Nazi-occupied 1940s London is rendered with chilling authenticity: swastikas loom over Whitehall, rationing stifles daily life, and resistance simmers in smoke-filled pubs. The series’ muted palette and oppressive production design sell its grim "what if?" premise, where every shadow hides a collaborator or spy.
My first drama project, I was brought on as Art Department Assistant — but after showing an affinity for draughting, I was promptly chained to my desk and told to draw, draw, draw. With guidance from Sion Clarke, I added SketchUp to my toolkit and took my first steps into 3D work.
Set in an alternate reality, the project required both meticulous research into archival records and creative interpretation — imagining how Nazi influence might have manifested in British architecture, decoration, and graphics.
In an unexpected twist, my Scouting background came into play during the design of gallows at the Royal Naval College (harrowing). Nobody knew how to tie a noose — except the former scout, since the same knot is used for joining timber end-to-end. Knowing how to make it too well, I instead developed a “safe” noose: one where the loop was a separate piece from the knot, ensuring anyone clowning around on set wouldn’t accidentally hang themselves.
Set in an alternate reality, the project required both meticulous research into archival records and creative interpretation — imagining how Nazi influence might have manifested in British architecture, decoration, and graphics.
In an unexpected twist, my Scouting background came into play during the design of gallows at the Royal Naval College (harrowing). Nobody knew how to tie a noose — except the former scout, since the same knot is used for joining timber end-to-end. Knowing how to make it too well, I instead developed a “safe” noose: one where the loop was a separate piece from the knot, ensuring anyone clowning around on set wouldn’t accidentally hang themselves.
