Spider-Man: Across the Spider-verse
Covers and Illustrations
Various Illustrations and Images created for both to be included in the film and also Social Media promotion
"My Name is Miles Morales". New over for Miles' introduction in the movie.
Unused Cover for when Gwen came to visit Miles
Unused End of Act 1 cover for Gwen
Cover image created for The Animation Guild magazine, highlighting the various elements involved in Spider-man 2099's design.
Promo image used to tease the release date of ATSV, compared to the release date of ITSV
Social Promo image celebrating the birthday of Miles Morales
Social Promo image used to create a look for Gwen Stacy at the Met Gala 2023
Loading Screen wallpaper created for Fortnite to be included when Spider-Gwen was available as a playable character.
Very early illustration as a "Proof of Concept" idea for ASTV, I drew the characters over a painting by Patrick O'keefe
I was asked to provide the drawings to be used in a paining by our Production Designer Patrick O'keefe for the official Art Of book
Some of the character renderings I provided for the extended ASTV movie poster
Miles Morales
I ended up doing more than 100 designs for Mile’s New Suit. We wanted to embrace the character’s creativity and iconography, while also creating something that felt entirely fresh for him.
These are some of the highlights from the several month process.
A final illustration I did for myself once the final design was landed upon to just test my hand with it.
An internal illustration we created to highlight the final design at the time. This would be the final pass at the design when I worked on the character, and it would go from here to the Character Paint department and work with the directors to get to the final design of the suit.
Sometimes when you get to design a suit, you also get to design its destruction. This Is the final mock up of the amount of damage the suit would gain by the end of the film.
A lot of my job is providing On-Model draw overs for various reasons, here it's to show the Animation and Model team where all the suit seams went.
A mock-up of the final design pass of ideas I did for the suit. This was truly the first punt in the process I really felt I was comfortably fitting in an area that felt new to what we had from the ITSV or the comics.
This and the next one are some more mock-ups of previous passes
Coming back to the design after a few months because where we ended up before felt too safe
A final look after the first pass, much more traditional of a design to the comic look
Gwen Stacy
Gwen was a much simpler assignment, we never wanted to stray too far from where she had been with her first costume.
All I really did was add some new elements to bring a bit more of that pop punk look to her and fine tuning of the details.
I was asked to do a bit of a draw over on the approved model to make it 1-to-1 clear how the suit wraps to the form/ The black negative shapes on her shoulders and chest would be removed after this to give a cleaner read.
The final design as I left it. Brought all the approved elements together like the new gloves,
Continuing the exploration on the second pass to try to get a Spider Logo onto the suit
The beginnings, I cast a wider net to see the extent I could go with the new look, how punk or homemade to not, but also I wanted to try to give her a Spider Logo to the suit
Spider-man 2099
Arguably the character and design I spent the most time on in the Production; almost a full year and a half of work spread out.
He would end up being a great indicator of what I was learning on the movie but also a test for myself to adapt and rise to the challenges of making a sequel
the Final Spider-man 2099 design
This was an especially fun treat for me because I got to design the White 2099 suit for the comics, so it felt like being able to come back to something I made in another career and give it new life.
I was told that at one point, within Miguel's workshop, we would see a WIP version of Miguels next suit, to hint that it was something he was working on before the Spider Society took up all his time. These are some explorations I got to make to show how the suit could be hanging up in the corner of the space.
a Hand-drawn final design for Miguel's logo to be used for Marketing purposes.
The final look, sort of combining all the options. The LEDs would burn and decay, but pull back and reveal in a web-like pattern
Another idea on sort of fizzling out LEDs, but with a horizontal decaying pattern.
I lIked the idea of it looking like burning out LEDs and die In a burst of a multitude of colors.
Pixels disintegrating, but with an underlayer of almost web-like circuitry
We knew Miles would use his venom powers to sap some of the electricity in Miguel's suit, but the question was how it would disintegrate. I looked at a lot of broken TV screens and drained LEDs for inspiration. This option was based on blinking and fizzling out pixels.
