Issue link: http://digital.copcomm.com/i/1260764
T H E B O Y S | P E R S P E C T I V E 4 1 Vought who would interface and 'control' the superheroes. She was part studio executive, part agent. Showrunner Eric Kripke was keen to make her seem as real as possible. No crazy architecture. He wanted it so grounded that we put a crib in the corner of the room, as her character was a single mom with an infant, and she might bring the child to work. The walls were filled with the graphics team's creations. Posters of the heroes, framed movie posters and a stunning portrait of Homelander that looked like it came right from a Zack Snyder film. This office flowed into a grand "walk and talk" hallway lined with more marketing artwork. The Art Department was able to get the actors in costume for one 3-hour photo session where we were grabbing them in every possible position to use in ads, posters, newspaper clips and anything we could think of. I put in a call to Darick Robertson who created all of the artwork for the original graphic novels. He created ten custom pieces for the show based on the original book covers, but with the shows' actors integrated into the artwork. These were framed and lined the H D D. STILLWELL'S OFFICE. ILLUSTRATION BY HENRY FONG. E. STILLWELL'S OFFICE. SET PHOTO. F. SUPERHERO-BRANDING GRAPHICS BY DAVE BLASS. G. VOUGHT HALLWAY WITH SUPERHERO GRAPHICS AND CUSTOM VACUFORM WALL TILE. SET PHOTO. H. MAGAZINE COVER. GRAPHIC LAYOUT. E F G