Interview with the talented graphic designer Stefanie Candelario

We had the awesome pleasure chatting with an up and coming graphic designer Stefanie Candelario who designed the stunning poster for Elimination Strain.

Facebook -- Stefanie Candelario @stefaniecandelariophotoanddesgin

Instagram -- @scphotodeisgn25

Website -- scphotodesign.net

How did you learn about Elimination Strain?

I had learned about Elimination Strain from Chris Wells. I met him at a bar in my neighborhood called Adirondack during the pandemic. One night we ran into each other, and we started to talk about what we did for a living. I told him that I do graphic design and photography, and he brought up his movie Elimination Strain and how he came up with the idea and what the movie was about. He then showed me his mock-up of the poster and asked what I would do differently to make it stand out. After I told him my suggestions and recommendations, he asked if I would be interested in doing the poster. I said, yeah, I would be thrilled to help him out with it. 

Where there any helpful videos or pictures that helped you come up with the design of the poster?

Chris sent me a link to his proof of concept of Elimination Strain. I asked if I can see it to get more of a well-rounded idea of what I can create with the poster. For me, it takes me a few times to watch it to get the right concept. The first time around, I watched it from an entertainment standpoint to make an impactful impression. Then I watched it again to see any elements that I can use for the poster. Either from the music or just where the camera is focusing on the main character. And Chris's poster showed a screenshot of a moment in the film where the character is walking towards something disturbing that he's just panicking. So that image alone really did help me out as far as what I wanted to do. 

The glitch effect on the poster is perfect, what made you think of adding that?

Thank you for commenting on it! I took inspiration from the first minute from the proof of concept Chris sent me of all the people recording conspiracy theories about COVID-19, and Chris had that glitch effect on the videos that caught my attention. I loved the eerieness of those videos that it would be amazing to bring it out on the poster. Also, the characters are living through COVID were communicating through zoom, and their video sessions do get very glitchy. I thought it would be cool to add-in.

I can imagine that there are a lot of mock posters before you go to the final, what was the process like?

There was a lot of back and forth, for sure. I remember first sending Chris 3 different versions of what the poster would look like with various photos of the main character and a bold-yellow vector graphic that would be a great alternative. But we agreed with one of the shots that we liked, what would work best for the movie. Then it was time to add in the tagline and the movie title while adding in their graphic elements. Also, Chris told me to keep in mind about making sure there is enough spacing to place festival logos as it enters and wins awards, so it was essential to keep an open space so the poster won't look cluttered. 

The effect you use on the title is unique and really fits the film. How did you come up with that and how much of that was through trial and error?

The title was a lot of fun to create. I wanted to give off a warning, toxic element to the title, and give off the impact. What I did was research toxic/warning signs that we see every day -- from the font to the exact yellow color of the warning signs. So what you see on the title is the same font and color of the warning signs. The acid effect was a bit tricky to pull off. After we finalized the font and color, we played around with different effects --  a dissolving effect, a deteriorating effect, and even one chemical formula that shows acid. But I found an acid/liquid photo and did a clipping mask of it. I had to make it black and white to bump up the contrast to give it the melting, fluid look effect. The tricky part was getting the liquid effect to work well with the tile and not make it look like it was cutting off from the title or the title disappearing into a dark area of the poster. If anything, the title of the movie was the most time I've spent designing for the poster. 

How much communication is there for a project like this and was there a clear idea from the beginning or did it develop over the process of design?

There was a ton of communication about the poster and what we felt like what would work. It was very clear from the beginning of the project what both Chris and I envisioned, but of course, there are always some fun surprises that always pop up in every project. Like with the poster's glitch effect, that effect caught my attention when I watched the proof of concept and wanted to add that effect to the poster. But what helped also was that he would bring in members from the team and ask their opinion and their responses on my versions, and I would make those corrections. So it wasn't just Christ I was talking to; it was people working on the movie as well.

How much freedom did Christopher give you on this project?

