Issue link: http://digital.copcomm.com/i/610353
Set decorator Kris Fuller came in to replace Beth Wooke, who was tied to another series, and we were able to leave Gortimer's house extension standing, expand on Mel's house ground floor and create an entire home for Ranger's multi-generational household. One of the crew's favorite swing sets of season two was the Normal Record Store. At first read, I was hesitant to build this set on stage, knowing that the limited time and resources meant we would not be able to create the level of patina and layering that could be found at a location. Scouting led us to notice sleek boutique record stores popping up. Thus inspired, a store was created on stage with custom- built record bins, a small Chesterfield sofa in a cozy corner and some warm antique pieces set off by a beautiful wall treatment executed by scenic painters John Michael Hull and Chris Bodine. The exquisitely crafted stencil from The Stencil Library in the UK was finished in pale gold by Modern Masters. The end result was like an art deco argyle version of a sonic wave. Knowing my proclivity for wallpaper, the crew was in awe of the walls and could not believe it was stencil. I'm not sure construction coordinator Mark Knightley may ever indulge the manpower to bring my stencil dream to fruition again, but it sure was pretty. Season two also brought an episode with a very visually rich storyline. Her story weaves the town's history with modern day and ends with an elaborate play about the founding of Normal Street. The play was a highlight of creative synergy amongst all departments. Everyone seemed to get it. In the end, the sets, costumes, hair/makeup, lighting and camera all came together to create a visually stunning and unexpected ending to a poignant episode. It is special and rare to work in such a collaborative and creative environment. Each episode is able to stand on its own and we are artistically free to employ a different look or style for each. One week might deal with a very somber rite of passage with a visual language that is dark and moody. The next week might have elements inspired by a wacky fantasy or childhood memento. Gortimer Gibbon's Life on Normal Street reflects on adolescence with affection and touches on the magical nature of childhood. The whimsical perspective of the characters is inspiring and energizing. It is my great challenge and joy to help create a world that celebrates the extraordinary in the ordinary, a place where, perhaps, a seemingly normal life may be anything but normal. ADG Opposite page, top to bottom: Normal Records, a record store studio set, features stenciled walls from The Stencil Library in the UK. A production still of the set, decorated by Kris Fuller. Ms. Andrews' Keynote mood board and ground plan for Ranger's original bedroom, complete with reference for his cheeseburger bed. This page, top: A pilot episode design development sketch of Gortimer in the pit with the Golden Eyed Boy, drawn by Mr. Ortega using SketchUp and Photoshop. Above: The pit was built on location adjacent to Gortimer's house. Below: A frame capture from the pilot of Brandon Ray's animated storybomb sequence, done with classic paper stop-motion techniques. Certain elements were filmed against green screen and added in layers with Adobe After Effects ® . Kristan Andrews, Production Designer Sarah Palmrose, Jerry Ortega, Assistant Art Directors Simon Jones, Graphic Designer Yvonne Garnier-Hackl, Set Designer Beth Wooke SDSA, Kris Fuller, Set Decorators