Issue link: https://digital.copcomm.com/i/1400113
morning show" as he attempts to cope with the passing of his wife and mother of his two young daughters. Half of the show has the feel of a workplace comedy and the other half unfolds inside his home, a space that has contained within its walls both his highest highs and lowest lows. As a designer, it's a heavy lift. How to portray such weighty material in a rich, textured way that honors the seriousness of the story, but also looks aspirational and beautiful on screen? With all of the COVID discussions, I didn't want design to take a back seat. Despite Kenan being a half-hour comedy, the seriousness of the subject matter needed to be honored. I wanted a home that was clearly decorated by his wife Cori, and now, a year later, the messiness and layers show the passage of time and how the family is coping. They are just trying to hold it together. It shouldn't look like a sitcom, but like a real family in Atlanta. In world-building, every object should have a purpose and meaning in the same way that people decorate their own homes, but the Art Department does it backward. We have to help give life to characters who so far only exist as words on paper, in two dimensions. In this case, it was designing for a character who was noticeably absent from the script, we had to capture the void she had left behind. Creating Kenan's home was a unique A A. KENAN'S BEDROOM, BEFORE AND AFTER CORI'S DEATH. MODEL STUDY BY TRICIA ROBERTSON AND AGA SZOSTAKOWSKA USING SKETCHUP AND PODIUM. B. KENAN'S LIVING ROOM. MODEL STUDY AND SET DEC CHOICES. RENDERING BY TRICIA ROBERTSON & AGA SZOSTAKOWSKA USING SKETCHUP AND PODIUM. B