All Images & Artwork © 2018 ABC Studios / Marvel Television
My first project on the third season of Daredevil was a set of six stain glass windows of Saints that would be the chief light source in the rectory crypt where Matt Murdoch recovered from his injuries. The Saint Matthew window shown here installed on the set, was the first completed.
This is the final Photoshop artwork for three of the Saint windows.
Matt Murdoch (Charlie Cox) and Sister Maggie (Joanne Whalley) in the church crypt.
This is the final Photoshop artwork for two additional Saint windows, along with the simple window style I did for the long side of the crypt.
Sister Maggie (Joanne Whalley) in the church rectory office
In the church rectory Production Designer Adam Scher wanted portraits of the nuns who had worked their over the decades. A vintage group photo of nuns was found on Getty Images and licensed. I then had to break out the individual nuns as individual portraits, some of which require my adding to their habits or compositing with the lower halves of the seated nuns.
Fisk begins using his leverage on Dex as the only living witness to what Dex did to end the ambush on his transfer convoy.
The exterior of Nelson's Meats at the Brooklyn filming location
Surrounded by his campaign posters at Nelson's Meats, Foggy Nelson (Eldon Henson) meets with FBI Agent Ray Nadeem (Jay Ali)
In Episode 3 we're first introduced to Dex's fixation on Julie, a woman he had worked with at the Suicide Prevention Hotline. Although we prepared the complete Solomon's Bar storefront, the shot became the rear view mirror crop at bottom center, and we never saw the sign I designed.
Having done several FBI offices over the years I thought that I would be free of that task when I joined Daredevil for it's third season, how wrong I was! With the introduction of Agent Ray Nadeem as a major character in Season 3 I once again had to attend to creating the graphics for an FBI office. The office entry and bullpen was actually the main production office for Marvel Television in Greenpoint, Brooklyn.
The conference room seen in several episodes was the Marvel Television office conference room where all important crew meetings were held. While dressed as the FBI we all enjoyed a significant upgrade in the quality of our seating comfort.
In addition to using the Marvel TV offices, there was a built set adjacent to Fisk's suite in the Presidential Hotel that housed the FBI Fisk Command Center.
Agent Poindexter is forced to turn in his badge and weapon while under internal investigation by the FBI.
A hero prop photo was Dex's Brooklyn Suicide Prevention Hotline staff photo featuring it's director Julie is Dex's most precious possession. Through the machinations of Fiske, Dex Wilson Bethel) now thinks Julie (Holly Cinnamon) will no longer have anything to do with him. He flies into a rage and stabs it. Unfortunately the photo provided to me had sever lense distortion, and what should have been a quick format and lighting correction project turned into a day's work to fix the error.
Epsiode 5 had a lengthy flashback sequence of Fisk imagining Dex's past based on the research file he had prepared. This pivitol scene from the Lyndurst Home for Boys ends in tragedy for Dex's baseball coach.
Scores of documents were prepared for the Dex flashback scenes but were largely unseen. This was the only detailed view in the episode.
Graphics by Courtney Dunn, Art Direction by Eric Rosenberg, Young Dex drawings by Peter Gelfman.
Along with creating the graphics around the Club's back door, Production Designer Adam Scher asked me to work up this visualization of the alley location.
Each season featured the use of Marvel's Stan Lee in a prop or set decoration item. This NYPD recruitment poster was used in scenes in Fogwell's Gym in the early 1980's. The period correct NYPD policeman used in the composite was licensed from Getty Images
This view outside Fogwell's Gym came from Daredevil Yellow
Matt Murdoch and Agent Ray Nadeem leave Fogwell's Gym
The flashback episode detailing the events that drove Karen away from her home in Vermont was one of the toughest for the Art Department. In addition to fully changing over a roadside gift shop into the diner, we had less than three days to design, build and paint the two large sign sets that appeared outside the family's diner Penny's Place named for her mother. Complicating matters was the filming location hours away in upstate New York. Everything for the set had to be delivered by Saturday for filming first thing Monday morning.
Ray and Seema Nadim's Wedding Photo Composite and Sources
