Issue link: http://digital.copcomm.com/i/1381679
furniture, painted to create that impactful synergy throughout the sets. This was also supported by the fantastic graphics team led by Daria Aksyuta, who designed ersnalied rgs and r erings r each location that were then scaled and printed to fi t eretl in te saes. ssistant set deratr Natalie Papageorgiadis researched and designed indiidal draer designs endlessl r ea set and location. These key elements bought the iran tat is Bridgerton to many locations, that although beautiful, would often be described as faded grandeur. In contrast, it is always good to show the opposite side of the coin. As far as sets go, this was the story component about bare-knuckle boxing. Together, location assistant set decorator Lucy Hassan, with the help of Paul Cowell, location Art Director, created worlds which were much more textured and mted. is alled iran te rest te s t reall . idened en te ast ied te saes ne reall nties te irant lrs in te stmes and ats artilarl in te ing eent in episode eight. When thinking about the design for Bridgerton, a major element of the story that cannot be erled is te eansie allrm seenes i reired reating eigt di erent ersins. e ld ne again ae t e designed t mlement te stmes and reate a di erent A. BOXING RING. BUILT ON LOCATION AT CHATHAM DOCKYARD. SET PHOTO. B. BOXING RING. CONSTRUCTION DETAILS. C. HASTINGS COURTYARD. SET PHOTO. D. HASTINGS COURTYARD. SET PHOTOS. A B C