DESIGN CO-ORDINATOR

THE JOB DESCRIPTION FOR THIS POSITION WILL INCLUDE THE ENTIRE SET DESIGN SECTION OF THE FOLLOWING DOCUMENT:

Associated Designers of Canada, A.D.C. Standards and Working Procedures

THIS POSITION WILL REQUIRE THE SIGNING OF A CONTRACT.

The DESIGN CO-ORDINATOR, is responsible for co-ordinating scenic or costume design elements. The position of DESIGN CO-ORDINATOR usually exists in the absence of a contracted SET or COSTUME DESIGNER and the expectation is that the CO-ORDINATOR translates the design needs into drawings and models that conform to the Ryerson School of Performance’s (and A.D.C.’s) standards.

The DESIGN CO-ORDINATOR is not expected to have the same creative freedom and billing as a Designer. However, in some cases, this position may have artistic control over certain aspects of the design. In all cases, sketches and drawings must conform to the above mentioned ADC design standards.

The DESIGN CO-ORDINATOR is responsible for all scenic elements, props and paint treatments, and works closely with the different HEADS OF DEPARTMENT. In the case of Costume, this position works closely with the team in the Wardrobe shop.

DESIGN CO-ORDINATORS do not supervise in a management sense. All requests for unapproved work or changes to the design resulting in increased costs, must be negotiated with Production Management (for budget and scheduling implications), Technical Direction (for overall technical implications), and Heads of Department (for delegation and supervision of staff).

At the School, all DESIGNER CO-ORDINATORS must sign a contract, indicating acceptance of all duties and obligations, and outlining design due dates. Failure to perform according to contractual obligations may lead to academic penalty.

The responsibilities of the DESIGN CO-ORDINATOR shall include but not be limited to:

PRIOR TO REHEARSAL

• Meets with the Director, Choreographer or Faculty member to determine design requirements and discuss concepts; ensures the client is clear as to division of design duties
• Obtains all necessary and pertinent plans, drawings and inventories; these may include all plans and sections of the venue and inventories of all in-stock set pieces
• Performs research, as necessary, into the history and context of the production,
• Meets with the LIGHTING and PROJECTION DESIGNER to discuss concepts, colour, practical fixtures, fly line and trim height restrictions, masking, etc; meets with the TECHNICAL DIRECTOR to ensure accuracy of paperwork and confirm production restrictions
• Meets with the various HEADS OF DEPARTMENT to discuss inventory, staffing limitations, budgets, etc.

DURING THE REHEARSAL PERIOD

• Attends rehearsal often, adhering to the established “Visitor’s Policy”
• Becomes acquainted with the blocking of the show, in order to ensure design elements do not hinder the performers’ movements
• Meets regularly with the Director, Choreographer or Faculty member to ensure accuracy of artistic vision
• Reads, and promptly responds to, all DAILY REHEARSAL NOTES; meets daily with the STAGE MANAGER and TECHNICAL DIRECTOR to obtain clarification and confirm status of requests
• Researches, either alone or with the appropriate HEAD OF DEPARTMENT, all potential design elements, including alteration of stock items, rental items, etc. to be aware of budget and time implications when presenting the PRELIMINARY SET or COSTUME DESIGN

AT THE PRELIMINARY DESIGN MEETING

Comes prepared to discuss all preliminary design requirements, and includes a preliminary floor plan, a rough inventory of stock items required, loan/rental needs, consumables estimates, special rigging concerns, masking, trim and sightline issues, general descriptions of any proposed treatments, and any other aspect of the design expected to cost time or money

Produces, for the meeting, rough set sketches, drawings, preliminary plans and sections, elevations, and white models deemed necessary to explain preliminary design requirements

AT THE FINAL DESIGN MEETING

Comes prepared to submit and discuss all final plans, plots and lists, including, as appropriate:

• Painted Set
• Ground Plan/Section with Centre Line Section and trim heights
• Fly Line Plot
• Working drawings, as required

AT THE Q – TO – Q, TECHNICAL and DRESS REHEARSALS

• Is present at all technical and subsequent on-stage rehearsals
• Takes design notes and shares these notes with the appropriate HEAD OF DEPARTMENT at the end of the rehearsal

GENERAL

• Attends and participates in all production meetings
• Takes the initiative in arranging meetings/communication, when necessary, with the client’s design representative, other DESIGNERS, STAGE MANAGER, TECHNICAL DIRECTOR and other production staff, to obtain information
• Submits to the TECHNICAL DIRECTOR any documentation deemed necessary to the TECHNICAL BOOK (the technical archive of the show)

AFTER THE SHOW

• Attends and participates in the STRIKE as a crew member
• Attends and participates in the Post Mortem
• Submits written evaluations of all management staff and other personnel with whom they had regular contact, no later than the start of the Post Mortem

This information is intended as a guideline only. It is not intended to replace the required reading or research in your area, or information gained in the classroom.

The demands of this position, and the hours worked, will vary with each production.

THE DUTIES AND RESPONSIBILITIES OF THIS POSITION MAY BE ALTERED WITHOUT NOTICE BY THE RESIDENT STAFF AND FACULTY