Issue link: https://digital.copcomm.com/i/1433736
I began sharing my vast array of reference and illustrations with Jay but, as we all know, reference is one thing, bringing it into reality is another. During a brainstorming session, Jay and I realized Redwood needed a commercial identity and we came up with the backstory that it is a textile town where fine fabrics are made and dyed for high end clothing. This would elevate and give purpose to labeling and dressing the shops. I took this to Jeymes and productor James Lassiter and they both loved the idea and expanded it to tell the tale that the grandfather patriarch of the town came to the country a freeman, with taste and a vision, from France, via Canada. His portrait hangs on the stairwell in the mansion. The mayor's mansion was just a delight to decorate and style. As Greg Papalia was drawing up the beautiful architecture, Jay and I were searching high and low for surface treatments and furniture that would walk the line we were interested in. With our color palette as the foundation, we sourced drapery fabric, upholstery, wallpaper, and furniture and slowly built up the set. We ended up custom manufacturing almost all our drapery, wallpapers and wall surfaces. Trudy's Saloon wanted to feel like a club. Not really a traditional saloon. I was looking at the work of Lina Iris Viktor and Fred Wilson for color and texture. I converted the existing saloon into a more open space by moving the stairs and punching out some walls. I created a power position and focal point for Idris Elbas's character, Rufus Buck. This being a gold-domed booth at the end of the space. Wendy and I created some custom gold mylar and A. INTERIOR GYM. ILLUSTRATION BY JAMIE RAMA. B. INTERIOR GYM. A PART OF A SEQUENCE CUT FROM THE FINAL FILM. SET PHOTO. C. INTERIOR TANNERY. ILLUSTRATION. D. INTERIOR TANNERY. PRODUCTION STILL.. E. TRUDY'S SALOON. ILLUSTRATION BY JAMIE RAMA. F. TRUDY'S SALOON LOCATION. A B C D E F