Issue link: https://digital.copcomm.com/i/1349602
The process for most sets began with mood boards. Production Designer Jamie Walker McCall curated her boards, pulling references from a wide range of resources, sometimes with the help of Art PA Emily Joe, to present to or leave with director Ryan Murphy. The favorites were marked with Post-its and gave her launching points she needed to design. From those mood board selects, ideas turned into renderings and ground plans. The mood boards, printed on 32"x40" foam core, were useful tools on scouts, meetings and were often sought after. Sometimes additional copies were left to be on location when sets were being loaded in. Gene the set decorator would aff ectionately hoard them. Ryan Garton's favorite set design was the 3D model he made for 44th Street. He developed the SketchUp model with many iterations and was often quoted, "it was roughed together, don't treat it as gospel!" It was gospel and was used an uncountable number of times and we were grateful for the tool. This model was created in tandem with plan views and elevations developed by Sally Thornton and Cheyenne Bell C. QUICK PENCIL SKETCH BY JAMIE WALKER MCCALL FOR ELEANOR! D. RENDERED SKETCHUP MODEL VIEW OF THE SET FOR ELEANOR! THE MUSICAL. E. DRAFTED TREE PROFILE FOR ELEANOR! F. THE MUSICAL NUMBER FROM ELEANOR! THE MUSICAL. FILMED ON LOCATION AT THE ORPHEUM THEATER. PRODUCTION STILL. G. 44TH STREET SKETCHUP MODEL LOOKING (NYC) EAST BY SET DESIGNER RYAN GARTON. C D F E G