What is the Differences between a Set Designer vs Set Decorator?

The following information is taken directly from

Climb the Ladder

What is a Set Designer? (Source: Screenskills)	What is a Set Decorator? (Source: Screenskills)
A set designer is responsible for the overall look of a production. Both roles are important in creating a believable and visually appealing setting for a film, TV show, play or other performance.	A set decorator is in charge of the furnishings and props used on the set. Both roles are important in creating a believable and visually appealing setting for a film, TV show, play or other performance.
Set Designers are responsible for creating the visual appearance of a production, whether it’s a play, movie, television show or commercial. They work closely with the Director to interpret the script and develop a concept for the set. Set Designers create sketches and models of the set, which the construction team then builds. Set Designers also select furniture, props, lighting and other set decorations.  They may also be responsible for creating or finding special effects, such as pyrotechnics or mechanical devices.	Set Decorators are responsible for the overall look and feel of a film or television set. They work with the Production Designer to determine the style of the set and select all furniture, props, art and other décor items. Set Decorators source these items from rental houses, antique stores, prop houses or create them from scratch. They also manage the budget for the set decoration and keep track of all the items used on the set. Set Decorators work closely with the other members of the production team to ensure that the set is ready for filming and meets all the necessary requirements.
Job Duties	Job Duties
Set designers and set decorators share some of their job duties. They both create the scenery, props, furniture and other elements that appear on a film or television set.	Set designers and set decorators share some of their job duties. They both create the scenery, props, furniture and other elements that appear on a film or television set.
Set designers create the overall look and feel for a set	Set decorators determine the specific decorations for each scene
Set designers supervise the construction crew who builds the set. They ensure that the set is built correctly and meets all design requirements. Set designers may also communicate with directors and actors about the lighting and visibility on the set.	Set decorators work closely with the costume designer to coordinate the colours and styles of costumes with the set. They also manage the prop department, ensuring that they have the necessary props for each scene. Prop items can include food, drinks, books, maps, weapons and many other items.
Job Requirements
Set designers and set decorators typically need a bachelor’s degree in theatre arts, fine arts or a related field. Some professionals also pursue a master’s degree to gain more experience in the field. During their studies, set designers and set decorators might take classes in scenic design, lighting design, stagecraft and art history. Many programs also require students to complete an internship before they graduate.
Work Environment	Work Environment
Set designers and set decorators both work in film, television or theatre productions. They may travel to different locations for their jobs, depending on the project they’re working on.	Set designers and set decorators both work in film, television or theatre productions. They may travel to different locations for their jobs, depending on the project they’re working on.
Set designers often work in studios where they can use specialized tools and equipment to create a realistic setting.	Set decorators usually work in theatres or other performance spaces that already have existing features. They may also work on location during filming or performances.
Skills	Skills
Set designers and set decorators share some skills, such as creativity, an eye for detail and the ability to work within a budget. However, their responsibilities are different, which requires them to use different skills in their jobs.	Set designers and set decorators share some skills, such as creativity, an eye for detail and the ability to work within a budget. However, their responsibilities are different, which requires them to use different skills in their jobs.
A set designer is responsible for creating the overall look of a film or television set. They work with the director and production designer to develop a vision for the set and then create sketches or models that show their ideas. They also need to be able to find or create props and furniture that fit the style of the set. Set designers typically have a background in art or architecture.	A set decorator is responsible for filling the set with all the necessary furniture, props and decorations. They work within the budget set by the production designer and may need to source items from prop houses or antique stores. They also need to be able to install any large pieces of furniture or fixtures on the set. Set decorators typically have a background in interior design or set design.

Set Decorators visually interpret the personality of a film or television show from script to screen through set décor. Set Decorators play an essential role in the art department of film, television, and theatre productions. They are responsible for bringing imaginative and aesthetically pleasing environments to life, which help tell the story and set the tone for the production. They are responsible for designing, sourcing, and placing all the objects that appear on set. These items can range from furniture to artwork, to drapes, to lighting fixtures, or even to small decorative items that add realism to a scene.

A Set Decorator is an essential creative force in the world of film, television, and theatre, responsible for bringing directors' visions to life by meticulously curating the visual ambiance of each scene. This role requires a unique blend of artistic talent, keen attention to detail, and logistical acumen as the Set Decorator transforms blank spaces into immersive environments that enhance storytelling and character development. Whether it's a cosy living room, a bustling marketplace, or a futuristic landscape, the Set Decorator harmonizes elements such as furniture, lighting, textiles, and props to reflect the narrative's time period, location, and mood.

Set Decorator with team (Sec Dec)
(Source: Careers in Film)

Set decorators are storytellers. They create the background of the action, explaining the context, adding mood and visual interest as the drama unfolds. While prop masters deal with the placing of objects an actor holds, set decorators are concerned with the walls, floors, vehicles and furniture.

