Issue link: http://digital.copcomm.com/i/1332040
sequence. A telescope was built and aged to appear as if it had been left in the elements for thirty years. Another important element on that set was the time machine. In the story, the machine was created by Hiram Epstein (owner of the haunted house that Leti buys in episode 3). Misha Green told us the backstory of Hiram, that he had used the machine to open a portal, gone into the future and then returned therefore the time machine needed to have parts from future technologies that he had encountered. It was technically a prop, but I needed to take the first stab at its look so that it would fit into the design language of the abandoned Kansas observatory. Lead Set Designer Chad Frey was the perfect person for the job of molding together all of these themes and turning them into a unique vision. We wove the theme of circles and twisted cables to represent Hiram's scientific mind, and then turned the design over to talented property master, J.P. Jones. He had the brilliant idea to incorporate Hiram's orrery into the final design of the prop. The next circular set was The White Room on Planet 50, where Hippolyta meets the eight- foot-tall Beyond C'est. I originally looked at African braids as inspiration for the room and the planet. My preliminary sketches experimented with the whimsy of braid styles in an effort to capture Hippolyta's mind. From there the room developed into a glowing, elegant place with star-like lights embedded into its twisted columns. It's supposed be a prison cell two hundred years in the future, so an observant eye would notice that the floating building on Planet 50 looks like a warped sphere with prison bars. However, my dreams came to a halt once we put a price to the set. It turned out that the preliminary design would cost four times more than what the budget allowed. This obstacle became the finest hour for the Art Department. They came together trying to figure how to preserve the original design, and somehow shoehorn it into an acceptable budget number. Supervising Art Director Audra Avery had the idea of using Aglo, a Rose-brand projection fabric, for the surround wall so that it could glow. A. OBSERVATORY INTERIOR. PRODUCTION STILL. B. OBSERVATORY INTERIOR. DIGITAL MODEL BY JUSTIN TRUDEAU. C. TIME MACHINE. MODEL BY CHAD FREY. D. TIME MACHINE. PHOTO BY ELI JOSHUA ADE. E. THE WHITE ROOM. PENCIL SKETCHES BY KALINA IVANOV. F. THE WHITE ROOM ILLUSTRATION BY C. BRÄNDSTRÖM. G. THE WHITE ROOM. ILLUSTRATION BY HUGH SICOTTE. H. DAHOMEY FIGHTING PIT. SET PHOTO. I. DAHOMEY BATTLE. ILLUSTRATION BY C. BRÄNDSTRÖM. A B C D