance for the visual elements of a production. By looking at a wide range of images, designers can get ideas for the overall look and feel of their designs, as well as explore different design options. Image research can also help designers understand the historical context of a play and create designs that are authentic and accurate to the time period in which the play is set.
All designers can benefit from image research, even if the design medium is not specifically visual, like sound design. Images can give designers inspiration and help aid in the understanding of design elements. As an example, an image of a stormy ocean might inspire the use of specific types of sound effects to represent the rough waves and wind. As with other design elements, image research can also be a useful tool for communicating ideas to other members of the production team. By showing specific images to the director, other designers, and the rest of the team, a sound designer can help to convey their ideas for the soundscape of the production visually.
Incubation
Letting your brain rest and allowing ideas and concepts to "incubate" for a period of time can be an important part of the design process. In its most simple form, “incubation” can be resting. Do something entirely different than working on your design task. When you have been focused on researching and analyzing a design, it can be easy to become overwhelmed or burnt out. Taking a break and allowing your brain to rest can help you to approach your work with fresh eyes and a clear mind, which can be especially helpful when you are trying to come up with creative solutions to design challenges.
During the incubation phase, your brain is still working on processing and integrating the information that you have gathered. This can lead to new insights and ideas that might not have emerged while you were actively working on the design. Incubation can also help you to see connections between different pieces of information that you might not have noticed before and can help you to come up with more holistic and cohesive design solutions.
Because the design process is iterative, incubation is a very useful step in the design process. New ideas and connections can lead you back to more research or a better analysis and improve your future selection process.
Selection
Using your concept, analysis, and research, the process of selection involves careful consideration of the various design aspects that are available to you and choosing those that will work together to create a strong and effective final design. Designers needs to think about how each design decision will contribute to the final product, and how it will fit within the context of the whole project. This requires careful analysis and evaluation of the various options, and the ability to make informed and well-reasoned decisions about which elements to include in the final design.
The selection phase is a big one. When choosing design elements, designers often consider many different aspects to their designs, including feasibility, design unity and style, effectiveness, authenticity to the period of the play, functionality of design elements, and sustainability. Designers should create designs that are cohesive and consistent, rather than ones that feel disjointed or mismatched. To achieve this, designers need to make sure that all the different design aspects work together to create a unified whole. For example, if you are choosing costumes, you want to make sure that they are appropriate for the characters and the setting, and that they will help to convey the desired mood or atmosphere and connect to the concept of the design.
The selection phase is when a designer chooses what the doorbell will sound like; what colors will come from the lights; and what image will be painted on the backdrops, if there will be any at all. Once all the design elements have been chosen, it's important to review and refine the selections to ensure that they work together cohesively and effectively to create the desired look and feel for the production. This may involve making any necessary adjustments or changes to the selected elements in order to create the most successful design possible. Once the selection phase is complete, you can move on to the implementation phase, where you will begin to bring the design to life on stage.
Implementation
The implementation phase is the stage of the design process where the designer begins to bring their design to life on stage. Almost every other chapter in this book is dedicated to the implementation phase. This phase can involve several tasks, including drafting, constructing sets, making and fitting costumes, procuring props, setting up lighting and sound, rehearsing and performing. As the design elements are put in place, the actors and other members of the production team will begin rehearsing with the sets, costumes, props, and other design elements, in order to get a sense of how everything will work together on stage. Designers use this phase to get the production ready for an audience and test the systems to ensure that they are working properly. The implementation phase is a crucial step in bringing the design to life and preparing for the final production.
Through this phase, it is okay to go back to the previous steps to further refine your design. As the design is brought to life and the various elements are put in place for the first time, it can become clear what changes or adjustments might be necessary to improve the overall design. For example, you might discover that a particular set piece is not as functional as you thought it would be, or that a costume is not fitting an actor correctly. In these cases, you might need to go back to the selection phase and consider different options in order to find a solution that works better.
Going back to previous phases of the design process can also be helpful if you find that your original design is not achieving the desired look or feel, or if you want to make changes to better support the themes or ideas of the play. By revisiting your concept, analysis, and research, you can often find new ways to refine and improve your design. It is important to be open to the possibility of going back to previous phases in order to further polish your design, and to be willing to make changes and adjustments as needed in order to create the most effective and successful production possible.
Evaluation
Evaluation involves reviewing the final production and assessing how well it achieved its goals, both from a design perspective and from the perspective of the overall production. This can be a helpful process for identifying areas of strength and weakness, and for generating ideas on how to improve future productions.
One common way theatre artists evaluate their designs is to have a "post-mortem" (Latin for “after death”, in the medical profession a post-mortem is a medical examination of a dead person's body in order to find out how they died) meeting after the production has closed. This is a debriefing session in which the design team and other members of the production team, or other relevant stakeholders, can discuss their thoughts on the design and share feedback on what worked well and what could have been done differently. During the post-mortem, participants can discuss their observations and impressions of the production and share feedback and ideas for how to improve future productions.
It is, of course, okay for you to reach the evaluation phase at any point through your design process. You should always be asking yourself, “Is this working the way I hoped it would?” Don’t be afraid to admit that your selected design ideas did not work. Theatre is a collaborative art and should change and grow with the ideas of all collaborators.
Good design requires a combination of careful planning, creative problem-solving, and ongoing evaluation. Successful designers often navigate the steps of design in a systematic way, while also being open to new ideas and approaches. By following a structured design process, designers can create strong, effective designs that achieve their intended goals and make a positive impact on the audience. Often a structured design process leads designers to a better final design by allowing them to carefully consider their choices, think through potential challenges, and adjust as needed to create the most cohesive and effective design possible.
[1] Gillette, J. Michael. Theatrical Design and Production: An Introduction to Scenic Design and Construction, Lighting, Sound, Costume, and Makeup. McGraw-Hill Higher Education, 2013.