Issue link: https://digital.copcomm.com/i/1474575
s the reference boards were coming together, most of the rooms began to develop a very distinctive look. I was primarily led by what I knew about the characters and their backstories, their role at court and what would their private spaces look like. It was a very intuitive approach, quite uncomplicated somehow, so much so that for a while I questioned if I was on the right track. ut I allowed myself to follow my instincts and be guided by character to underline design. Colour played a big role in reflecting the spirit of each character. Tony described Catherine as a delusional optimist—with a latent arrogance about her in the belief that she could change the world.' I stuck to the lighter, softer tones for Catherine's bedroom that had been established in the pilot as the rest of her apartment was designed, mainly in light blues and teals. The colour palette seemed fitting for her personality, while the handpainted Chinoiserie wallpaper in her bedroom, with its hundreds of birds flying around her, was devised to enhance a sense of claustrophobia as she felt trapped in what was a terrible marriage. Meanwhile, Peter had an incredibly big bedroom in the pilot, with a gigantic bed and darker tones that I felt worked well for his character. The rt Department kept the volume and the colour palette in the design of his room within the built sets but changed the textures of the walls and introduced new details such as a big portrait of him standing on a bear carpet, holding an open cantaloupe melon. Tony highlighted two key concepts which shaped the initial design steps for the palace. Firstly, we were creating Peter's palace—"an entitled, privileged kid who's out of his depth." is palace should be an eighteenthcentury version of a frat house, a playground for Peter's mischiefs, a space to be disheveled, unkempt. Everything should rotate around the idea of Peter being fundamentally a bad ruler, an insomniac who roams the hallways of the palace at night with IP access to any private apartment at any given moment. A. PALACE CHAPEL— CORONATION ALTAR. CONCEPT ELEVATION BY CAMILLA SICIGNANO. B. PALACE CHAPEL— CORONATION SCENE. ILLUSTRATION BY CAMILLA SICIGNANO. C. CORONATION SET IN PROGRESS. SET PHOTO. D. CORONATION SCENE. SEASON 2. PRODUCTION PHOTO BY GARETH GATRELL. A B C D