Chris gave me a ton of freedom for this project. When I saw the mock-up of his poster, I would point out what would work and what didn't work, and he would listen to why I made suggestions like that. Of course, I told Chris first before doing any changes that I made at the last minute or coming up with something that I thought of after sending in a new version.

 The colors in the poster are so important, how did you come up with the idea to use them?

So the colors for the title and tag lines are from the warning signs that we see every day. They were bright enough to contrast the photo that the main character was in a dark setting. The photo's coloring was a stark color setting, giving it awaiting/warning on what he was walking into at that moment. 

I imagine you learn something from every project, what did you learn from this project?

I learned, and this is the same that goes for every project that I've worked on, that no matter what, you're constantly pushing yourself to teach yourself and adapt to any challenge you come across on any project. You listen to other's suggestions as well that they see something they point out that you didn't initially see, and you learn from that. For example, the glitch effect was some back and forth because where the glitch would be on the character's face, it would look too awkward or too distorted that you can't see the eyes, and the mouth was too distorted. So for me, it's to pay more attention to those little details, and they do make a massive difference in the long run.

How many times did you meet with Christopher to discuss the poster?

We met at least 2-3 times to discuss the poster, and we would meet at the bar, Adirondack. Because of our work schedules, we would mostly talk via text messages and emails and discuss the poster. But of course, I would try to make myself available to meet anyone in person to talk about any project. It's always good to get the feedback face to face, but if there's something that you can't meet in person, then texting and emailing works just as well. 

Was this project fun? Was there anything that pleasantly surprised you?

It was tons of fun for me. It was my first time creating something that's a horror genre and having that freedom to be as intense and creepy as I wanted. I would say that the most surprising thing was Chris letting me work on this project. During quarantine, there's so much you can do, and as someone that would have any work coming in before lockdown, this was not just fun but kept my skills sharpened as well. 

How long have you been doing graphic design and how does that affect your other interests?

I've been doing graphic design since I was in college. I was part of a publication called Serpentine/Artifacts Magazine at the College of Staten Island. Many of it was self-taught, and senior members would teach me and other students Photoshop, Illustrator, Indesign, and any other available programs. And I would teach newer students that would want to join the publication. But Graphic Design wasn't my major in college -- photography was, but I would pick up a quick graphic design job from time to time. It wasn't until 2015 I went to Hunter College to get my certificate in graphic design, where I sharpened my skills, both design and technical work. It leads me to my current job, which, thank God I still have, working as a production intern for a publication at Hearst business in Manhattan. 

What advice would you give to other graphic designers?

Network where you can and as much as you can. You never know that one night you go out to your local bar, you might meet someone looking for a designer, a photographer, or both for a project. So always have your business cards with you. Always ask the client or director of any samples or first draft concepts; those are very important. Also, don't be afraid of criticism. Get used to the idea that you can always use the feedback and show and project the confidence to handle any job or project. And, of course, always communicate with your client. Even if you can't meet in person all the time, text and email, or even Zoom, everyone is on the same page. 

What advice would you give directors when working with a graphic designer?

Be open to their suggestions and recommendations. Trust in their design and how they deliver the project. Give them the freedom to come up with a concept that you might've not expected. If you have any drafts or concepts of the project, always share with the designers how you want the project's outcome. Always communicate with your designers, and don't be afraid to criticize because everyone wants to be happy and get everything perfect at the end of the day. We designers want to be as satisfied as you are, and it honestly makes not just us but the director's as well grow. 

What projects are you working on now?

Right now, I'm working on a few projects but I always try to make myself available for new projects, such as movie posters, event/live shows posters and publishing. I'm also a photographer and I really enjoy collaborating with clients who need those services as well — headshots, events/live shows, photojournalistic work, and set photography.

What kind of work do you want to work on in the future? What kind of projects gets you most excited?

Projects like Elimination Strain, where it has social commentary and thrilling, and out of the box, I want to be part of something very open and thrilling. I'm also a big comic book/movie/tv/anime nerd, so I would love to be involved in anything closely related to that. And where I can use both graphic design and photography skills -- those are the projects that are the most exciting for me.