Issue link: https://digital.copcomm.com/i/1400113
And after racking our brains for a while, Art Director Drew Monahan and I came up with the idea of using black light paint. Black light paint has come a long way from the fluorescent green and purple Zeppelin posters. Larry Clark's paint team provided us with a ton of blacklight colors to camera test. Once I'd sold the idea to Kate and Autumn, we began a long process of working with Illustrator Joe Studzinski and Graphic Designer Jason Sweers to create a dizzying array of graphic patterns. The patterns would contain black light reactive and non-reactive colors to elicit a high- contrast, almost holographic cartoon effect. The paint selection process was brutal, as we could only evaluate colors in the dark with black light. Further, we had the challenge of lighting the buildings with black light without unduly polluting the actors and wardrobe. Working with the paint department, the fixtures department, and camera we ultimately arrived at an effective technique and a look that was novel within the MCU. The Void: Desolation/Gloom The paramount creative inspiration for The Void was to evoke a feeling of desolation and melancholy. Kate from the start was referencing the moors in England that she had seen as a kid. We discussed The Void as a vast, empty landscape dotted with the desiccated husks of realities deleted from time. The characters camp out in what seems to be the ruins of a very charming pre-war brick barber shop, but if you look closely at the signage, you'll see that the patrons and the proprietors are not quite human. The Void is the garbage disposal of time where aberrations that should never have existed are banished and then devoured by Alioth, an insatiable temporal storm that consumes everything it sees. In order to add a little vibrance and life to The Void, I proposed to Kate that we add some strange little creatures that have improbably rooted there. I sketched what ended up looking like a feathered stomach with tiny legs and no head, just a gullet which had a shiny ball levitating above it as it breathed in and out. A. SHUROO MAIN STREET. ILLUSTRATION BY JOE STUDZINSKI. B. SHUROO MAIN STREET. PLAN. SET DESIGN BY NICK CROSS. C. SHUROO MAIN STREET. BUILDING ELEVATIONS. GRAPHIC DESIGN BY JASON SWEERS. D. SHUROO MAIN STREET. SET PHOTO. E. SHUROO MAIN STREET. SET PHOTO. F. THE VOID. DRIVE-IN. LLUSTRATION BY JOE STUDZINSKI. G. THE VOID. BARBERSHOP INTERIOR. SET PHOTO. H. THE VOID. BARBERSHOP EXTERIOR. LLUSTRATION BY SHANE BAXLEY. I. THE VOID. BARBERSHOP EXTERIOR. SET PHOTO. F G H I