Designers


The Academy of Television Arts & Sciences Foundation Presents

02:26

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Highlights
Janie Bryant on her advice to aspiring costume designers
Bob Mackie on the famous curtain-rod dress he made for Carol Burnett in a spoof of Gone With the Wind on her show
Roy Christopher on bringing Pop Art to television production design in the mid-to-late '60s on such shows as the Andy Williams special "Love, Andy," and how well it appeared on camera
Bob Markell on the set design process from sketch to built set
Custom car designer George Barris on the craft of customization
Who talked about this profession

Thomas Azzari

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Thomas Azzari on designing the sets for Gunsmoke and The Wild, Wild West
Thomas Azzari on designing the set for the Seinfeld  episode "The Parking Garage"
Thomas Azzari on designing Seinfeld's New York street and various other sets
Thomas Azzari on the job of set designing for Seinfeld
Thomas Azzari on his advice to aspiring production designers 

Robert Blackman

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Robert Blackman on the fabrics they used for the costumes on Star Trek: The Next Generation
Robert Blackman on the budget constraints of costume designing for Star Trek: The Next Generation
Robert Blackman on the process of designing costumes for Star Trek: The Next Generation  and working with producer Rick Berman
Robert Blackman on where he gets the inspiration for his costumes
Robert Blackman on advice to an aspiring costume designer

Al Borden

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Al Borden on some of the "tricks" he used as propmaster for The Colgate Comedy Hour
Al Borden on how being a propmaster has changed over the years
Al Borden on advice to aspiring propmasters

Janie Bryant

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Janie Bryant on how she researched and designed the costumes on Mad Men and on the attention to detail for the 1960s period series
Janie Bryant on her collaborative work with Mad Men  series creator Matthew Weiner and their philosophy about the design for the costumes on the show
Janie Bryant on how much she knows in advance about Mad Men and how much she has to keep secret about her costumes
Janie Bryant on fabrics that are ill-suited for television and how she works with whites and dyes on Mad Men
Janie Bryant on her role as the costume designer for Mad Men  and the attention to detail on the show
Janie Bryant on her advice to aspiring costume designers
Janie Bryant on her own fashion style and brand

Ed Christie

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Ed Christie on the process of creating a puppet
Ed Christie on tailoring puppets to the puppeteers that operated them
Ed Christie on what makes a great Muppet design

Roy Christopher

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Roy Christopher on the influence of Pop Art on the art direction on television
Roy Christopher on how lighting has changed over the years
Roy Christopher on dealing with changing fashions and styles over the years in production design
Roy Christopher on styles in the then-present (2006)
Roy Christopher on his style
Roy Christopher on advice to aspiring production designers
Roy Christopher on the limitations of production design in the early years
Roy Christopher on the addition of "production designer" as a title in television and what the profession entails
Roy Christopher on the limitations of color shades when he started in the 1960s and 1970s

Joe DeTullio

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Joe DeTullio on forming his design aesthetic
Joe DeTullio on learning to do production design within a certain budget
Joe DeTullio on overseeing the construction of the sets for Saturday Night Live
Joe DeTullio on the challenge of making the art design as true to the original thing it's based on as possible with time restraints on Saturday Night Live
Joe DeTullio on the great pressures and challenges of the Saturday Night Live art department, and on trying to accommodate all needs and requests from the creative team
Joe DeTullio on what he enjoys about production designing for Saturday Night Live
Joe DeTullio on making sure the sets he designs are safe
Joe DeTullio on the basic tools and material he uses in the craft of production design
Joe DeTullio on monitoring costs of materials and labor in production design for Saturday Night Live
Joe DeTullio on production design being both an art form and a technical craft
Joe DeTullio on building models of the sets he wants to create
Joe DeTullio on not using technology when designing, and drafting by hand
Joe DeTullio on how he has evolved as a designer since he started
Joe DeTullio on his design style
Joe DeTullio on his favorite design period
Joe DeTullio on the importance of teamwork in production design
Joe DeTullio on advice to aspiring television production designers

Louis Dorfsman

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Louis Dorfsman on his duties as Art Director for CBS and working with Frank Stanton
Louis Dorfsman on his style as Art Director for CBS
Louis Dorfsman on the use of words and pictures in an ad and on placing trade ads in "The New York Times"
Louis Dorfsman on promoting news coverage as Art Director for CBS advertising and on working with Fred Friendly
Louis Dorfsman on his peers in the graphic design community, including Saul Bass, and on what set him apart from his peers
Louis Dorfsman on his advice to aspiring Art Designers

Peter Ellenshaw

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Peter Ellenshaw on his early duties at a studio and learning his painting technique 
Peter Ellenshaw on the craft of matte painting 
Peter Ellenshaw on his style and the tools he used
Peter Ellenshaw on advice to aspiring artists 
Harrison Ellenshaw on his father's style and the way he worked
Harrison Ellenshaw on advice for aspiring visual effects professionals 