Set Decorators carefully decipher the psychology and taste of the characters which allow them to select, procure, fabricate, layer, mix, and match furniture, curtains, carpets, artwork, wallpaper, and other items that may denote character and/or plot while they also factor in the schedule and other practical considerations like stunts and visual effects, for example.

Before filming begins, set decorators work with the director, art director, props master and production buyers to go through the script and work out what sets are needed. They make a list and a plan for the props master to follow. Then they buy or hire the items and get in props makers to make furniture.

Set of "Friends" - see how the chairs, tables, rug, coats, paintings create the scene
(Source: Backstage)

ANZSCO ID: N/A
  
Alternative names: Set Dec, Set Dresser, Stylist (commercials), Scenic Designer, Display Coordinators, Stage Scenery Designer,

Specialisations: Theatre, Film or TV Drama,

• Sec Dec Team

  • Lead Person: Handles the scheduling and problem solving, ensuring that the Set Decorator has the right amount of people to dress sets and get décor and furniture there on time.

  • Set Dec Buyer: Assists the Set Decorator with sourcing and purchasing fabrics, paints, furniture, lights, wallpaper, and any of the set elements. A set dec buyer is answerable to the set decorator and the assistant set decorator. Further, a set dec buyer should have extensive knowledge of interiors through different eras of their work. In addition, they must develop a good rapport with stores, vendors, and rental houses. Some of the responsibilities for set dec buyers include:

    • They serve as backups for the assistant set decorator, and in their presence, they must procure rent or lease materials required for the studio or location set.

    • They must liaise with the lead dressers to ensure transportation of the set materials at appropriate times.

  • Set Dec. Driver: A set dec driver ensures the movement of materials to and from the set.
    

• Lead Dresser - A lead dresser is answerable to the set decorator. An assistant set decorator or set dec buyer leads a lead dresser in his absence. Some of the responsibilities of the lead dresser include:

  • To abide by the standard protocols while dressing and wrapping sets.

  • To accommodate scheduling and delegate the workflow.

  • To ensure the availability of proper tools and materials for the dressing crew.
      

• On-set Dresser - The on-set decorator is responsible for the placement and replacement of the materials on set. The responsibilities of an on-set dresser include:

  • Set dressing and decoration.

  • Maintenance of set dressing pieces.

  • Placement and replacement of set dressing materials as per the set decorator’s instructions.

  • A good understanding of the camera lenses.

  • Maintenance of floral arrangements and other plants indoors.
    

• Set Dresser - sometimes called "swing gang" arrange, pick up, and transport all pictures, furniture, and other set items that an Actor does not touch. This is a job for people who like a fast-paced gig and always being on their toes. A lead dresser is superior to a set dresser. A set dresser may assist in the following ways:

  • S/He ensures the safety of all materials used as set décor.

  • Handling, transporting, and maintaining all the materials within a set or studio location.

  • Listing of inventory for placement and replacement.

  • Loads and unloads the truck during the transportation of materials.
    

• Assistant Set Decorator - An assistant set decorator serves as a backup for the set decorator and in his presence assists him with all the activities mentioned below:

  • Research and acquire the materials required for set décor through rental, lease, or purchase.

  • They help list the material for different sets.

  • They assist in transporting the dressing materials within the studio or location sites.

  • They assist in storing, maintaining, replacing, and dressing inventory
        

• Prop Assistant

• Art Department Assistant

• Department Head

• Stylist: set decorators who work on commercials. There, the set decorator must think about where the advertised product is placed.

Set Dresser -  What type of TV show do you think she is "dressing"?
(Source: Careers in Film)

Knowledge, skills and attributes

Set Decorators should possess excellent visual, design, and spatial skills to create visually appealing and appropriate set designs. This includes being able to choose appropriate furniture, fabrics, lighting fixtures, and other décor elements. They should also have strong organizational and project management skills to manage budgets, schedules, and sourcing and placement of set pieces. A keen attention to detail and the ability to work in a team are also critical skills for this role.

• Understanding film: be able to pick up the director’s vision, know how a background can tell a story

• Style: have a good eye for decoration, a sense of colour and form, precise attention to detail

• Historical knowledge: research different eras and dress a set authentically

• Communication skills: work closely with the production designer and other departments, share the vision with the team

• Organisation: break down a script for set requirements, manage staff, budgets, complex schedules and transport

• Bachelor's degree in Fine Arts, Design, or a related field

• Extensive experience in set decoration for film, television, or theatre

• Strong portfolio showcasing a range of set decoration projects

• In-depth knowledge of art and design history

• Experience with budgeting and financial management

• Proficiency in design software such as Adobe Creative Suite

• Excellent organizational and time management skills

• Ability to work under tight deadlines and manage multiple tasks

• Strong communication and interpersonal abilities

• A keen eye for detail and visual composition

• Flexibility to work long hours, including nights and weekends

• Proven experience as a Set Decorator or related role

• Strong understanding of design principles and colour theory

• Ability to interpret and execute creative briefs

• Proficiency in hand-drawing or computer-aided design (CAD)

• Familiarity with sourcing and procurement processes

• Strong problem-solving skills and adaptability

• Knowledge of safety and health regulations

• Physical stamina to move and arrange heavy set pieces

• Ability to work collaboratively as part of a team

• Valid driver's license

• Willingness to travel to various locations for shoots

Hail Caesar! (2016), Set Decorator: Nancy Haig
(Source: Art Departmental))

Duties and Tasks

The Set Decorator, as the head of the Set Decoration department, is responsible to the Production Designer, or the Art Director (HOD), the Director, the Producer, and the Production Manager.

