I blocked out the composition of the cover using images from the internet, working in the template of the LWL cover. This was the important stage as itʼs the blue print. This is when I could move things around and get the composition right, before I started all the rendering. I made the MockingJay nice and clear, added the leaves, and developed the bow and arrow into a moon. I also saw an opportunity to use circles in the design which would tie in with the LWL logo. The MockingJay, moon, and curve of the leafs all work with this.

The art director liked the Jungle and the Star ideas, so it was left to me to choose. I decided on the Star idea, because itʼs the most original and striking and has room for development. He suggested I work on developing the images in the background as I could use them to bring more visual interest and work in more imagery from the film.

I then selected 4 of the thumbnails that I thought had potential, and created more detailed versions. This time I drew out the face and other elements in Photoshop rather then using internet images. I tried to narrow it down to the most interesting designs, as well as the ones that linked best with the film. I then put these designs in a pitch email to the magazine art dIrector to get feedback.

The starting point was to make two pages of rough thumbnails, exploring different ideas for the cover. I really tried to explore all the different routes, based on different themes and visual elements in the film, rather then just going with many obvious fire designs.

In the colouring process I wanted to add another colour to bring more interest and decided on an orange, to work with the idea of fire in the film, and because itʼs blues complimentary colour, meaning they go together and create eye-catching contrast.I tried two possible colour schemes, and whilst I think the alternate scheme works well; having that popping contrast and using complimentary colours, it just doesnʼt tie in with the concept or the film. This experimenting showed me how good the final scheme is.

This is the uncoloured rendering of the cover. I worked longest on the face, trying to get the shape and the features accurate. I got a lot of feedback during this time, from friends and peers, with them critiquing parts of the likeness.

The Final Cover. Whilst working on the final piece really developed the colours, working out how the moon would be the source of the orange and light that side of the image, so creating contrast between the two sides.

I also worked on tightening up the likeness, really working on the cheekbones and eyes, as I think theyʼre the key to this characters likeness.

Here I worked in the type, using a font iʼd picked out to fit the design. I struggled a bit with placing it and so got some feedback on itʼs placement.