Issue link: https://digital.copcomm.com/i/1531774
shared with designers, Art Directors and block directors. Bo, a renowned Korean Production Designer, joined our team to lend her expertise. Bo took a step back from a direct role to instead guide and mentor the Korean Art Department, ensuring that the story of Koreans in Japan was accurately and meaningfully represented. She did so with the skill and grace of a master. Bo's insights into Korean culture, Eric's dedication to the historical details, and the support of local artisans made this journey unforgettable. I loved working with a diverse team from different cultures. There's strength in diversity and expanding outside your corner of the world, and I think that is going to be the biggest impact on my Production Design moving forward. The production company in South Korea was also a critical partner. Trust, ease of communication and prior experience are the foundation of success in projects like this, and they were an essential part of season 1. As a female head of department, I know how rare it is to find that level of support. Season 2 of Pachinko is not just about the sets or the designs; it is about creating an authentic world that reflects the resilience, migration and complex identities of the characters. Every choice, every texture, every color was intentional, contributing to the narrative and helping tell a story that is deeply moving and resonant. The story shifts between different times and social classes, and these shifts heavily influenced my design choices. To achieve this, the Art Department used a palette of materials and layers that helped convey the progression of time. While we added layers to the season 1 set designs to evoke a sense of time passing, we also introduced different materials for different eras. Pre-war Japan relied heavily on A. TSURUHASHI MARKET 1945. SET PHOTO B. TSURUHASHI MARKET 1945. SET PHOTO C. BLACK MARKET, OSAKA 1950. SET PHOTO D. BLACK MARKET, OSAKA 1950. SET PHOTO E. BLACK MARKET, OSAKA 1950. SET PHOTO A B C D E