Issue link: https://digital.copcomm.com/i/1514626
and heritage. Jackson would challenge me to create designs that were as diverse as they were numerous. It was so much fun to sketch some ideas then solicit feedback from Jackson. After a round or two of these interactions, we would settle on a few ideas for development. Using the approved sketches, I would always advance the illustrations as a means to reinforce the story. Every tool available—line, value, color, texture, pattern, rhythm, were all means to solve problems that gave this character her special identity. The light platforms involved a combination of sketching, painting and 3D modeling. The visual development process is a fluid one, so having a resilient system that can operate in this demanding climate is critical. All of our final designs were meant to reinforce the heroine's brilliance, strength and celebrate her heritage. Reddish purple hues were chosen to reinforce a teenage female aggression that is both lethal yet beautiful. Motifs, patterns and shapes were tied into some Kamala's heritage, so these platforms continued to reinforce her story. Moving from Visual Development to the Art Department A few months later, the show was formally approved for production. Directors and the Production Designer were hired. It felt serendipitous at the time that I received a phone call from the talented Production Designer, Christopher Glass. I transitioned from the visual development department at Marvel to the Art Department for the production. Other Illustrators were also hired at this time. Exceptional talents like Emmanuel Shiu, Laurent Ben-Mimoun, Chevon Leo and Yujin Choo, among others, were brought on to further breathe life into the universe we were creating. Immediately, I could feel the difference being back in the Art Department again. My art needed to emphasize more technical solutions rather than narrative ones. I focused on the final look of the set, reflecting the Production Designer's notes into visual form. In this way, my work would seek to help the Production Designer make design decisions that would ultimately get built practically or in VFX as opposed to helping Marvel A. VISUAL DEVELOPMENT PAINTINGS THAT EXPLORE MS. MARVEL'S LIGHT PLATFORM POWERS. DONE EARLY ON TO HELP DEFINE THE CHARACTER. ILLUSTRATION PAINTED BY SHAE SHATZ IN ADOBE PHOTOSHOP. B. KAMALA AND BRUNO LOOK OUT OVER THE CITY ON TOP OF THE CIRCLE Q. DONE EARLY ON TO HELP DEFINE THE CHARACTER. ILLUSTRATION PAINTED IN ADOBE PHOTOSHOP. A B