Level 3 -
Discuss the scenic art requirements with the designer or scenic manager to translate their vision into the reality of what the audience sees.
Reference: OCC0916
Status:
SOC 2020 sub unit groups:
Belgrade Theatre, Birmingham Repertory Theatre, Cardiff Theatrical Services, Disney, LADA/CC Skills, Maya Kazmarski (Freelance), National Theatre, Royal Exchange, Royal Opera House, Royal Shakespeare Company, Souvenir, The Really Useful Group, Welsh National Opera
This occupation is found in theatres, animation, TV, film and commercial workshops who undertake work for these organisations.
Scenic artists, depending on the employer requirements and contracts, also undertake work to develop exhibitions, support festivals and immersive theatre events, work for interior decorators, theme parks and site-specific events. The broad purpose of the occupation is to discuss the scenic art requirements with the designer or scenic manager to translate their vision into the reality of what the audience sees. These discussions may also include health, safety and environmental considerations, schedule, budget, and practical issues e.g. touring. In film and TV productions, the construction workers, which include scenic artists, play a vital role in determining the look of the production; they are responsible for building, painting and plastering sets for productions.
They may work from scale models, and pictorial references including technical drawings provided by the designer, photographs, textiles, and other items which convey aspects of the design concept. The scenic artist will then work to produce samples of the various scenic finishes needed, such as colour, textures, and style of painting. Once approved by the designer and if within budget, the scenic requirements can then be fully realised in collaboration with the production team.
Scenic artists ensure finish, repair and modification is correctly and efficiently carried out in accordance with safe working and manufacturing practices. They may be required to modify and complete works during performances or productions if alterations or repairs are required.
Scenic artists are largely based in a workshop environment which could include, small and large commercial workshops, and theatre companies. They may work in various other working venues and environments including outdoor work. They will also be required to work onstage or on-site, during rehearsals and at other specific times. This may mean working unsociable hours such as evenings, weekends and overnight during fit up, production and live event periods.
They use a wide variety of equipment such as drawing materials, power tools and paintbrushes. They are expected to work individually as well as within teams depending on the organisation’s size and structure. Scenic artists may at times be required to manoeuvre heavy objects, and work at height. In their daily work, an employee in this occupation interacts with members of the creative team which includes production managers, set designers, design assistants, scenic managers and directors. In TV and film, scenic artists are part of the construction department.
They typically report to the head of department, workshop manager or their deputies.
A scenic artist will liaise with other members of technical departments such as construction (if not part of the same department), props masters, wardrobe, sound and lighting and stage supervisors. In a wider context, they may interact with producers, site managers, contractors, and potentially with occupational health, human resources, IT and health and safety. An employee in this occupation will be responsible for preparing and finishing scenery to meet the design brief. They must work from designs and pictorial references provided by a set designer.
Scenic artists will either work independently or with others to achieve the objectives of the project, including timescales and costings. They must adhere to health, safety, environmental and sustainability policies, procedures and regulations including the safe use of materials. They will effectively control personal material use, taking into account material sustainability and environmental impact to minimise waste and increase efficiency. They must maintain and update their knowledge regarding all matters concerning materials, products and technique.
They will adapt their approach to ensure they select the most efficient method of attaining the project outcome. They are trusted to work unsupervised under the brief of their supervisor.
Belgrade Theatre, Birmingham Repertory Theatre, Cardiff Theatrical Services, Disney, LADA/CC Skills, Maya Kazmarski (Freelance), National Theatre, Royal Exchange, Royal Opera House, Royal Shakespeare Company, Souvenir, The Really Useful Group, Welsh National Opera
Interpret the creative design brief and consider how to implement to deliver the scenery or set in line with the production requirements.
Undertake research (for example period architectural detailing, genre, artist styles and methods) to support the delivery of the design brief.
Interpret the design requirements and demonstrate draughting skills using a range of techniques including scaling up, technical and freehand drawing.
Develop working samples from designs, technical drawings and pictorial references provided by the set designer, in collaboration with the creative team, in order to produce the finished set.
Undertake the realisation of all scenic finishes required using a wide range of techniques, materials and processes. These include, faux finishes, 3D textures and painting.
Maintain and update tools and equipment in line with manufacturer’s specifications and regulation requirements.
Repair, refurbish and maintain scenery during a production, and restore it to the original design brief wherever possible and as required.
Collaborate with scenic carpenters and scenic metalworkers to ensure the production schedule is achieved within the timescale.
Contribute to the costing processes for new projects and refurbishments of existing ones.
Maintain knowledge about new and improved methods, materials or working practices up to date.
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In this map, the focused occupation is highlighted in yellow. The arrows indicate where transferable knowledge and skills exist between two occupations. This map shows some of the strongest progression links between the focused occupation and other occupations.
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Progression decisions have been reached by comparing the knowledge and skills statements between occupational standards, combined with individualised learner movement data.
Creative and design