Ramona Roye is the set designer/production designer on the upcoming A&E series, Hip Hop Treasures. Originally from Jamaica, West Indies, she has worked in entertainment and design for over 11 years, and divides her time between set design and creative direction. She spoke with A&E about the evolving nature of her field.
What A&E project are you working on?
I recently worked on Hip Hop Treasures, which is scheduled to air this summer 2023.
What role did you have on the project?
I was the Set Designer/Production Designer.
How long have you been doing this kind of work?
I have worked in entertainment and design for over 11 years. I also work as a creative director in the advertising industry. I go back and forth between set design and creative direction.
Tell us a little about your history.
I’m originally from Jamaica, West Indies and growing up I had no idea that there was a job called a “set designer” or “production designer.” I didn’t know that I could draw or I was good at art until one day I saw a drawing contest in the back of a teen magazine. I decided to give it a try and sent in my drawing and won. The prize was only $50, but as a child that meant a lot.
[That] sparked a deeper interest in art—however I had no idea that I would be working in the design field, as I was on route to become either a commercial pilot, neurosurgeon or civil rights lawyer.
I went to St. John’s University and majored in advertising design and minored in fine art. I have had the pleasure of working on some amazing projects and clients. One of the things I love the most about design is being able to create an environment from just a brief, script or concept. When I read a script or RFP (request for proposal) it’s as if the words are jumping off the page and creating a live visual that only I can see. It’s also the same when speaking to a client—it’s as if their words trigger a multi- dimensional jigsaw puzzle of ideas in my head.
To be able to truly do what you love is one of the most amazing feelings in the world. I get to create amazing interactive environments, whether that’s on a live stage, TV studio, experiential environment or VR.
As a set designer on Hip Hop Treasures, what were your day-to-day responsibilities?
My day-to-day can be broken up into three parts; pre-production (before shooting), production (shooting) and wrap (after shooting).
When it comes to pre-production, my day-to-day consists of client meetings, location scouting, creating renderings (designs), crew scheduling, budgeting, admin work (this portion is taken on by the art department coordinator on larger shoots) and more meetings. After this, we enter into the installation phase but are still in pre-production. This consists of the installation of furniture, the set/stage being built, scenic work, decorating, etc., then handing it over for lighting to be installed.
Once pre-production is completed, we enter the production phase, which consists of managing the set, prepping props and small dressing for the set for each shoot day, which is a new scene and needs to reflect that on the set.
Once everything has been shot, we roll into a wrap, which is the end of the shoot. At this point, we break down everything. That includes the set/stage, returning any rented rentals, trying to resell purchased or donate items. This phase is basically a reset, and the studio needs to be returned to the same empty space.
What inspired you to work in this field?
I honestly love to design. When I design a set or studio, it’s as if I am living vicariously through the actor. I am creating this world in which they live, a space that brings the world from the script to life. Watching an actor live and perform in a space that I designed is one of the most amazing feelings.
What is your favorite part of what you do?
There are a few things I like. I am able to be as creative as I would like to be when it comes to designing. Another is the fast pace at which things move. The variety of projects is also a bonus, as there is always something new.
[I also enjoy] the people I work with. When I think of my team, I think of a chair—the legs hold the seat in place. My team are my legs, because no matter how wonderful my designs are, I could never execute them without my team.
What advice would you give someone who is interested in becoming a set designer?
The first step is to have an understanding of the fundamentals of design. That consists of spatial design, architecture, color concept, environmental design, client relations, management skills and more, as it all plays a role as a set designer. Also, regardless of whether you went to school for design or were self-thought, know that you will likely have to work your way up to a set designer [role]. From an art department PA (production assistant), dresser, shopper, lead man, drafter, set decorator, art director to set designer and production designer.
I believe working in each of these positions makes you a better set designer, as you have an overall view of the art department and how each position is [essential] to the success of the department.
There has been a push to increase diversity, equity, and inclusivity in workplaces across the country. Have you noticed any changes in your field?
As much as I would like to say yes, there has been none. I recently came across an article [about] creative directors, and not one person on that list looked like me. And honestly, it made me sad, [that] when people see me, they do not see a creative director or set designer.
It also just reinforced this belief, as I have had clients reach out to me because they like my work and would like me to work on a project… until I show up and they see who is behind the work. Now I am placed in this position of having to prove myself, and honestly, it’s tiring and exhausting.
What do you think are some benefits of having a more diverse workplace?
Having a more diverse workplace leads to better work and work environment in my opinion. There is always something new to learn and [opportunities to] see things from a different perspective, which I believe is essential.
As a set designer, what’s a challenge you face that might come as a surprise to viewers?
Sometimes I second-guess myself and worry that things on the set or in the design are not going to come together as planned. You are also in charge of the entire department and everyone in that department looks to you for the answer. Sometimes you do not know the answer on the spot. However, as a leader, it’s your job to take charge and make sure that it all comes together in the end. So, when that happens, I take a few breaths to gather my thoughts and work through it. And funny enough, it always works out, no matter what. I feel like that’s also a metaphor for life: “It’s hard to see the sun while you are in the rain, but if you just keep pushing, you will make it through the rain and into the sun.”
What professional achievement are you especially proud of?
I have won a few design awards, which I am very proud of. I also own a boutique design agency called Paranoid Richard Studios.
Where do you hope to be in the next 5-10 years?
I would like to win a few more awards, one of them being an Oscar for set design and production design. Another is to grow my company. I would also like to design the MET Gala.
What excites you about the future of your field?
I am really excited about the innovation and technology that is to come.
What would you like to see companies like A+E Networks do to help further diversity, equity, and inclusion?
One of the things that would be beneficial is to give individuals the opportunity to show that they are capable. Too many times opportunities are not given to individuals because they do not look like what someone else thinks a person in said position [should] look like, and they are bypassed because of it.