2010 Family Series, Scenic Design

This article is about designing a set for a series focused on family issues for main stage at Willow Creek.



At the beginning of this year a six week series began, discussing family issues, entitled, “The 2010 Family Series.” It was the first scenic set of the year and the most challenging set to finish due to the short time frame to complete. Normally, for our weekend series, we schedule seven weeks for designing and the construction process. There are times when seven weeks are not enough time to complete the process, especially when the first weekend set in January and Christmas set in December, compete for the same time.

For each project, there are meetings with the producer and production team, discussing the content, special needs, values, concepts and approved design. The special needs discussed for this series was this; three guest speakers on three distinctive weekends; two of those would be interviews; large 15’ x 24’ center screen that would be used to display content for our teaching pastor and a 30’ x 18’ baptismal pool, used for baptisms. With both the center screen and the pool combined, 57 feet of space is needed.

With the information discussed in our meetings the designer begins the process of creating ideas for a scenic design that will create a positive experience for the audience. The design would most likely support the content of the subject but there are times when that may not be practical. One of the most time consuming parts of the process is researching for visual references. Google Images is a great starting place. For this series, I viewed many photos of families in many settings considering the diversity of the audience; singles, divorcees, widows, or married individuals. After about a day of research, an image reminded of something I experienced when I visited Oprah’s studio, on an off day of recording last year. I remember sitting in a chair where the audience sits, thinking about the experience they would encounter at a live show. I began imagining Oprah dealing with some tough issues and the audience anticipation toward learning about answers to the issues. I sensed warmth, intimacy; we’re in this together, security and hope. With those thoughts I saw several creative ideas for a scenic set. What is amazing about this process, a visual triggered an experience that I had forgotten about. We have many creativity ideas stored in our mind; all we need is a key to unlock them.

One of the first few decisions considered was the scale of the scenic elements and special needs in comparison to our stage size. I decided creating two walls 26 feet wide x 12 feet tall would be ideal. With the 25 feet center screen in its position, this would give us a total width of 77’ of set on a stage that is 92 feet wide. Next placing the baptismal in front of the set meant I needed to locate the set further back. Furthermore, I considered bringing the set closer to the audience to create more of an intimate feel. When considering the scenic elements in different locations lighting positions are considered, locating the scenic set in a position that will not block lighting coverage of set and individuals on stage, such as the band or worship team.

Upon drawing the walls I decided we needed a touch of God’s creative realism. I have enjoyed many wonderful moments looking at God’s creativity; the sky, the landscape and seasons from my large kitchen window in the mornings. After thinking upon this for a moment, I realized that a simple window entices us to see life beyond our walls. Creating a visual element that would suggest to the audience, God’s creativity is there for us to recognize He's bigger than any issue we face, was important. I began adding large windows within the drawing and placing the video screen behind the windows to generate outdoor landscapes.


There are many great benefits of a 3D cad drawing. Once drawn, I am able to view site lines, lighting effects and positions from any where in the auditorium and to make decisions on line batten positions, to lift or hold a set in place. The cad software we currently use is called WYSIWYG. It’s a cad designer and lighting designer all in one. With the click of a mouse, I easily made stage placement of the scenic set, pool, and screen that were competing for space. It became obvious the set needed to be in a location where there wasn’t any line battens to support the set. This meant the scenic set needed to be self standing and portable on casters. This would make the set more versatile, allowing us to move it in different positions and locations. Other additions I included were, adding flowing drapery to the windows, and art paintings to the walls to get away from a sterile feel, and 11 – 6 feet x 23 feet canvas panels positioned horizontally and vertically behind and over the scenic set. The panels helped to create upper and lower boundaries and helped mask the video screen that was behind the set windows. Next, I looked at different reflective materials for the walls. Flexibility revolves around choice of construction materials, the approach of construction, and the number of skilled volunteers serving. I decided on a plastic material called Cora Plast, a translucent material that reflects lighting very well. It comes in 4 x 8 sheets; it is light weight, reasonably priced and easy to cut. Another benefit of this product was we did not have to paint the walls for this set. Since it is translucent the lighting designer can explore creative options with light color. The entire walls could change to any color. Remember the scenic designers and the lighting designers are artists that are in this together with the common goal of creating a beautiful scenic portrait. The lighting designer can make or break the look of the set. We have to work closely together to select or avoid certain colors, textures, shadows, and reflections.


Upon completion of the drawing, my next meeting was to discuss the scenic elements with the producers and lighting designer. This was an important next step meeting. We reviewed the overall look of the set, budget, sight lines of audience, camera angles, entrances for the worship team and band placement. For this set, there were no changes and was given the approval to complete. When you figure out the big idea, you realize your drawing has led you to a solution, a solution that will connect the audience to an experience significant to the content. It’s always a gratifying moment, knowing God will be glorified by the connection.