John Robert Janavs has been designing for television since 1993. A licensed architect, with both Bachelors and Masters degrees in Architecture, he brings the same attention to detail and design integrity to his television work as is demanded by architectural design. Knowledge of architectural styles, materials, and construction methods makes for a uniquely versatile background that allows him to successfully design a very broad range of  show types.  His career began Art Directing major music and award shows, and numerous comedy and anniversary specials. As a Production Designer, John added, game shows, talk shows, sketch comedy, and reality shows to his repertoire.

    OK, I can’t talk about myself and what I can do for your projects in third person. I’m too connected and too passionate about it. So here’s my thinking when I design a show:

    A lot of designers have a look, and when you see one of their sets it’s recognizably like others they do.  To me, each show has a look and it’s NOT recognizably like any another show, unless that’s specifically the goal.  I try to give each show I design a character that is exactly suited to that project and only that project.

    I do believe that certain characteristics like back lit surfaces, multiple layers, and rich textures make for great backgrounds. I constantly look for new materials, creative construction methods, and design ideas to create unique new sets. I build lighting into my sets and work closely with lighting designers to create flexibility in color and surface animation.   I look at, and specifically design the primary shots, close up, two shot, wide, jib shots and work with directors to understand how they envision shooting the show and make sure the set is designed for that. 

    To be successful, a set needs to reveal itself on all these levels. From a distance it needs to be seen as a logical cohesive whole, and as the shots move progressively closer, the set must become more rich and detailed.  Seems obvious, but often you see shows that blow their budget over-designing backgrounds that aren’t critical or under designing close up backgrounds that end up with lots of air time. By properly designing and varying the level of detail throughout a set, I can maximize the visual value of any budget I’m given.

    Staying flexible creatively is equally important. Creating a new show and a new set is an evolutionary process. As the show concept develops, the set needs to change and adjust as well.  You can’t have one set idea and try to force a show to work within it. 

  Some of the most interesting work I’ve done is on reality shows.   Much maligned, they are nonetheless extremely challenging to design. Not only do they have to look the part, but they usually have to function technically like few other sets do with practical plumbing, electrical, gas and sewer systems.  They need to last far longer than most sets and are in use often 24/7.  The biggest complement to me is that people don’t realize they are on completely manufactured sets. 

    I love what I do, and I do it with passion and dedication. With six Emmy nominations, two Art Directors Guild Awards, and four nominations, hopefully the work speaks for itself. Here’s just a small sample of the hundreds of shows I’ve designed.