Issue link: http://digital.copcomm.com/i/990311
B L A C K - I S H | P E R S P E C T I V E 7 1 holiday "Juneteenth," a festival commemorating the abolition of slavery. In a break from the typical Black-ish sets, this one required a theatrical stage set. With a one- word clue from Kenya Barris "Hamilton" I knew what direction to take. I wanted the scripted slave cabin to be an abstraction, less literal and more a distillation of tone with a heroic feeling. On a riser platform, I designed a one-room, slated wood cabin. The dusty gray slats were irregularly cut and spaced to allow for dramatic, sweeping lighting effects. Larger furniture pieces were built out of the same wood to create an overall muted effect. Although one has to move quickly and decisively on a television schedule, the design continued to evolve right up until shooting. As the musical numbers were fleshed out in rehearsals, set requirements started to shift. A request for moving choir wagons to be incorporated into an already finished set was a last-minute edition. Once again, the crew came through for me. I am forever indebted to this crew for their professionalism and artistry. From thumbnail sketches on notepads, to the last little bit of touchup paint, somehow, miraculously, sets get finished. And no sooner than they get it finished, it's time to tear it all down and start something new. That's the glory and the pace of television. Prepping, shooting and wrapping, all at the same time. ADG Maxine Shepard, Production Designer Liba Daniels Bagley, Assistant Art Director Tony Bro, Caroline Quinn, Jim Wallis, Set Designers Kevin L. Raper, Graphic Designer Joanne Baker, Set Decorator E F G E. SKETCHUP MODEL AND ELEVATIONS FOR POP'S GUEST HOUSE BY SET DESIGNER ANTHONY BRO. F. POP'S GUEST HOUSE EXTERIOR. G. INTERIOR OF POP'S GUEST HOUSE. PHOTOS BY MAXINE SHEPARD.