As a set decorator, you’ll be responsible for ensuring that sets appear exactly as they are described in a script. You will create in-depth designs that may only appear once throughout a movie, theatre or TV and will need to source all decorations (including vehicles and animals).

While Set Decorators do not function independently it is important to note that the Set Decoration Department as a whole is an independent entity with great creative and pragmatic (practical) responsibilities.
   
Set Decoration is the department that works for and with the Set Decorator. The Set Dec team gets the job done on the ground– sourcing, creating, and procuring furnishings and dressings as well as skilfully placing and arranging them on set amongst many other duties well before the shooting crew arrives. The team seamlessly works together while simultaneously collaborating with many other departments.

This creative is in charge of the decoration, coordination, and realization of the dressing of all décor, the procurement or fabrication of any and all set dressings, as well as the storage, movement, preparation and placement of all dressings within all studio and location sets. The maintenance, replacement and listing of all dressing inventory are also under their purview.

Drawn up sketch of restaurant vs restaurant set
(Source: Screen Australia)

The Set Decorator also monitors the dispersal of the approved set decorating budget, delegates work to the set decoration team as necessary for the efficient operation of the department, and completes each decorated set, camera-ready, before the shooting crew arrives or as required of the production schedule.

Set Decorators are involved in the pre-production stages, where they read the scripts, discuss the visual concept with the director and production designer, and plan the decoration of the set accordingly.br />
They often work within a budget, and have to make sure that all items acquired are within the financial limits of the project.

During shooting or performance, they ensure that the set remains consistent and manages continuity in terms of placement and integrity of the set dressing.

They also manage a team of set dressers or swing gang, who physically place the items on the set, and ensure the set is ready for the scenes to be filmed or performed.

Often, Set Decorators need to have a broad knowledge of different styles and periods of interior design, architecture, and art history, as their work may require creating environments from different eras or cultures.

The day before shooting set decorators arrive early to begin dressing the set. After the director and director of photography have checked it, the set decorators move on to the next scene. Once a scene has been shot, they are responsible for striking (taking apart) each set.

• Collaborate with the Production Designer and Director to understand the visual requirements of the project

• Research and source appropriate furniture, artwork, and decorative items for the set/p>

• Create detailed budgets and manage financial aspects of set decoration

• Oversee the installation and arrangement of set pieces on location or in the studio

• Ensure continuity and coherence of set decoration throughout the production

• Work with set dressers to place and adjust décor items as needed

• Maintain and organize a prop inventory and storage system

• Coordinate with other departments such as lighting and special effects to ensure cohesive visual aesthetics

• Conduct site surveys to assess locations and determine set decoration needs

• Hire and oversee the work of assistants and other set decoration staff

• Ensure all set decorations comply with safety and regulatory standards

• Maintain effective communication with suppliers, vendors, and rental companies

• Attend production meetings and provide updates on set decoration progress

• ImpIImplement adjustments or changes to set decoration based on feedback from the production team

Working conditions

Working above the Set Decorator in the filmmaking hierarchy is the Production Designer who begins collaborating with the Director, and Director of Photography to decide the overall look and vision of a project from the very beginning. Set Decorators then work in very close partnership with the Production Designer to help achieve that vision physically through furnishings and set décor. This does not include the structure or architecture of each set.

In larger productions, set decorators will have a team made up of assistant set decorators, buyers, set dressers, set decoration coordinators, drapers, cabinet makers, sculptors and so on. They report to the production designer and work closely with the art director and props master.

This position requires on-site work at various locations, including film sets, studios, and sometimes outdoor locations. The role may involve some travel.

Did You Know? Over 30 years before Catherine Martin's first Production Design Oscar, Australian Ken Muggleston won the Art Direction Oscar award for his set decoration on the musical Oliver! (which also won Best Picture). Muggleston was working as set decorator on Waterloo (1970), starring Rod Steiger and Christopher Plummer, when he was notified about his Oscar win. (Source: National Film & Sound Archives)

    
Tools and technologies
   
Many set decorators also undergo training in specific software such as AutoCAD, SketchUp, or Photoshop, which are often used in set design and decoration.

• Proficiency in design software such as Adobe Creative Suite

• Proficiency in hand-drawing or computer-aided design (CAD)

Education and training/entrance requirements
    
Although no formal training is necessary, previous experience in interior design may be beneficial. Set Decorators do not need a specific degree, but a background in interior design, art, or a related field can be beneficial. That said, Set Decorators often possess a bachelor’s degree in set design, interior design, fine arts, or a related field.

