Everyday Life

AutoCAD© Architectural Desktop, 2002.

I worked as a computer specialist Set Designer on the television pilot for Everyday Live for eight days. It was a typical project. My project was to design three sets, a large multi-purpose second floor space, a small two room attic bedroom, one room was a bathroom set shared with the first set, and an unrelated loft conversion. All the sets had complex ceilings with arches and beams. I developed several built-in book shelves for the main set. Because it was a sit-com, the sets were intertwined. I produced about six sheets, one computer model, and one foam core model in 8 - 8 hour days.

I used AutoCAD© Architectural Desktop 2002. In addition to 2D CAD drawings, I also made a computer massing model using AutoCAD Architectural Desktop, and a foam core Art Department study model. My versatility enables me to work in traditional pencil draftings and physical models as well as computer aided drafting and virtual computer models.

This was not a typical Sit-Com, but rather, employed improvisation.

Drawings and models include:

Plan.
Elevation.
Elevation.
Elevation.
Revised plan.
Revised elevation.
Computer model.
Foam core model.

I was not able to take a photo of the foam core model that I built on my last day. I had only five hours to make last minute revisions to the drawings and then build a model. I was not prepared and did not have proper tools or materials, but was able to build the model in about three hours. There was no time to photograph the model before it flew off to a meeting.

Images are in the password protected area.

Note: These drawings are presented here for portfolio purposes only. These drawings are not available for sale or to be given away in hard copy or digitally in any scale. I will be happy to show hard-copy during a legitimate job interview for Set Designer.

I love my work and have had only one supervisor in 25 years that I can complain about - and this was it. What made the job more challenging was that the Production Designer was finishing another show and usually not available for guidance and the Art Director was also distracted with planning an Art Director Guild event, so I was on my own much of the time. I did a lot of un-paid overtime, which I am told is common in an Art Department for this Art Director. I don't mind a little of this as long as it's appreciated, which it wasn't. Never have I worked so hard, so well, or so fast, and this was the only time an Art Director was critical of my work. As I raced to build a model for a presentation, a PA walked by and commented how quickly I was working, the AD wasn't satisfied. Despite a very short schedule, the AD required me to spend several hours changing my style on my drawings to match the other Set Designer's style, which had no effect on accuracy or readability but wasted time that I was criticized for. Then I was not allowed a check plot to see that it was all correct. Further, I was not alloweed to have direct access to the plotter which meant that I could not plot what I needed when I needed it. As a result, the Production Designer usually only saw day old drawings. I was given refference for a tall loft window and required to match the proportions, with a height and width dictated that were far from the same proportion. I spent days yoyoing the size of the window. I was early every morning except the day that a major freeway accident added an hour to my commute and the day the AD forgot to tell me of a change in call time. Despite all my best efforts, this was the only disappointing Set Design job that I've ever had. I worked hard and did an experienced professional job, but was treated like an intern. After completing this project, I took six months off to work on photography, art, and sculpture and to recharge my creativity. Overall, I did an excellent job, despite the obstacles.

This page last updated 10-7-05

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