Lights, Camera, Art: A Conversation with Ella Wolfnoth
EXPERTS 01.07.25
Ella Wolfnoth, a visionary artist in the British Film Industry, shares her journey of crafting cinematic art and set magic.
Q: Tell us what you do for a living?
I am an artist working in the British Film Industry creating artwork for films while also leading a team of designers who assist me. I design, paint and make props, creating scenic elements for the set decoration department, while also creating hand-painted wallpapers, posters, and other decorative finishes for larger sets. I have written many letters actors hold on screen, from typewriter to calligraphy letters. Everyday is so different.
Q: How did you get into this?
I graduated Art School and was introduced to the Screen Guilds who placed me as a trainee on a regional film being shot in my local area. From there I made contacts which led to more work on other films. Also a lot of cold calling
Q: Why is art important for film?
Through small details I am able to tell the story, and help with character narratives. My work may not all be visible, but in every letter, wallpaper, map, book cover, and poster I will have researched the period of film and character which will contribute to the final design. The viewer may often not see any of this but these small details help develop the overall feel of the film. The devil’s in the details
Q: What films and series have you worked on?
I have worked on Wicked, Peaky Blinders 4 & 6, Dungeons & Dragons, A Discovery of Witches, Victoria S3,How To Train Your Dragon, The Secret Garden, Good Omens and many more...
Q: What was the most challenging pieces of art you created and why?
Every job comes with different challenges specific to the film, often you might be making something you have not made before so some level of trial, error and testing is involved. This can often be under pressure with tight deadlines.
Q: What was the most challenging pieces of art you created and why?
I very much love the hand-painted elements of my job, from heraldic crests to illustrated magical books. Fictional maps and illuminated manuscripts are also really lovely to work on.
Q: You have to create art that looks like it comes from the past or from magical lands - what techniques do you use?
Old techniques are still the best, ink staining for old letters, hand folding papers to give an authentic feel, hand-painting signs in the era they would have been hand-painted. Working with old papers and vellum for old books. ‘Knocking-back’ is the term we use to take something new that we have made, like a painting or a book, and then we knock it back to make it look used. Chalk and pastels work well, and button polish. Dry brushing is also good to make a painting look older.
Q: You must have met so many famous actors and directors. Can you name drop?
Meeting and working with Deborah Harkness (Discovery of Witches author) was an absolute pleasure. I got to collaborate with her on so many elements for the show. Accidentally having a drink with Adrian Brody (Peaky Blinders) and not knowing who he was at the sizzle reel was funny. Douglas Mackinnon (Good Omen’s director) was very kind and accommodating and would show me down the camera of how he was shooting my work.
Q: How do you use technology to create art?
A lot of what I do will start out as sketches in sketchbooks and then make their way into Photoshop and Illustrator. Here I can work on versions to show the designer and director to get sign off, we can make further changes in Photoshop, and finally make the files ready to print.
Q: AI - threat or opportunity for artists?
Most, if not all films and TV I have worked on have banned AI from use. This means even though we often use digital tools, much of the art and concept art for a production is still done by employing real artists, which I am highly in favour of.
Q: What is art?
For me, art can tell stories or communicate feelings without language, I find that fascinating and special humans can have a dialogue with each other through a visual medium. Art is storytelling and world creation
Q: What’s next?
I am creating a collection of personal oil paintings based on memento mori to be shown in London. I am looking at exploring ways in which my paintings can live outside the film world. I would love for my paintings to connect with more people. Film work, I am working on a new sequel to the 90’s film Practical Magic, currently filming at Leavesden Studios.