Practical experience, whether through internships, entry-level jobs in set or production design, or related fields, is often more important. They need comprehensive knowledge in history, architecture, and design to create realistic and appropriate settings.

Knowledge of materials, techniques, and safety standards used in set construction is also essential. While not always required, some Set Decorators may have a Master’s degree or postgraduate qualifications in a specific art or design discipline. Additionally, set decorators should have experience in working on film sets, either through internships or as part of their educational programs.

Some Set Decorators may also choose to complete professional training programs or courses in set decoration or production design.

Field experience, which can be gained through internships or lower-level positions in art departments, is highly valued in this profession.

There is no standard career path to be a set decorator. Often, they will have experience working as a production buyer or an assistant set decorator. They have usually worked in the art department for several years or in set design in the theatre.

Get experience: Volunteer to do set decorating for student videos. Or decorate stage sets in amateur theatre productions.

(Source: Art Departmental)

Employment Opportunitie

As the film industry progresses, the demand for skilled individuals who can design, furnish, and enhance our visual storytelling environments increases.

Set Decorators often start their careers by gaining education in fields such as Fine Arts, Interior Design or Theatre Arts.

This forms the theoretical basis for their work.

Practical experience is usually gained through internships or part-time roles in theatre, film, or television productions.

These beginners learn on the job as they assist experienced Set Decorators, Production Designers, or Art Directors.

Candidates with 1 to 3 years of experience might have developed the necessary skills to independently handle smaller projects or assist in major productions.

They usually get these experiences in roles such as Assistant Set Decorator, Prop Assistant, or Art Department Assistant.

Set Decorators with 3 to 5 years of experience usually have a comprehensive knowledge about sourcing and arranging set elements and might have worked on larger-scale projects.

They are typically competent enough to manage an entire decoration team or work on high budget films or television shows.

Those with over 5 years of experience in the field often possess leadership skills and have a long track record of completed projects.

These seasoned professionals are often hired to supervise large design teams, manage complex projects, or act as department heads.

Exhibition designers create displays and fixtures for large exhibitions, shows, corporate clients, museums and art galleries, or libraries. Exhibition designers are specially trained in the art of design and set up and may work solely for a museum or gallery or in a private firm.
   
An exhibit designer is a detail-oriented professional who helps set up, create, maintain, and remove displays for galleries, museums, libraries, tradeshow booths, design sets, exhibitions, and businesses. Their work is important during all stages of the exhibition process.

They may also be a part of the planning and research processes. The role typically involves interactions with many different people, including other exhibition designers, suppliers, contractors, and visitors to the exhibit. These designers are sometimes responsible for coordinating others in the set up of exhibits. 

ANZSCO ID: 511112
   
Alternative names: Exhibit Designer, Display Designer, Museum Display Artist,
  
Specialisations: Garden Exhibitions, Trade Shows, Museums, Galleries, Questacon,

Senior Exhibition Designer: Lead and deliver creative exhibition design concepts, documentation and oversee the production of exhibition layouts, ensuring the designs are appropriate for the display of collections as well as other associated collateral and deliver exceptional experiences for visitors. They also manage and lead a multi-disciplined team of exhibition designers, supporting the capabilities and growth of the team. They maintain collaborative relationships and consult with key stakeholders, to provide design leadership and expedite effective exhibition design from creative concept stage, documentation through to finished product.

Questacon Exhibit - Educating in Science
(Source: Questacon)

Knowledge, skills and attributes

To become an exhibition designer, you would need:

• excellent design and artistic skills
• the ability to think creatively and laterally
• technical drawing skills
• experience with design and 3D modelling software
• the ability to work to strict deadlines.

Design concepts
Exhibition designers develop strong skills in design concepts to help ensure their exhibits are aesthetically appealing and follow best practices. This includes having abilities to create effective concepts and prototypes and learning how to communicate and present these concepts to clients, supervisors, or other interested parties. It also includes integrating innovative design concepts and following structural, artistic, and systematic guidelines for an effective exhibit.

Creativity
Exhibition designers typically can express their creativity in the role. If you wish to develop skills based on creativity, you can practise your abilities and focus on the areas that interest you and those that need improvement. These skills can help you create concepts for displays, implement them effectively, and integrate all stipulations and ideas from others.

Prototyping
As exhibits may be large-scale, it can be beneficial to learn prototyping skills so that you can convey your ideas effectively without the time and resources needed to create a full-size version. This can help you express your ideas and present them to clients or leaders. Prototyping skills can also help you re-create interactive elements of your exhibit and have more accurate budgeting estimates.

