Project
MARVEL STUDIO LOGO - Thunderbolts 25-15
Designing the Void — A Darker Marvel Studios Ident.
Info
The Marvel Studios logo opens in familiar territory, using comic-panel imagery and recognizable characters to establish a sense of expectation. As the sequence unfolds, that familiarity begins to erode—color drains away, the panels rise and assemble, and the composition slowly gives way to instability. Darkness becomes the driving force.
The Void overtakes the logo, allowing black and negative space to dominate both image and sound. By letting shadow consume something so iconic, the sequence takes a bold tonal turn, aligning the ident with the darker, more psychologically charged world of Thunderbolts*. The result reframes the Marvel logo itself as part of the story—unsettling, restrained, and intentionally ominous.
Role
Art DIRECTION
CONCEPT DEVELOPING
Design
R&D
Motion
Client
creative director: tosh kodama art director: henry chang, kathy liang animator: charlie proctor editor: lexi gunvaldson intern: ella caperton producer: jake fritz coordinator: nic luong executive producer: renée robson executive creative director: peter frankfurt
BEHIND
THE
SCENES™
A Collection of project
insights.
designing the void
Let's look at some of my explorations and how the design languege evolved through out our process.
↓ Initial Design
Some early design I made that set the tone of our use of heavy blacks/shadow of the void.
↓ Camera Previs
Here are some early camera previs I did. Knowing we are working with the iconic Marvel logo, we did a series of camera exploration trying to identify the best layout to tease out the letters one by one before the final pull back reveal. The key was to keep the audience continuously interested by the slowly revealed shape of the letters one after another.
↓ Building of The Void takeover
We experimented on various timing and methods to bring on the void take over. This is one of the early exploration I did to set the tone of the void. I intentionally wanting to look at the void pass by itself without distraction, that way I can know that the pattern and look of the void matches what we see in the movie.
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Henry Chang - 張亨利
henrythechang@gmail.com
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