Paul Tysall, an art editor, provided feedback on the cover design: - The typography was energetic but did not seem related to the film. The color choices, particularly the green helmet, reminded him too much of the video game character Master Chief. - The clash of flat vectors and texture brush strokes was great and helped the cover stand out. - The artist agreed the colors could be improved but felt changing them would require a new concept to better fit the film's style.

1. Paul Tysall - Art Editor Feedback
I have received feedback on my final LWL cover design from an Art Editor named Paul Tysall who
works for a magazine called Imagine FX. Here are his comments:
+ Typography is good energetic. The clash of the flat vectors and texture brush strokes is great.
Stands out, eye catching.
- The colour choices don't seem to fit the film - feels a bit Halo (Master Chief). Similarly the
typography seems to have little link with the film.
The comments on the colour scheme were slightly
expected. Paul mentions that the green helmet
reminds him too much of the Halo game character
Master Chief, he does have a point. I maybe should
have used the orange and blue colour scheme, but I
wasnʼt happy at how it looked and so I wanted to
explore different colours.
The comments on the
typography were good
and bad. He mentions
that the text looks
energetic, giving the
cover some life. However,
he also said that the font
choice doesnʼt really
relate to the film, which is
a fair comment. I think
that in order for the text to
fit into the style of the
design, it would need to
be this kind of font. I
would need to make a
completely new concept
in order to fit a more
suiting futuristic themed
font into the design.
Paul commented on the
use of the dry texture
brush strokes and said
that it helps make the
cover stand out and eye
catching. This is what was
in mind when I decided to
use these brush strokes. I
wanted to make a grungy
design that stood out well
but also looked right.
The comments on the line art were
positive. The simple, flat, symmetrical
vector lines clash very well with the dry
brush strokes and splatters. It helps split
up the colours and shades of the helmet
whilst allowing colours to “splat” over the
other colours.