Issue link: https://digital.copcomm.com/i/1538080
of the era. His bedroom was fitted with cowboy- themed wallpaper that we designed. Propmakers expertly crafted the nursery furniture. I don't think there was a person who came onto the set that didn't want to sit in the giant oversized chair. The "Mother" puppet was crafted and puppeted by Michelle Zamora and her team at Viva la Puppets. There was a lot of action between Baby Sully and our mother puppet, from changing his diaper to nursing him. In later childhood scenes, costume designer Brianna Jorgenson made amazing scaled costumes for Sully's parents who perform on stilts. When I saw her costumes come onto the set, I was overwhelmed with the feeling that we've created something truly from a child's point of view, surreal and joyful. Working with Nathan, there is always some sort of mischief to what we do. Our work is very layered. Tangents are often noted and expanded on. When the non-actor real people who are cast on the show come to our sets, we have to be responsive to the actual details of their lives and sometimes change course. In the Art Department, we have to be very open to adapt to the ideas that unfold. What can make working on a comedy so hard is the need to adapt or improvise. The design of this show is discovered in the process. To some it may seem to be a chaotic and messy approach, to me it's a really organic way of making art. I am so grateful to have collaborated with Nathan and our awesome art team to make this joyful wonder of a show. ADG F. SULLY'S BEDROOM WALLPAPER. DETAIL. G. SULLY'S BEDROOM WALLPAPER. TEST PRINT. DESIGNED BY MAYBELLE PINEDA. H. SULLY'S NURSERY. PRODUCTION STILL. Rosie Sanders, Production Designer Ayaka Ohwaki, Art Director Brittany Bradford, Katia Nájera, Set Designers Tak Boroyan, Maybelle Pineda, Graphic Designers Kellie Jo Tinney, Set Decorator F G H