Black Adam
The surface design for Black Adam is a striking fusion of ancient and modern aesthetics, reflecting the character’s powerful mythological origins while integrating bold, contemporary elements that emphasize his complex, anti-heroic nature. Inspired by Black Adam’s deep connection to ancient Egypt, the design features intricate symbolic patterns and textures drawn from hieroglyphics, stonework, and the armor of mythological gods, evoking a timeless sense of strength, mysticism, and otherworldly power.
As a Surface Designer for Black Adam:
- I worked closely with Costume Designers Kurt Swanson and Bart Mueller and a team subcontractors to align the designs with the character and narrative
- Prepare repeat patterns and production-ready files for printing, dyeing, or embroidery
- Adapt designs based on budget, time constraints, and technical requirements
Cuneiforms
I found the formative stages of developing dimensional prints to be one of the most exciting aspects of the project, beginning on her very first day. Collaborating closely with Kurt and Bart, she tackled design challenges and contributed to the ambitious task of shaping the film’s surface aesthetic. The dimensional prints were provided by By Design.
Contributions
This project also marked my first opportunity to work with Russ’s team at Film Illusions Inc., an experience for which I am deeply grateful to Kurt and Bart. I played a key role in developing the design language for the super suits featured in DC’s Black Adam. Below is an overview of the design process behind these iconic super suits.
Cyclone
Over the past few years, I have contributed to sigil and emblem designs, and I am especially grateful to Kurt and Bart for giving me the opportunity to be part of the creative process behind Cyclone’s sigil in Black Adam. Presented here are the initial sketches and brushstroke explorations from the early stages of development.
Dr. Fate
For this film, I was responsible for creating the digital texture repeat used on Doctor Fate’s costume in Black Adam. Once completed, the asset was shared with the VFX team for further integration into the suit. Through multiple rounds of exploration and creative direction from Kurt and Bart, we ultimately landed on a design rooted in the ancient ankh symbol, layered with hieroglyphics to enrich the visual storytelling. Despite the fast turnaround, it was incredibly rewarding to see my final texture make it into the film. Shown here are the initial sketches I presented at the beginning of the creative process.
