The last thing I designed would have been, I guess in Catching Fire, some of the looks in that are pretty intense, very colorful, so that was great fun because it took me completely into another world that’s not particularly my aesthetic. I like a lot of muted tones and unsaturated, washed out… and that was great because it propelled my mind to think in a really different manner because it is quite over the top. It’s kind of futuristic, but it’s not sci-fi on any level. It’s really bold and really colorful and quite campy at times, then it gets really serious. I tried to bring a little bit of darkness to it, you’re seeing a world that was already created in a book. You want to try to be really respectful to the writers, and you want to be respectful to the fan base, but then you also have to figure out what works visually and what you can bring to it as well. [And] I did the second installation so there’s certain things you want to be respectful about for the characters from the first one, but then also show a period of growth and transition.
I love the Peacekeepers that I did. I wanted to make them look a little more menacing, kind of insect-like. I draw a lot in my inspiration boards from different projects, a lot from nature, and animals, and insects. I just think that there’s so much there, in silhouettes and colors. The colors, they’re amazing, when you look in the insect world, and at in animals and nature. I wanted to make these Peacekeepers… after the first film, I felt like they needed to be bumped up a bit, because of what was going on in the second film with the rebellion that’s starting. I felt that we needed to show a transition, that the Capitol is stepping up its forces and making it much more intimidating and fearsome. So I went for this sort of spiny, praying mantis sort of look for them.