 

Showing some prototypes as well as actual size furniture
(Source: Leif.designpark)

Design programs
Having knowledge of different design programs can help you in the brainstorming, prototyping, and instructional aspects of exhibit design. For instance, you can use your skills in design software to create sketches of your ideas. This can also increase your creativity, as you can experiment with different colours, shapes, and lighting to see which aspects demonstrate your ideas best. It can also allow you to visualize different versions of your ideas and to share them with others in the creative process.

Having skills in computer-aided design (CAD) is also very important for this role. This program can assist you in reconfiguring ideas, displaying concepts in 3D, and providing information for material and item creation. It can also help you to confirm that the designs you create are physically realistic and can function in the way you intend.

Relationship building
The role of an exhibition designer typically involves working with many people, including teammates, supervisors, clients, and visitors to the exhibit. Having strong relationship skills can help you interact well with others. This can also help you engage in effective communication to understand the stipulations you're to follow and to accurately explain your concepts. It's also important when interacting with vendors, venue representatives, and other employees needed for exhibit setups, such as electricians and construction specialists.

Marketing
Marketing skills can be beneficial for exhibit designers, as their role might require them to self-promote and market the exhibit they created. These skills enable you to create effective promotional materials and share them with others. For instance, strong marketing skills can help you promote an exhibit online and share information about your exhibit through physical media, such as flyers.

Marketing skills also comprise knowledge of applying effective design principles. They allow you to determine where to place paid advertisements so that as many people as possible view them. They can also help you learn about audience targeting and testing different versions of your advertisements so that you spend money wisely and effectively.

(Source: Chelsea Garden Show)

Duties and Tasks
  
As an exhibition designer, you would:

• design displays and stands for a wide variety of events
• meeting with others to determine exhibition guidelines, timelines, and budgets
• discussing clients' needs and requirements
• present ideas such as plans, computer-generated visuals and 3D models
• discuss with clients and agree on final designs
• produce design documentation
• handle orders for supplies
• oversee the construction of exhibition components
• consulting with others on exhibit construction
• acting as the main point of contact for any display and exhibit challenges
• creating and brainstorming exhibit ideas
• presenting ideas and determining the plans for moving forward
• creating prototypes of design elements
• delivering exhibit components to the venue
• interacting with clients to ensure satisfaction
• leading groups of other designers and supporting employees involved in the exhibit process
• creating documentation of design, ideas, instructions, and any related information, such as materials budgets
• working with other specialists in setting up various aspects of the design, such as lighting
• creating promotional materials for the exhibit
• evaluating the exhibit and receiving feedback on effectiveness and design
• creating sketches of design ideas
• ensuring the maintenance of safety requirements
• overseeing exhibit construction to meet mobility requirements
• ensuring spectators can move effectively through or pass by the exhibit
• signing off on the final version of the design before public access
• oversee assembly and installation at the exhibition venue.

(Source: Drive)

Working conditions

You would work standard business hours, but you may need to work extra or flexible hours to meet deadlines when events are being staged.

You are likely to be studio- or office-based, but would usually also visit clients or exhibition sites. In some jobs you may need to travel extensively. This also means that you may travel between your main workstation and the venue of the event. This role is often full-time with regular business hours, but it may involve weekends or evenings and overtime hours to meet deadlines. You can conduct most of this work indoors, but some exhibitions may be outdoors. As the role involves manoeuvring and adjusting physical components, it's important to have physical strength and stamina to complete your duties and avoid injury.
   
As an exhibit designer, you may have various work environments depending on your employer and the focus of your work. For instance, you're likely to have a combination of independent and collaborative work. You may work independently at your own desk while conceptualizing design elements and then meet with the team to brainstorm and delegate tasks. You may also access the exhibit site independently to make assessments and then work with others to implement the design ideas.

  
Tools and technologies

(Source: Arts Management & Technology Laboratory)

Visitors’ criticisms demand a shift from passive, encyclopaedic exhibitions with curatorial authority, to ones that engage visitors and place them at the centre of focus. This has ignited a change in approaches to exhibition design. One of them is the employment of immersive approaches together with strong storytelling, which can create memorable experiences and redefine the visitor experience.

Museums are adopting computer technology as a new medium and an opportunity to create immersive experiences. In these situations, electronic systems enable viewers to control and manipulate different media types, such as light, sound, video, and computer graphics, generating dynamic interactive content.

(Source: Architizer)

5 Technologies that enhance museum experience

• 3D Scanning: captures an object’s exact shape and size as a digital 3D file, which can be manipulated on the computer or exported out as a 3D reproduction. With sophisticated 3D scanning technology, it is now possible to create extremely precise reproductions of artworks with detailed textures of brushstrokes and colors. This innovation can help museum visitors experience collections through tactile interactions with artwork.
• Massive Open Online Courses (MOOCs) - helps people know about the exhibition before coming physically to the exhibition
• Beacons: are a location-based technology in the form of small wireless sensor. When a visitor walks in proximity of a beacon with their Bluetooth-enabled devices like a smart phone, the beacon automatically sends messages and content to the visitors’ devices.
• Telepresence Robots: can be a convenient tool for conducting digital museum tours for visitors that are home-bound.
• Projection mapping technology: is a projection technology that turns a non-flat object or landscape into a display surface for video projection. This technology has been used on building facades to temporarily change the appearances of historic buildings in an artistic way, Projection mapping is generally used for outdoor installations, but it can also be used to enhance visitor experiences with museum collections

(Source: Questacon)

Education and training/entrance requirements

To become an exhibition designer you usually have to complete a VET qualification in design, visual arts, or scenery and set construction.

