From Supergirl Season 4. For this set, we took an existing cabin and added the classic elements of a Siberian Dacha. The “kid’s playtime” dressing came directly from my own experience raising some energetic and imaginative boys. #Supergirl

Babushka’s dacha somewhere in the Taiga

Babushka’s dacha somewhere in the Taiga

The only playmate for a lonely boy with super powers hidden in the Siberian forest.

About the time we were creating Lex’s War Suit, I began playing around with ideas for other armoured characters. The concept didn’t work with the storyline, but I liked the image, so I created some zinc plate etchings.

Proposal for a Supergirl nemesis, inspired by Lex Luthor’s war suit

Intaglio prints based on Daxam Shock Trooper concept

In the Motherland universe, the singular weapons our soldiers wield can be precise as an assassin’s blade or devastating beyond comprehension, so the place where this training happens needed to be suitably robust. For lethal training on the Fort Salem base, we created a “Rough Room”. Here our soldiers hone their skills in defensive and offensive combat situations.

In another universe, this place would be called a weapons training facility or firing range. Starting from that premise, we started with a contemporary “weapons facility” theme. Thanks to Brian Kane’s ongoing discussion and regular input from Steven and Eliot, we were able to bring our initial idea fully into the Motherland world. Modelled in SketchUp and rendered in SU Podium. Final illustration by Frank Hong.

Rough Room

Final Rough Room concept

Final approved model

Bringing the room into our world

Second pass – playing with layers

First pass – a literal firing range.

From Motherland: Fort Salem, Season 1.

On the scripted page, there’s a powerful layering of imagery and a blurring visual boundaries during the Gallows Hill scene. What we think is real is only pretend and what we discover to be real in this world is fantasy in our own.

With show runner Eliot Laurence and director Steven Adelson, the art department was determined to give this scene the visual impact it demanded. In order to achieve this, we drew on theatre imagery from the 18th century, specifically the street spectacles of France and Italy. This was a world of flickering floor lights and painted canvas, where great crimes and great deeds were both on the playbill. The “hand pained” curtain and backdrop were in fact created digitally by the brilliant Jonathan Stamp and then printed onto commercial sign canvas.

Sarah Alder faces her tormentors

Sarah Alder signs the Accord

The Salem Accord recited

Stage as gallows

Gallows becomes Accord signing

Backdrop painting

Galows stage transformed

6 days from initial scout until filming. We try not to make a habit of this, but we can bring it when we need to.

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