Variety: For HBO’s “Lovecraft Country,” production designer Kalina Ivanov’s work had to not only convey and reflect the 1950s Midwest and Chicago, but also tackle the supernatural, monsters, drag queens, 1921 Tulsa, outer space, 1920s Paris and the Dahomey Amazons of 19th century Africa. It was an epic task that Ivanov and her term handled with eye-popping aplomb.
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I Read this love it
The finale of ‘Lovecraft Country’ aired last night, and let me tell you - this show has been one of the wildest rides I’ve ever been on. I am utterly obsessed with this show. As the article mentions in the first paragraph - we visit the 1950’s Midwest, Korean War Korea, outer-space, 1920’s Paris and 19th century Africa. We go forwards and backwards in time on a whim, crossing space and time. You’d think it would be difficult to follow along - but thanks to the great work of people like Ivanov - you believe everything is in this world. When I first saw Ardham Lodge I was obsessed - it somehow has a very classic feel to it, yet there are elements of the supernatural and the future fused into the design. It was interesting to hear from the designer about the intentions of bringing different architectural styles into Kentucky. I want to say thank you to Ivanov because I know that a lot of their design is why I was so pulled into the show - and all the little details truly help the heavy and crazy plot.
One of the first things that caught my eye was the talk about how the designer finds inspiration from a very intuitive place. I often see people using complex theory and color associations to describe their processes, whether it's a painting, set, or lighting design. In lieu of this vocabulary of theory, I also tend to work from gut feelings, and it's exciting to see that an extremely successful Production Designer falls into the same habits. This “gut feeling” does not necessarily translate to un-researched, as evidenced by the in-depth explanation of the nuances in certain designs, like the colors in the Marshall Field’s department store. I also find a connection in the end, where Kalina Ivanov discusses her upbringing in theater ultimately influencing her work in the TV series, as well as her feeling a deep connection with her material in order to produce her most effective work.
I have never watched “Lovecraft Country” but I have heard such good things about it that I am genuinely surprised how I have still not seen it (maybe after reading this article I will get on the binge). But anyways, the show has been consistently applauded for its story, cast, character depiction and its multi-faceted settings involving the 1950’s Midwest, Korean War, Outer Space, Paris etc. And it is the way that these settings are portrayed, in a very metaphorical style, which seems like the characteristic feature of the show.
I really liked reading about the various inspirations that the set designer has had in order to create this world, because they are so diverse and unlink able that the fact, they have been used together to create this world is absolutely mind- blowing to me.
Hopefully, I can watch the show soon and actually see for myself how these inspirations have tied the story together.
I have never seen or even heard of ‘Lovecraft Country,’ and while I don’t think I am going to watch it after reading this article, I did really enjoy reading about how the production designer approached this show with all of the different elements and locations that they have going on. I think a show like this must be so fun to design and work on because the places they are going are specific location but they are at all of these places in such a magical way that there is so much room for creativity, and really sounds like Ivanov was creative in designing this TV show. I think the way she uses color is really interesting and I don’t know anyone that sees colors when reading a script (or maybe I do, but I don’t) so I think that is really cool and sounds like it helped her choose a very specific color palette that I would not have expected when looking at the locations of this show.
I’m not all the way caught up with Lovecraft Country, but I have seen all the set pieces talked about in this interview and they are incredible. I am enamored by how Ivanov talks about her process and that she sees color when reading a script. As a carpenter working in a shop, you’re not often privy to the reasoning behind the design choices or the amount of work and thought that has gone to the most minute detail. Often, we only know that the designer wants a specific color or style, and we just have to deal with it, even if it is the more complicated or expensive option. I think its important to remember that designers are doing their best to tell a specific story and that the work they do is not just to make our lives more difficult but to make the play, movie, or tv show the best it can be.
The production design for the show "Lovecraft Country" is stunning, transporting viewers to a wild world of horror and fantasy. The series is set in the 1950s which is always interesting to me because I am a slut for a good period piece. The production design is an integral part of the show's success, with insane attention to detail and an extreme commitment to the bit when it comes to historical accuracy. The show's designers have recreated the period with a level of authenticity that immerses the viewer in the world of the story. From the elaborate sets and practical effects to the intricate costumes and makeup, every aspect of the production design is carefully crafted to evoke the dark, eerie tone of the show. The show's creators have also used visual cues and symbolism to convey the show's themes, using light and shadow to represent good and evil, and utilizing surreal imagery to depict the characters' psychological states. Overall, the production design for "Lovecraft Country" is an amazing blend of history and fantasy, bringing the show's world to life in a way that is both beautiful and terrifying.
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