You can also become an exhibition designer by completing a degree in design, visual arts, fine arts, creative arts, technical production or visual communication. Working as an exhibit designer may require a bachelor's in fine arts or visual arts, graphic design, interior design, industrial design, or drafting. If you prefer to pursue a diploma program, you can choose one that focuses on theatre, exhibit, or clothing design. Developing your skills with additional courses focused on illustration, lighting and costuming, props, or illustration can also help you qualify for more roles in the field.
   
To get into these courses you usually need to gain your senior secondary school certificate or equivalent. English, visual arts and design would be appropriate subjects to study prior to university.

Skills can also be gained on the job through extensive experience in the industry.
    
You can also improve your chances of an employer hiring you by creating a professional portfolio to display your most impressive work. If you're just beginning your career, you can include concepts and prototypes rather than photos and records of your previous work. If you're more experienced, be sure to organize your portfolio in a way that effectively demonstrates the range of your skills and your most impressive abilities.

  
Employment Opportunities
   
Overall employment of exhibition designers is projected to decline.

This is a small occupation, and more modular options are now available for exhibition setup, leading to less demand for bespoke designs.

Did You Know? Jing-Ling Chua, Senior Exhibition Designer CAMEO NGA - So you want my arts job: Exhibition Designer 4 October 2020 As Senior Exhibition Designer for the National Gallery of Australia (NGA), Jing-Ling Chua has contributed to over 30 exhibitions for the NGA, including major exhibitions as diverse as Fred Williams: Infinite Horizons, Roy Lichtenstein: Pop Remix, Myth+Magic: Art of the Sepik River and Cartier: The Exhibition. In 2019 Chua was part of the Venice Biennale Professional Development Program as an Emerging Arts Professionals. She also fosters her passion for architecture and graphic design through personal projects, including co-founding Hester art magazine, an online platform for artists, writers and curators to publish original art writing. She is currently working on the Know My Name: Australian Women Artists 1900 to Now which will span 4300 square metres of National Gallery floor space. How would you describe what you do? Exhibition Designers plan the visitor flow, key sightlines, and transitions between gallery spaces to subtly craft a dialogue between the art and the visitor. We understand the spatial environment of a gallery, its architectural opportunities – and limitations – while carefully considering how a visitor interacts with the works of art within this context. What do you need to be an exhibition designer? Creativity and a keen eye for colour, materiality, and space. You also need technical drawing skills and the ability to convey design concepts through models, drawings or 3D renders. Being a good listener helps, as we take on board the specialist needs of the exhibition team and give them form to shape the experience of the visitor. Walking around NGA How did you get your start in this career – what was your first job? After studying architecture and working for a local building company, I enrolled in a Graduate Diploma in Museums and Collections at the Australian National University. As part of my coursework, I managed to secure an internship with the NGA’s Exhibition Design team. I would come in for two days a week across three months and was able to absorb inner workings of the gallery. We were installing an exhibition called Soft Sculpture at the time. There was such variety in scale and mediums of the works, from Korean artist Choi Jeong Hwa huge vinyl inflatable Clear lotus flower, 2009 to Eva Hesse’s monumental suspended work Contingent,1969. I got a glimpse into the wonderfully collaborative nature of installing an exhibition – witnessing all of these highly specialised NGA experts coming together on the gallery floor. How collaborative is this job? Extremely! I’m constantly liaising with team members through all phases of the design process. In the concept stage we take cues from the curator’s vision for the show as well as artist, lender and conservation requirements. During the design development stage, I prepare design document drawings, floor plans, physical models and 3D renders for approval from the executive staff. Refurb periods involve managing builders and painters. With prototype (Source: Medium) Then the most rewarding part of the job is the install period, when you get to see the works of art in person, can appreciate their magnitude and see the design take shape with the help of exhibition coordinators, installers, conservators and registrars. Another truly rewarding part of my job is the opportunity to connect directly with artists to better understand their intention for their work. I aim to be sensitive to the artist needs, bringing my experience and knowledge of the galleries as physical spaces to find suitable design outcomes. For the upcoming Know My Name: Australian Women Artists 1900 to Now exhibition I’ve been fortunate to work with many incredible artists including Barbara Campbell, Janet Laurence, Mikala Dwyer and Micky Allan to discuss the location and form of their works. Tell us about some of the early process in exhibition design Of the 390+ works within Know My Name, careful consideration goes into where to place each work within the 23 gallery spaces. I’ve been designing exhibitions at the Gallery for over a decade and have become quite familiar with Colin Madigan’s building, however I’m still discovering new vistas, punctuations and rhythms in the architecture. For this exhibition, after researching the works and understanding their installation requirements, I began by intuitively placing the