![]() The resulting art was abandoned for a simple black cover, which was intended to act as a wry stand-in for the iconic monolith from the film.Īrtist Randy Ortiz is typically known for his more gruesome and horror-themed work, so his attempt at a lovely Rocket and Baby Groot poster represents a huge step away from his normal work. It was a tricky project, as Tong was legally unable to utilize any familiar imagery seen in the actual film. The next abandoned concept was this album cover by Kevin Tong, created for Alex North's recorded (and never used) original soundtrack for 2001: A Space Odyssey. Unfortunately, it was decided that it wasn't instantly recognizable when translated to another character, so the concept was changed. Next, the panel shared a look at the creation of the various LPs Mondo created for the Inside Out soundtrack, revealing that the original inspiration for Disgust's cover was Liz Phair's Exile in Guyville. The panel noted that some Marvel characters who already have pins, like Nightcrawler, are currently tied up in limbo as well and no one can secure the rights to them. Interestingly, Mondo was also given a firm "No" on Spider-Ham, whose pin was also designed and never produced. While pins for various other X-Men characters were approved and produced (joining the large line of Whalen's already existing Mondo pins), Marvel inexplicably refused to approve the use of Apocalypse. Speaking of studios and specific licensing issues killing projects, here's the Apocalypse pin Tom Whalen designed to coincide with the release of X-Men: Apocalypse. Still, the panelists noted that this one could be resurrected in the future under the right circumstances. That turned out to be a deal breaker for Moss, who, according to the panel, wanted it to stylistically align with his original trilogy poster (which had billing blocks) and just really, really likes billing blocks. Which meant that it could not incorporate a billing block. Unfortunately, the poster never came to fruition because the poster was being created as part of a fine art license with Lucasfilm, which meant that the poster, while it could use the Star Wars title, couldn't be an actual movie poster. I killed it because we weren't allowed to use a billing block. Mondo talked about this yesterday, so I guess I can share. As you can see below (Moss decided to share the art on Twitter after the panel), it follows the same style as his previous three prints – an iconic silhouette whose details are further suggested by other familiar imagery lurking within that shape. Olly Moss, whose prints for the original Star Wars trilogy are among the most beautiful and sought after (and expensive) posters amongst collectors, did create a poster for Star Wars: The Force Awakens. The panel decided to present the most crushing news first. ![]() One final note: some of the art on display here was turned down or never produced for a reason and can be very, very NSFW. Let's run through everything that went down. The results can be aggravating (just look at Olly Moss' unused Star Wars: The Force Awakens poster!) but also exciting (Mondo is working on a Nickelodeon gallery show!). The set-up is simple: Mondo's creative team (Rob Jones, Eric Garza, Jay Shaw, and Mitch Putnam) all sit on stage and share posters that never came fruition, various abandoned concepts, rough sketches that showcase just how much a print can change from its initial inception, and previews of things to come.
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