Issue link: https://digital.copcomm.com/i/1449234
the glass, play with re ections, and have the opportunity to create long hallways to have intimate moments while observing situations in the distance. In total, this set is approximately fi ftytwo hundred square feet with a threeway glass corridor where each glass pane is on a gimbal to help the camera fi ght re ections when necessary. he school set required close collaboration with the greens department to make sure we could keep up with seasonal changes. I worked closely with Will Sheck, who invited me to walk through the local nursery and look at various trees and bushes to see what we could use to get the e ect I was going for, and at the same time, be able to maintain throughout the season within an episodic budget. We picked beautiful evergreens, also some birch trees, and ordered three di erent sies of silk leaves to create di erent seasons. he scenic department gave us a great color range to work by painting and distressing them to be ready when the change is requested. here are those who say that period sets are the most di cult to design and that they're more creative. I think it's equally challenging to design A. DUMBO HALL. STAINED- GLASS WINDOW ON RESIN PRINTER. LAYOUT AND ART IN ADOBE ILLUSTRATOR BY AMY DHOLAKIA. B. DUMBO HALL. CURVED STAIRCASE. BUILT ON STAGE D AT SILVER CUP EAST STUDIOS SET PHOTO. C. DUMBO HALL. CONSTRUCTION PLAN DRAWN IN VECTORWORKS BY JEREMY W. FOIL. D. DUMBO HALL. SET PHOTO. E-G. MAX'S APARTMENT. BUILT ON STAGE 25 AT STEINER STUDIOS. SET PHOTOS. H. MAX'S TOWNHOUSE. GROUNDPLAN. DRAWN IN VECTORWORKS BY JEREMY ROSENSTEIN. I. MAX'S APARTMENT IN PROGRESS. OVERHEAD PHOTO. E F G I H