large-scale and more complicated works at key sightlines and strategic points within the layout. This allowed me to ensure there is variety in the experience as you move through the exhibition and control the pace. What’s an average week like? I’m always juggling a few projects on the go, focusing most of my time on allocated temporary exhibitions, whilst managing the permanent collection and touring exhibition changeovers. No two weeks are the same and that’s what keeps the job interesting. Fortunately, I’m not stuck behind a desk all week. This week I have come in before hours to oversee a signwriter update signage related to the recently opened Art Store; moved pallets of exhibition furniture from the art dock to the exhibition space; looked at works of art in the conservation lab to discuss display solutions; and spent time in the galleries with the curators to advise on the placement of works. What’s the most common misconception about being an Exhibition Designer? The role is much more than simply selecting paint colours as a backdrop. Also, art is not just paintings on a wall. One of the principal aims of the Know My Name exhibition is to demonstrate how women artists have challenged material hierarchies and ideas of high and low art. Some examples of artists within the exhibition working in diverse media include: Mirka Mora’s hand-painted fabric dolls fashioned from her children’s bedsheets, right through to Justene Williams’ Given that/You put a spell on/mine uterus (2014) which includes a ute, a fridge and neon lights. In an interview for your job, what would you be looking for in an Exhibition Designer? A highly creative designer who can synthesise complex concepts from a brief and use engaging and innovative design ideas to present them. What’s changing in Exhibition Design today? Over the past half-century, exhibition design for museums and galleries has evolved from being predominantly collection-focused to now – much more visitor-centred experiences. Advances in interactive technology and lighting are also guiding immersive experiences in the museums sphere. I’m passionate about questioning and rethinking the design process to maximise environmental sustainability throughout our practices – and embedding them into the profession. Building and installing temporary exhibitions don’t need to use large amounts of construction materials that are difficult to recycle. Clever design thinking, material selection, reuse and modularity are important steps in the right direction for our field. (Source: NGA) Can you share with us the impact of the COVID pandemic on the Know My Name exhibition design? COVID-19 meant that the Gallery’s exhibition program had to be adjusted, and this made new gallery spaces available for the Know My Name exhibition. We were able to increase the footprint of the show to 4300m2 which was very exciting. We worked closely with the curatorial team to rethink what was possible. We shifted from working collaboratively using a physical model to connecting via Skype from our respective homes, with me screen sharing my software Vectorworks to prepare the layout and elevations virtually. These drawings were then shared to teams across the Gallery to guide their work. To encourage social distancing, the layout is intentionally open, and I had to remove any elements that visitors would touch from the exhibition. One important moment in the exhibition is inspired by the seventeenth-century displays of Paris Salons where works of art were stacked floor to ceiling — we have a 12m wide x 6m high salon hang dedicated to portraiture. iPads or large format pick-up card labels were no longer suitable to convey the information for the 60 works on this wall, so now I plan on having a large wall label and the opportunity for visitors to download the exhibition labels onto their own device during their visit. Jing working alongside Exhibition Designer Georgina Whigham to place works in the scale model   How many artists, mediums and works of art are included in this exhibition? The exhibition spans 23 galleries, includes over 170 artists and contains over 390 works of art drawn from the National Gallery’s collection and private and public collections from across Australia. The exhibition encompasses works from 1900 to now, which utilise a range of materials including The Westbury Quilt 1900 by Misses Hampson; Frances (Budden) Phoenix’s doilies and embroideries; Thanakupi’s ceramics; Ewa Pachuka’s sprawling sculpture Landscape and Bodies 1972 made from crocheted hemp and sisal; Vivienne Binns’ Tower of Babel 1989–2014 comprising almost 100 individual dioramas; Esme Timbery’s installation Shellworked Slippers 2008 and r e a’s Resistance 1996 textile flag. What have been some of the unique challenges in designing this show? Justene Williams’ immersive installation Given that/You put a spell on/mine uterus 2014 uses found objects drawn from the Australian suburban vernacular, including a Ford Falcon ute, fluorescent lights, a bar fridge and a BBQ. We quickly realised the Gallery’s freight lift is not long enough to accommodate the ute, and so have been speaking with Justene about getting it cut in half in order to get it into the Gallery and reassembling the work within the space. There are several works in Know My Name that involve suspended elements. Across the galleries, ceiling heights varying from 2.8m to 12m high, with some spaces having extremely limited rigging points. In these instances, the design is informed by the architecture. We have to think creati­­vely working with an engineer to determine a suitable hanging system and ensure the work can be installed in a safe way. Describe the collaborative relationship with the curators Know My Name is co-curated by Deborah Hart and Elspeth Pitt, assisted by Yvette Dal Pozzo. The curators and I responded to the need to redesign the exhibition in a short time frame by mobilising our creativity and passion to progress the project. We navigated the