The term production designer has come to mean the artist who creates a visual style to expresses the director’s interpretation of the script. This artwork is then translated to blueprints by an art director. In 1914, when DeMille began making films in earnest, neither of these posts existed. What he needed was an artist who could do everything: create detailed renderings of proposed scenes, adapt them to specifications, and work with a crew to build the required settings, the sets. For a time, one artist was able to combine these functions. Eventually the job was split into two. The production designer created concept paintings. The art director designed and built the sets. As described here, however, the division of labor was sometimes blurred, when a concept artist such as Boris Leven followed—not led—the art director’s concept, which in turn had come from DeMille. For the most part, we can determine each artist’s contribution by his or her signature on the art in the De Mille Collection.