Issue link: https://digital.copcomm.com/i/1485934
1 4 0 P E R S P E C T I V E | N O V E M B E R / D E C E M B E R 2 0 2 2 P A G E S A DRAWING OF THE MAIN GATE OF THE FICTIONAL KINOGRAPH STUDIOS DURING THE 1920S FOR THE FRENCH PRODUCTION OF THE ARTIST, FILMED IN HOLLYWOOD BY A HYBRID FRENCH AND AMERICAN CREW. THE SET WAS BUILT AT RED STUDIOS ON CAHUENGA BOULEVARD, AN OLD LOT FOUNDED IN 1915 BY METRO PICTURES THAT HOUSED MANY OF THE EARLY SETS DESIGNED BY A YOUNG CEDRIC GIBBONS. THIS SOFT-PENCIL STUDY BY PRODUCTION DESIGNER LAURENCE BENNETT CONVEYS THE PERIOD, IN JUST A FEW STROKES, BY EVOKING THE WARDROBE AND VEHICLES, AS WELL AS THE ARCHITECTURE. THIS PROPOSAL FOR THE GARDEN DECORATIONS OUTSIDE THE WINDOWS OF PRINCESS BETSY TVERSKAYA'S RECEPTION ROOM DURING A SOIRÉE AT HER PALACE IN ANNA KARENINA (SARAH GREENWOOD, PRODUCTION DESIGNER), WAS DRAWN BY ILLUSTRATOR EVA KUNTZ. EVA WORKS FROM A MIXTURE OF SCANNED SOURCE MATERIAL, BROUGHT INTO PHOTOSHOP® AND FINISHED WITH MAYA®. THE SCENE TAKES PLACE IN THE FILM'S MAIN UNIT SET, A THEATER INTERIOR BUILT ON C STAGE AT SHEPPERTON STUDIOS OUTSIDE OF LONDON. #39. This cover was an intentional tribute to the power of the pencil sketch. A detail taken from the academy ratio keyframe sketch by Production Designer Laurence Bennett for The Artist. #46. Sarah Greenwood's Academy Award- nominated design for Anna Karenina was featured in this Photoshop illustration by Eva Kuntz.