Issue link: https://digital.copcomm.com/i/1413503
felt this feral tribe would not have something so neat and thought out. It should feel organic, a bit messy, cobbled together haphazardly with an odd silhouette. The plan was adjusted accordingly, and the speial e ets shop natomorphe began the build. The fi rst step was welding a thin metal frame in an organic shape for the base—no straight lines. Then they began layering the bones. It was a fun process, and I stopped by the shop often to check on things and give notes. About a week or so later, I got a note from Ryan Murphy to make it a throne instead of the totem. Art Director Joe Pew and I discussed designing a chair that could be added to the structure but still seem part of it, keeping with the organi ow. fter some disussion with the e ets shop we hathed a plan and implemented it beautifully. This season was full of late nights, early mornings and challenges which brought me to the edge, but it was all worth it. I had the honor of leading one of the hardest working Art Department teams, that consistently got the job done and taught me many things along the way. I feel truly blessed to have been part of such an experience and work with so many talented and creative people. Here's to the next random agent phone call! ADG D. INTERIOR RANGER STATION BUILT ON STAGE AT LA HANGAR STUDIOS. SET PHOTO. E. INTERIOR RANGER STATION. PLAN BY JEAN HARTER DRAWN IN AUTOCAD. F. BONE TOTEM. CONCEPT ILLUSTRATION BY DAVID MOREAU USING ZBRUSH/ BLENDER/UNREAL/ PHOTOSHOP. G. FINISHED BONE THRONE FEATURING MODIFIED DESIGN. SET PHOTO. H. BONE THRONE ON LOCATION IN BIG BEAR. PRODUCTION STILL. Eve McCarney, Production Designer Chad Dellinger, Joe Pew, Art Directors Kiel Gookin, Jean Harter, Set Designers David Moreau, Andres Parada, Concept Artists Sharon Weaver, Graphic Artist Sandy Skora, Set Decorator D E F G H