Issue link: http://digital.copcomm.com/i/1381679
setting every time. This, like all elements of the show, was a hugely collaborative process between the show runner, director, costume designer, makeup and locations. Add into that, the schedule and the restrictions of time and money, and some colossal out-of-the-box thinking was required. Using one location, the production managed to do tree dierent alls in tree das ilst alling the location, a local government building, to continue to operate. There were moments where it was just not possible to do the balls on location. The last ball of the season, the Hastings Ball was one such moment. The requirements from a location standpoint being a garden courtyard with a grand staircase entrane. r tis set a rain rig needed fitting er the whole site, a vast area needed to accommodate a dane r aait as reired r te ast t tae selter en it rained and rse a er filled eatil garden. nsidering e ere t st in February, when it is regularly thirty-two degrees Fahrenheit outside, and all the female cast were in ims sring stmestis needed t eme a build, and not only that, but a build inside with warm rain. Once these requirements were clear, the largest set of the show was constructed. The entire production waited with bated breath for the rain to come. On the da it ent itt a it aart rm a little lea in the set, the team could breathe a sigh of relief. This project gave everyone on the Art Department and set decoration team a unique selection of challenges. But with it came a drive for excellence that we hope translated onto the screen, going a long way to help the success of the show. ADG Will Hughes-Jones, Production Designer Dominic Devine, Supervising Art Director Paul Cowell, Alison Gar tshore, Art Directors David Addison Myers, Sara Kuna, Assistant Art Directors Caterina Da Vià, Victoria Johnson, Stephen Bream, Iveta Smidtaite, Draf tspersons Lewis Peake, Concept Artist Daria Aksyuta, Graphic Artist Gina Cromwell, Set Decorator D