Issue link: https://digital.copcomm.com/i/990311
B E S T. W O R S T. W E E K E N D . E V E R . | P E R S P E C T I V E 9 1 F DAWN SNYDER: The show's Graphic Designer was a longtime graphics collaborator of mine, Stella Starlight. The graphics load on this particular project was not only unusually large, but the complexities created by a variety of entities; Netflix, Dark Horse Comics, San Diego International Comic-Con and various vendors, made this a unique experience. STELLA STARLIGHT: The graphic demands of the eight-episode arc, all geared toward comic books and superheroes, were a daunting task but incredibly rewarding on a professional level. As with the rest of the show's designs, the graphics tended to be a collaborative effort out of necessity. For costumes, the types of materials required and color palette mandates sometimes dictated the direction of design. The prop designs ranged from vintage to current comic world looks that had to be distinctly different from one another to depict the eras. Of course, when appropriate, the character drawings of the production illustrators were used on T-shirts, posters and merchandising in addition to the logos. For the fictional Comic-Con, every gap of space not occupied by our real vendors needed to be filled in to glue the whole look together and better sell this world. The show was fortunate to procure several comic brands' artwork, such as Captain Midnight and Bloom County, to add authenticity to the look. Additionally, negotiations with the E G H E. FINISHED MUSCLE CAR ON LOCATION. F. SUPERHERO GRAPHIC BY STELLA STARLIGHT FOR COMIC BOOK FAN, ARGO ANDROPOLIS' PILLOWCASE. G. SUPERHERO PILLOWCASE ON SET. H. VERTICAL COMIC-CON BANNERS.