uncertainty of the situation by being incredibly supportive of each other during such a challenging time. The increased gallery space allowed us to introduce large scale works by Kathy Temin, Mikala Dwyer and Simryn Gill. Communication was key and working from home allowed for longer, more intensive design sessions. ‘Working with Jing has been an incredible experience. She effortlessly marries pragmatism with creativity, allowing for a design which is feasible to execute as well as ambitious and dynamic. Within Know My Name, we are constantly looking to women who have worked collaboratively and inspired each other across generations. What is so lovely about this project is that collaboration is something we are both representing and also experiencing as a team. Jing has been an integral member of the exhibition team and has made this ambitious project come to life. ‘The circumstances surrounding the COVID-19 pandemic meant that we had to develop the exhibition while socially distancing and working from home. We Skyped and screenshared from our laptops most days to imagine and shape the exhibition design. This would not have been possible without Jing as we trialled many different combinations in each gallery, working with objects which were scaled down in digitally rendered versions of our gallery spaces.’ Curators Deborah Hart, Elspeth Pitt and Yvette Dal Pozzo Describe the collaborative relationship with artists It’s such a privilege and so rewarding to connect directly with artists to better understand their intention for their work. I aim to be sensitive to the artist needs, bringing my experience and knowledge of the galleries as physical spaces to find suitable design outcomes. We’ve been fortunate to have many artists including Barbara Campbell, Janet Laurence, and Micky Allan visit the Gallery to discuss the location and form of their works. We are collaborating with Micky to design a zone within the exhibition that emulates her 1978 exhibition A Live-in Show performance, in which she disrupted the typical gallery experience and transformed the gallery into a domestic space where visitors could make themselves at home. We are working with Micky to select furniture pieces together, and the carpeted room will be populated with collection works of art by Micky and her contemporaries as well as items from Micky’s home. ‘Jing strives to create the atmosphere of the works that are to be exhibited in the space and honour their particular nature and dynamic. She made a masterful adaption of the Live-In space for Covid needs.’ Artist Micky Allan Tell us about some of the some of the extraordinary works of art you are accommodating in the exhibition. What are some of their specific needs? Visitors start the exhibition with a room containing 12 works dedicated to the ancestral story of the Seven Sisters, including a new major commission from the Tjanpi Desert Weavers. This work contains seven life-sized woven figures, sitting under a colourful, suspended dome structure that glistens with lights to mimic the night sky. The dome is over 4m wide and will arrive in eight pieces. Georgina works specifically to design the space for the Tjanpi Desert Weaver commission Mikala Dwyer’s Square Cloud Compound 2010 requires at least a 14m x 14m room with a minimum height of 4.5 metres. A circle of 10 poles surround a colourful tent structure that are suspended from the ceiling using an assortment of pre-stretched black and tan Razzamatazz stockings. Simryn Gill’s Forking tongues 1992 involves cutlery and chillies meticulously placed in a 6m diameter spiral on the gallery floor. The lender has asked we source the dried chillies, which we will freeze for several weeks pre-install to ensure no insects travel into the Gallery with them. Jing designing the unique installation of Mikala Dwyer’s Square Cloud Compound 2010 Tell us about the collaboration with Gemma Smith. What special impact does this unique partnership have on the exhibition as a whole? The Gallery has commissioned painter Gemma Smith to devise a colour palette for the Know My Name exhibition walls. Gemma’s concept explores the palest end of the colour spectrum with an emphasis on subtlety. With such a diverse range of works of art within the exhibition, this thoughtful concept complemented the exhibition perfectly. Gemma is a talented colourist and provided a beautiful hand painted A4 card with 15 colours to start. I used this as a springboard to select Dulux paint samples which we painted out on larger panels. Holding up the large swatch boards within the gallery lighting revealed which colours were suitable or needed to be reduced to half or quarter strength. We continued this process until we selected our final colours. Working with Gemma has been like travelling through these familiar galleries with a fresh set of eyes. Her innovative perspective encouraged me to think more critically about the progression of colours on the walls and how to generate ‘rules’ for the way these colours intersect. Jing and Georgina are working with the colour swatches and wall palette proposed by artist Gemma Smith ‘What is interesting about them is that the colours are still active but barely discernible… This approach will reward attentive viewing, slowing down the experience of art, encouraging visitors to pay more attention’. Artist Gemma Smith Is there a particular aspect of the exhibition you are looking forward to experiencing once the exhibition is installed? I’m looking forward to walking through this comprehensive exhibition which occupies almost half of the Level 1 galleries and appreciating its scale. There has been a history of gender imbalance in many art galleries around the world. This exhibition is an opportunity to celebrate great women artists and appreciate their perspective on the world. (Source: NGA)

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Taylor & Francis Online [Immersive Exhibitions; ]
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