Joseph Jennings

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Joseph Jennings on his production style
Joseph Jennings on working on various features as lead set designer and the duties of a lead set designer
Joseph Jennings on his duties as assistant art director
Joseph Jennings on the functions and responsibilities of an art director
Joseph Jennings on the difference between a production designer and an art director
Joseph Jennings on the duties of a set designer and on the duties of a set decorator
Joseph Jennings on the relationship between the director and the art director 
Joseph Jennings on the mechanics of preparing for a show as an art director
Joseph Jennings on the biggest challenges of preparing for a show as an art director and on doing art direction for science fiction shows including Star Trek
Joseph Jennings on art directors working with sound designers and on working with the director of photography 
Joseph Jennings on safety guidelines and on government codes that had to be followed for art directors
Joseph Jennings on the art director's involvement in location scouting
Joseph Jennings on deciding on shooting on location or shooting in a studio
Joseph Jennings on the differences between doing art direction for features, and on doing art direction for made-for-television movies 
Joseph Jennings on advice to an aspiring art director

John J. Lloyd

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John J. Lloyd on the path to becoming an art director 
John J. Lloyd on his typical work-week in early television 
John J. Lloyd on his start as an assistant and becoming Art Director on Alfred Hitchcock Presents
John J. Lloyd on how color television affected art direction 
John J. Lloyd on materials he used as an art director
John J. Lloyd on how he selects color
John J. Lloyd on his production design style
John J. Lloyd>  on advice to aspiring art directors
John J. Lloyd on his association with the Society of Motion Picture & Television Art Directors

Bob Mackie

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Bob Mackie on wanting to be a costume designer
Bob Mackie on his design style
Bob Mackie on advice to aspiring costume designers

Keith Raywood

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Keith Raywood on the role of an art director
Keith Raywood on ways in which he presents music on television, including the Eagles Hell Freezes Over special on MTV
Keith Raywood on how the production design department works with other departments
Keith Raywood on the tools he uses in his work as a production designer
Keith Raywood on working within a budget
Keith Raywood on considering different shooting formats when planning a production design
Keith Raywood on what has changed about being a production designer since he started, and on the advancing technology
Keith Raywood on what he enjoys about production design
Keith Raywood on his signature style
Keith Raywood on advice to aspiring production designers

Rita Riggs

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Rita Riggs on a typical workday at CBS Television City in the 1950s
Rita Riggs on adjustments that were made for costume designers when television switched to color
Rita Riggs on dealing with costuming guest-stars
Rita Riggs on a typical workweek as a costumer for several shows at once
Rita Riggs on the process of designing costumes for television
Rita Riggs on favorite fabrics and colors she uses when costuming, where she finds her inspiration, and her philosophy of costuming
Rita Riggs on the difference between being credited for costumes and wardrobe
Rita Riggs on advice to aspiring television costume designers

Jan Scott

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Jan Scott on a typical work day as an art director in the 1950s
Jan Scott on working with other art directors in the '50s
Jan Scott on audience reaction to her work in art direction, and on collaborating
Jan Scott on how technological advancements impacted her career as an art director
Jan Scott on how the advent of video tape impacted her work as an art director
Jan Scott on being the head art director and having people report to her
Jan Scott on being involved with location scouting
Jan Scott on working with cinematographers
Jan Scott on how she selects projects to work on
Jan Scott on how digital technology impacted her work as a production designer
Jan Scott on her involvement with the production designer's union, and with the Television Academy
Jan Scott on the biggest changes in production design that happened during her career, and technological advancements in the field
Jan Scott on her style as a production designer
Jan Scott on the the then-future of production design
Jan Scott on advice to aspiring production designers

John Shaffner

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John Shaffner on the duties of an art director, set decorator, production designer and prop master
John Shaffner on art direction for television vs. art direction for features
John Shaffner on his day-to-day duties as set designer for Friends 

Gary Smith

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Gary Smith on his duties as a set designer and on working with Harry Belafonte on "Tonight with Belafonte" on The Revlon Revue

Dick Stiles

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Dick Stiles on advice to an aspiring art director
Dick Stiles on his style as an art director and sculptor and on how he'd like to be remembered

Ret Turner

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Ret Turner on the craft of costume design
Ret Turner on working with directors
Ret Turner on his personal design style
Ret Turner on advice to aspiring costume designers; on the role of television on fashion

Leo Yoshimura

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Leo Yoshimura on making the transition from doing production design for theater to doing production design for television, and on finding work early in his career
Leo Yoshimura on his own and Eugene Lee's points of view and style of production design, and on his relationship with Lee
Leo Yoshimura on advice to aspiring production designers
SNL Production Design Team on how the team functions together, and on a typical work week for the team
SNL Production Design Team on their process of collaborating with each other on Saturday Night Live
SNL Production Design Team on their interaction with various other departments on Saturday Night Live
SNL Production Design Team on dealing with last minute issues on Saturday Night Live, and on mishaps live on air
SNL Production Design Team on how the team functions together, and on a typical work week for the team
SNL Production Design Team on their process of collaborating with each other on Saturday Night Live
SNL Production Design Team on their interaction with various other departments on Saturday Night Live
SNL Production Design Team on dealing with last minute issues on Saturday Night Live, and on mishaps live on air
SNL Production Design Team on how the team functions together, and on a typical work week for the team
SNL Production Design Team on their process of collaborating with each other on Saturday Night Live
SNL Production Design Team on their interaction with various other departments on Saturday Night Live
SNL Production Design Team on dealing with last minute issues on Saturday Night Live, and on mishaps live on air
About

This category consists of art directors/set decorators, costume designers, custom prop designers, production designers, propmasters, and set designers.