Issue link: https://digital.copcomm.com/i/1504681
challenge to ensure that ceilings and floors held the same visual interest as the rest of the house, as every inch of every corner of the three- story set (the two-story house and a separate basement set) would be seen. The house was based on the found location: a lonely exterior house that stood out as odd and unique in a sea of repetitious suburban bungalows built in the 1970s. One special nod: The carpeted wall of the upstairs hallway was an homage to the Coen brothers' Raising Arizona where a carpeted hallway was used in one of their sets. I loved the tactile tackiness of that. There were custom designed and created bathroom and kitchen floor and wall tiles from some over-the-top 1970s references the Art Department sourced. However, the wallpaper in the living room and halls came out of the SketchUp warehouse, initially as just a placeholder but, in the end, it seemed so numbingly right for our tacky little bungalow. We had truckloads of taxidermies, the ghosts of many animal souls haunted that story and those sets, and it was not a set that you wanted to be in late at night when the studios were almost dark and quiet. Paint by Numbers, aka "Pickman's Model" Based on an H.P. Lovecraft story of characters driven mad by the work of one artist, creating the paintings and artwork for this tale was extremely challenging. Most of the hero paintings were created by illustrator Vincent Proce, with some additional work by Art Director Lisa Cowen. We had a number of skilled scenic painters doing paint-overs from digital prints on canvas. It was an exhausting amount of work. Sketch artist and instructor Geordie Miller helped create and B C D E A