An On-Model draw over I did to show exactly how all the intricate patterning wrapped onto the form. Because I spent months developing this it was a lot easier and time-saving to have me draw the pattern than to have the Modeling side interpret all the designs.
the final blue pattern
Final back side pattern
Final front side pattern
A selection of the favorite choices by the directors
Leg pattern call-outs
Arm Blade call-outs
Mask pattern call-outs
Chest pattern call-outs
I would explore to implement Meso-american patterning to both the red pattern in the suit, but also a subtler one in the blue as well.
So after some time in Character Paint, along with several months of development of Nueva York, which had an incredible amount of cultural work impended into it, the decision was given to come back to this design and to ad the same kind of cultural care into the suit.
Cape Long exploration
Cape short exploration
The final turn around that went to our Character Modeler Omar Smith
Eye shape explorations, just to see if nothing else was being left on the table. In the end going with a simpler read was the winner.
Exploring some of the Drama of the suit and action. A lot of these poses would go on to be used in Marketing materials.
More acting, that "Stare Down" drawing was one of my favorite from the whole production.
Character acting explorations based on elements from the Storyboards. A part of Character Designing is figuring out the "Character" along with the design.
This was a lot closer to what the directors liked for his musculature. It felt deliberate and built, but still within a realm of being based on real body building.
The beginning of my second pass, trying to find the physicality. One of the things we were trying to avoid was to have him look like a "Bruce Timm" design because thats a really common and easy (graphically) buff guy design to go with.
Going the other way and see how techie the directors wanted the suit.
Trying to find ways to graphically simplify the red elements on the suit.
My first assignment on my first day on the job. The ask on character is that he needed to feel intense, that everything he did had a purpose. Almost that he was the Scary Spider-man.
Jessica Drew
The other character that I started on on my first day, but ultimately this would be a design I just could not figure out
My last pass at Jessica before it would go off to other designers again to be taken to the final design in the film.
What ended up being my last real contribution to the character was figuring out Jessica's mask. I did a bunch of explorations at some real feeling biker goggles, all the way to some more fantastical comic feeling masks.
Getting the character back to that old silhouette, but also finding some real world details to bring some authentic biker-ness to the design.
After almost a year after my last pass, I came back to Jessica to try to fine tune where the design was after some other designers did some heavy lifting with her. Issa Rae had been cast and it helped inspire a lot of the design
Jess and her Bike. This is where I'd leave the character for a while so other designers had their turns.
Kind of a blend at all the previous winning versions. At one point Jessica would have already had a young child before this pregnancy and I liked the idea of having this child meet Mayday Parker.
Pushing the design a little more here, bringing back that silhouette from the beginning that everyone really liked. At this point I was looking a photos of real pregnant women who were lifelong bikers to see how they styled themselves to bring some authenticity to the design.
The blend of comfort but the casual way she was wearing her costume was a big hit with directors and producers. Here I was exploring some character acting moments for Jessica.
Was she just wearing her old costume but with new biker elements, was she always a biker but now had to alter the costume due to her pregnancy? Those were questions we were trying to find the answers to.
Some other options
Ultimately it was decided that the biker look would stay, so I tried my hand and different ways to express that and plus it up. A Spider Leg Bag was a particular highlight for me.
That third drawing would arguably be my most important contribution to Jessica. That silhouette would dictate the design for every designer after me.
The other design I started on my first day. It was surreal getting to come back to this character because it was heavily based on the design I did for her in the comics. Jessica being being pregnant was a key defining aspect of the character from day 1, but I wanted to try a few different approaches and get away from the biker look. At this point Issa Rae hadn't been cast, but we knew we wanted Jessica to be mixed race at least.
Spider-Byte
coming soon
Peni Parker and SP//Dr
coming soon
Sun-Spider
coming soon
Web-Slinger
coming soon
Spider-UK
coming soon
Spider-Canada
coming soon
Spider Society
coming soon
Prowler
coming soon
Uncle Aaron
coming soon
Rio Morales
coming soon
Gayatri Singh
coming soon
Delilah
coming soon
Villains
coming soon