Issue link: https://digital.copcomm.com/i/1438629
Visuals The graphic design team, led by Christian uffman, created the many, ultradetailed memorials, murals, art, posters, grati and paperwork that fill out the Y world. I hoped that bathing the sets in lots of contemporary graphic details would firmly root the show in the present, and create a layered and rich viewing experience, similar to the exploration of an illustrated panel of a graphic novel. In terms of colour, I didn't want to wash the world in apocalyptic sepia tones. The world is dark because the event is so tragic, but, like a graphic novel, it is also rich with colour. That said, the palette was carefully curated depending on the themes and overall cadence of the scenes and their setting. Power In the immediate aftermath of the event, the characters find themseles largely in a world with no power. Designing a world without electricity is a challenge. Practical considerations about how to light the sets in the darkness became a big factor, and the creative team placed ourselves in our characters' shoes, considering where they might shelter and how much access to natural light they would need. I selected locations and designed sets accordingly, seeking out and incorporating windows, skylights, and many forms of cracks and crevices that would motivate enough practical light for the cinematographers to work their magic and make it seem naturalistic. Prop masters Brian Patrick and Danielle Hebscher also created a myriad of makeshift and custom lanterns. The Pentagon: "Semper Fi" The Pentagon, where the government has retreated, does have light. In reality, a fortress with exterior walls made of reinforced concrete, the Pentagon is a symbol of masculine power and American supremacy. Austere and utilitarian, it's a nononsense kind of building. s it has appeared frequently on screen, the production had to decide how closely we wanted to emulate the real space. I decided I wanted to translate its symmetry and simplicity and use of fine finishes and durable materials into the fictional ersion of the set. The interior of the real Pentagon has been updated in a cheap, corporate style, but I was interested in using a more outdated version of the building to symbolize an America stuck in the past. This was important, as the breakdown of American politics and infrastructure that unfolds in the show is a direct result of outdated ways of goerning. As systems begin to collapse, the government reerts to a paperandpenbased world. Employees print documents and reference old files, which contributes to the outdated feeling of the set. That said, I wanted to make sure that the overall impression was contemporary, which was achieed with the help of lga ills terrific costumes, the right props and the incredible graphic design team, who made sure that everything felt layered and current. A. BOSTON WALL GRAPHICS. POSTERS DESIGNED BY JESS SHERIDAN. B. MAKESHIFT LANTERNS AT USE IN THE PRICEMAX. PRODUCTION STILL. C. PENTAGON ROTUNDA PLAN. SET DESIGN BY ANDY LO AND KARDI WONG. DRAWN IN AUTOCAD. D. ROTUNDA ILLUSTRATION. BY ANDY LO USING SKETCHUP AND ENSCAPE. E. PENTAGON ROTUNDA. PRODUCTION STILL. F. PENTAGON HALLWAY. ILLUSTRATION BY ANDY LO USING SKETCHUP AND ENSCAPE. A B