Issue link: http://digital.copcomm.com/i/891583
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 7 81 we got closer to filming, I knew we still didn't have enough, and I began to scour eBay for real signage that we could have shipped in. Traditionally, the set decoration department does this, but everyone was so busy trying to get it done that I pitched in. I don't actually have to design every graphic element in the film. Sometimes period signs are helpful in adding realism to the scene since they are often made using materials that are not common at the studio sign shops—for example, molded plastic, cut metal or carved wood. These types of signs cannot be quickly and inexpensively reproduced, so buying them is sometimes the best option. New technologies in printing. How to make an old dog with new tricks. As time goes on, we get further and further away from those 20th-century periods in which we love to tell stories. Existing fabrics and flooring in sufficient quantities are becoming harder and harder to find. Luckily, new technologies are giving us options for reproducing them inexpensively, and so on Suburbicon, we printed several custom materials. Working with Aaron Kirsch at Astek Wallcoverings in Los Angeles, we had linoleum flooring made for the Lodge kitchen based on an authentic 'ancient' Armstrong catalog Jan had bid for fiercely on eBay. Astek provided us with samples in different colors and sizes until we got the correct one for the proportion of the space. For the grocery store, I extrapolated the entire floor pattern from a very small sample found in the location. Astek then printed it on actual linoleum. I will admit I was skeptical, the pattern might seem too busy, but it actually gave the grocery store a certain complication that made it seem fuller. We had three different fabrics printed for the film. An iconic 1950s diamond pattern was done for Jim Bissell, Production Designer Christa Munro, Art Director Lauren Polizzi, Jim Truesdale, Noelle King, Set Designers Karen TenEyck, Graphic Designer Jill Beecher, Illustrator Michael Gowen, Assistant Art Director Mike Truesdale, Art Department Coordinator Josh Lopata, Production Assistant Jan Pascale, Set Decorator the Meyers' living room drapes, using a period fabric sample. We also made the fabric for the Lodge home bedspread and kitchen windows. Karen Dutson of The Designer Fabric Studio printed these in Atlanta. To aid the vendor technically, I provided them with a high- resolution file that had just a single repeat of the fabric on it, and a low-resolution file which demonstrated how the design repeated. Dutson was able to take it from there, without me laying out the entire pattern for the run of the fabric, which likely would have made the file too large to send and possibly eaten my computer alive. Killer foods. Designing the murder weapon. Even though it doesn't happen often, I occasionally have the opportunity to design the murder weapon. This was the case with Suburbicon, where the killer was trying to get the victim to eat something. Since no product placement deal could ever be struck with an actual company whose product is used to kill someone, we had to design the packaging in the Art Department. The heroine, Margaret, employed a deadly PB&J sandwich to get rid of one of her oppressors. Working with property master Matt Cavaliero, I developed the peanut butter, jelly, bread and medical packaging. You can see them off to the right as Julianne Moore is working with them. I find it especially fun designing a murder weapon, because the work is often featured, rather than being blurry and in the background. OK, I'll admit it. It's sometimes nice when I can point something substantial out to my family. ADG D E F