![]() And if you keep following what interests and excites you, then you won’t get bored. It acts a reminder – in a big visual, always visible way – of what interests you. In art the possibilities are endless, so having a gentle way to keep you aligned can be a big help. It may not contain details, but it gives you an overall feeling and a visual way to play with what you would like to create… things which will make you feel proud and excited to create! Why does this help? ![]() In this sense a mood board gives you a way to guide the choices you make. You’re probably familiar with interior design mood boards – designers use them to bring together ideas for a new room scheme – they can include swatches, visuals and samples. It’s good to refresh this and I had become so used to looking at it, that my eyes passed over it and it was no longer serving its purpose. Pointing to her own cottage in development, she laughs that a physical mood board “will help me explain to my husband what I want.One of the things which helps me in the studio is a ‘mood board’ for my art. “I’m collecting images there, but I still print it out before putting it all together, as you can over-collect, and you have to refine it.”īottom line: Be prepared with a cohesive vision, especially while working with a client-whether that person is an Emmy-winning director or yourself. “Right now, I’m making my own garden in a 300-year-old cottage, and I do have a Pinterest,” she says. And the Bridgerton set decorator is currently putting that advice to work-for herself. “Stick to the key elements.” And be ruthless with your editing: “Reject the things you don’t think you’ll use, be clear about what you want, make sure you decide clearly which look you’re going for.”īringing a crystal clear idea to a client will help you in the long run. “Don’t pull it out of thin air,” she says. Her advice is to think long and hard about the pieces you select. ![]() Whether you use photographs, illustrations, or even Polaroids snapped in furniture stores or prop houses, she says, planning is critical. We had a whole collection of hilariously small things we always ended up using somewhere, like the nursery.”īut long before putting the finishing details into a room, Cromwell recommends sticking to the key elements on a mood board. “Sometimes when you order things online, they arrive on a tiny scale. Dimensions, in particular, proved tricky when ordering pieces remotely. “I don’t know if we would have done that if we had the option to go to antique markets,” she points out. But then, says Cromwell, “the script changed and we had to pivot.” With the introduction of the Sharma family in season two, she says, “we needed a new color.”Ĭromwell and her team furnished the sets while shooting during lockdown, so much of the furniture and accessories was bought on antiques websites. To start, that meant a pastel terra-cotta shade, a pistachio green, and an apricot hue. “We allocated colors to different families like football teams, so the audience knows where they are right away in season one,” Cromwell explains. She started with base colors for each family in the show. You must get yourself excited on each new set as it comes along.” “It’s a lot of people going to parties and balls. “You must fill the well endlessly to reinspire yourself, especially with a show that’s repetitive in what it does,” she says. To Cromwell, the goal is to stay true to the vision of the mood board, but allow room for experimentation before arriving at a final look. Set rules-but leave space for development and trying new things. “It has to be a mix between practicality and goals,” she says. “We play with it until we get it to a point that’s achievable.”Ĭromwell and her team don’t overload mood boards with images she considers “entirely fanciful”-instead, she suggests sticking to the basics of what makes a room shine. “When we start with research for the rooms, we get samples of colors, there’s a lot of removing and adding,” Cromwell says.
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