Issue link: http://digital.copcomm.com/i/1381679
and reference to particular artists can spark inspiration. For Aretha's scheme, period Jet and Essence magazines were invaluable, while Romare Bearden's collages provided a mooring for the show's palette. With a comprehensive structure in mind and the parameters of production established, the design work could begin. Given a six-decade time span with well-known and varied 20th-century locations, this was a big assignment. I've found that designing multiple periods in one story requires touchstones for an audience—picture cars aren't enough! I needed to strategically employ the signature colors, textures, graphics and decor that denote time and place (and make the cut). Also, there's generally a desire to be factual when representing real people, places and events. This is usually described as being authentic, a quality often confused with accuracy. n a fi lm atentiit is an emtin tat is eed with creative design distilled from reality, not a copy of it. This distinction allows one to serve the dramatic action of the script while simultaneously expressing its history. HOME e fi rst allenge ld e e. .. ranlins home in Detroit, both a central design element and a main stage set. .. as a rminent astr led a solid middle-class life, and all types of family senes rm retas t t ..s deat ld A. FRANKLIN HOME. LIVING ROOM WITH 1950S DRESSING. PHOTO BY RICHARD DUCREE. B. 3D OVERVIEW OF FRANKLIN HOUSE. SKETCHUP MODEL BY CARLTON LEE. C. FRANKLIN HOUSE FIRST- FLOOR PLAN DRAWN BY CARLTON LEE. D. FRANKLIN HOUSE EXTERIOR LOCATION PHOTO. E. FRANKLIN HOUSE SECOND-FLOOR PLAN DRAWN BY CARLTON LEE. A B E C D