Issue link: http://digital.copcomm.com/i/610353
78 P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 5 Wall treatments have become quite a theme in the world of Normal Street; they provide color and visual impact without being distracting or overbearing. The Astek stock books were scoured, as well as SpoonFlower, Wallpaperstogo, Wayfair, the British site Paint & Paper and The Stencil Library for just the right feel. Near-replicas of the location kitchen and bedroom were built on stage while taking a few liberties to improve layout and depth. Over the season, the house common rooms were completed and dressed with a touch of international influence wrapped in the classic Craftsman environment. Enough swing-set space needed to be reserved to accommodate the unforeseen requirements of the season ahead (sets that would unpredictably range from the town library to an underground tomb, an obsessed book collector's home and Forgetful Fred's house of mnemonic devices). A third-story observatory was designed for Mel and the kids to hang out in, plan adventures and contemplate the world. It is partially finished (ostensibly by Mel's grandmother years ago) with a bay window to the front of the house and back windows leading to a perch where the kids can sit outside. The color palette is warm, worn and inviting. Vintage wallpaper was chosen to cover a few of the walls, with a contrasting pattern in the hallway. Of course, the vintage paper proved to be unavailable in the quantity needed, so a similar print was chosen, which the scenic department tinted by hand. This became the epicenter of the standing sets, a space where Mel has amassed and curated all of her favorite materials, tools, references and general items of wonder. The timeless present look also lends itself to the show's props and graphics. When Mel builds a robot for the science fair, property master Bruce Mink harvested antiquated computer and non-computer materials to fashion a talking, walking robot. Graphic Designer Simon Jones created a beautiful steampunk-inspired periodic table for one particular episode; it now hangs permanently in Mel's observatory. There have been more than a few instances where a design element was added just because it would be amusing to create. Such was the case with Ranger's (the third musketeer in the cast) cheeseburger bed. The first time Ranger's room is seen, it is just one shot of him attempting to train his goldfish. Never ones to pass up the opportunity for a nice tableau, we took this brief moment to introduce a bit more of Ranger's eccentric world. We placed his bed in the closet (more space for a mess) and topped it off with custom-built linens: a sheet of cheese, one of lettuce and sesame-seed-bun duvet cover that made his bed look like a giant cheeseburger. The SpoonFlower custom fabric, wallpaper and gift wrap site had some goofy and unexpected wall treatments that were just right for Ranger's actual mermaid kitty wallpaper. Because Ranger is just that kind of guy. His room was such a hit that the writers created a storyline inspired by Ranger's space and his transition away from the innocence of childhood. As for the mere kitty wallpaper, I have never had more comments and inquiries about where to get a set piece (even from several of the grips). The quick pace of this single-camera series means there is little time for in- depth concept drawings or renderings. Most design pitches are done with good old-fashioned mood boards, maybe a quick sketch or rough photo mash-up and always a preliminary ground plan. Our department is blessed to have the complete trust and support of the network, so there is rarely adjustment to a design concept. As the second season of filming began, the kids' social lives and relationships expanded and more episodes became centered around school. Thankfully, Richard was able to secure a second stage where a dedicated school hallway, classroom and a small swing area were built.