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 8 9 customized by the story's comic book author, and the other, the fictitious 'stunt performers' bus that crashes into a house. I hired concept designer and Illustrator Shane Baxley, who had recently worked on Bumblebee with Al. Shane was tasked with creating design concept options for both vehicles and to then produce the final illustrations. He worked with research I gave him and incorporated notes from Jeremy. The Art Director I hired was Glen Hall, whose credits include The Orville, Lethal Weapon and Single by 30. Along with supervising the sets, I asked Glen to oversee the completion of these two hero vehicles. GLEN HALL: The tour bus was literally a driving billboard for a traveling stunt show. The hand lettering and illustrative style of the bus wrap was a young and modern take on Evel Knievel. I mentioned to Dawn that the style of the bus wrap would be well suited for Gina Alessi, an ADG Graphic Designer, whom I had worked with on a feature that previous summer. Gina came onboard and tackled the bus wrap and stayed on a few more weeks to help with the ever-growing graphics workload. The hero tour bus had to be three things; a pristine looking bus for exterior and interior driving shots, the rear half sticking out of a house after smashing into it, and finally, the front end actively crashing into the living room of a house interior on stage. To accommodate this, three busses were made out of two by cutting one in half. Having these three bus elements gave production the flexibility to shoot all the bus scenes in any order without D E D. FICTIONAL PEGASUS COMIC STORE DRESSED ON LOCATION IN DOWNTOWN MONROVIA, CA. E. COMIC-CON PRESENTATION. F. CONCEPT ILLUSTRATION OF THE CUSTOM BUS BY SHANE BAXLEY. F