ADG Perspective

May-June 2020

Issue link: http://digital.copcomm.com/i/1241865

Contents of this Issue

Navigation

Page 97 of 103

of gravestones, next at the funeral of ess and Evelyn's mother. In both instances, the process was a bumpy one. ver the course of designing these, we received an education in the diff erences between the grave markers of Western European ewish families that largely use English, and those like the evins and inkels, whose families came from Eastern European countries. These are mainly composed of Hebrew characters and follow a traditional format. It took some trial and error through both iterations of these projects to get everything right, and not without a certain amount of tsuris. nce approved, the vector fi les were router cut from high-density sign foam and painted by the show's scenic department. So Much Paper: lock 2's episodes have numerous sets reuiring a detailed layering of functional and informational paper graphics, the items viewers don't notice but which must be present to help sell the reality letters, memos, paperwork, menus and calendars, etc. The largest of these was illy chapp's warehouse, where the hiladelphia mobster runs his crime operation along with businesses, including gaming machines and a lobster house. The space is fi lled with graphics, the most visible being pinball machine tabletops. owever, it's all the small details that make this feel like a space that's been occupied for decades. At ionel engelsdorf's offi ce in Washington D.., another version of the .. map hangs behind the abbi's desk "omestead 2," the new program designed to move ewish-Americans employed by large corporations from the East Coast cities into rural America. It's an ultimatum—move where we say or lose your ob. engelsdorf ensures the evins are faced with this choice, one evening Herman comes home to share his own letter from Metropolitan ife accompanied by a brochure promoting their future in Danville, Kentucky. A. CEMETERY HEADSTONES. DESIGN BY SEAN MURRAY AND LAUREL KOLSBY. B. CEMETERY SCENE. PRODUCTION STILL BY MICHELE K. SHORT. C. SCHAPP'S WAREHOUSE OFFICE. PHOTO BY DINA GOLDMAN-KUNIN. D. HOMESTEAD 42 MAP. E. WINCHELL CAMPAIGN SOUND TRUCK GRAPHICS. F. WINCHELL CAMPAIGN GRAPHICS. A B C D

Articles in this issue

view archives of ADG Perspective - May-June 2020