Dive deeper into this episode with exclusive sketches, production designs, and fun facts delivered directly from the Outlander crew.
L’Hopital des Anges
“The challenge for L’Hôpital des Anges was creating an environment which reflected the serenity and efficiency of a Catholic convent with the harrowing chaos of an 18th Century charity hospital. The crypt at Glasgow Cathedral gave us a great space to play with. Fabulous architecture with the forest of columns giving us peeks at the grim scenes beyond. In our research, we found an amazing image of a convent hospital that featured rows of four-poster beds with red velvet drapes and heavy emphasis on religious icons and devotion. This was so alien to our secular, modern day ideas of what a hospital looks like we were compelled to go with this look.” –Gina Cromwell, Set Decorator
Master Raymond’s Book of Spells and Potions
“As we were asked to provide text/copy as “background texture” for the open book rather than anything specific or readable, the material was sourced from various images/sources off the web and books in our own reference library. This included a mixture of medieval illustrated manuscripts, herbals, occult texts, and generic magical symbols. In the end there were only 4 usable pages in the center. They were printed onto a replica goat parchment and then hand detailed, colored and aged. The binding was also meant to look a bit sinister–the thought perhaps human skin. This was done with a mixture a leather, vellum, and tissue paper. The book was meant to be of some age and look like it had been around a bit! If I can remember it took about 10 days to make. All our flat metal etching is done by talented guys at PPD, Ltd. in Argyll.” –Karen Grosch of Whetton & Grosch
Louise’s Dress
“I think this is one of the most exciting gowns we made this season. Once we started seeing what we could do with painting, I decided I wanted to try to make an entire gown with painted muslin (calico). Our fabrics are so insanely expensive, it is interesting to see what is possible with the very least expensive. I think the results are absolutely spectacular.” –Terry Dresbach, Costume Designer
Louise’s Apartment
“I was talking concept for Louise’s apartment with Terry Dresbach, the Costume Designer, and she said that she was going to make her costumes as busy and frilly as possible. So you will notice that Louise’s set walls have more ornamentation than any other set this season. I used dark, deep color on the wall so that the actors would stand out from the walls. It’s busy as hell but it works!” –Jon Gary Steele, Production Designer
Visual Effects
