Monster S4 - The Lizzie Borden Story

For a graphic artist, Monster S4 wasn't just a historical gig — it was an absolute dream project. It meant plunging headfirst into a city suffocated by rigid Victorian rules, while the fierce, rebellious undertow of the early feminist movement was beginning to explode .From the macro scale of weathered street signs to the micro-details of radical suffragette pamphlets, our mission was to build a physical time machine. Working closely with Production Designer Matthew Ferguson, my incredibly talented American colleague Camellia Cox, we laid an authentic historical foundation. The Italian Art Department then breathed craftsmanship into every frame, turning raw paper and iron-gall ink into pure cinematic tension.We didn't just design the background; we built the invisible world that made the madness real.

Directed by Max Winkler - Production designer Matthew Flood Ferguson - Production design Italy by Gianpaolo Rifino - Set decoration Italy by Chiara Balducci

Property master Italy Sebastiano Murer - Graphic artist Italy Tommaso Borrelli

You think you have seen every period, decoded every typeface, and aged every type of paper imaginable...

Then, a project like Netflix’s Monster: Season 4 lands on your drafting table, and you are instantly reminded why you fell in love with cinema graphics in the first place.

Stepping into the world of Lizzie Borden was not just a historical deep dive; it was an electric, deeply immersive psychological excavation. The challenge was massive: reconstructing Fall River, Massachusetts, at the turn of the 20th century. This was a city sitting on a powder keg of industrial grit, rigid Victorian societal norms, and the roaring, defiant undertow of the early feminist movement.

My journey began with what has always been my driving passion: relentless historical research and meticulous visual archaeology. To authentically reconstruct Lizzie's world, I initiated an exhaustive search for truth that started right within the art department.

Deep Archival Research: I hunted down original 1900s newspapers, local municipal records, and archival photos, piecing together the radical suffragette world through pamphlets, ribbons, and banners.

Era-Accurate Palettes: The color palette emerged directly from historical immersion, contrasting oppressive Victorian hues with the raw tones of a rapidly industrializing New England and the striking violet and yellow of the suffragette movement.

Tactile Authenticity: I selected materials that were tactile and heavy with the secrets of the era, painstakingly recreating every prop document, street sign, to exude the tension of Lizzie's lived reality.

Graphic Artist... Who?

To the untrained eye, our work is almost invisible. I don't just print layout; I try to build time machines. Whether it’s a street sign framing a wide shot, a specific document filling a drawer for Set Dressing, or a hero letter held by the main actor, it doesn't matter if a graphic is center-stage or buried in the background.

What matters is that it is flawless. Because cinema is a game of whispers: the details you don’t consciously see are the ones that quietly leave a mark, bypassing the eyes to convince the mind. In world-building, those invisible threads are exactly what make all the difference.

A Cross-Continental Masterclass: Honoring the US-IT Art Department's Groundwork and Camellia Cox

The true magic of this production lay in the seamless bridge built between two worlds, driven by an exceptional international partnership. Collaborative synergy was the heartbeat of this show. Working hand-in-hand with Production Designer Matthew Flood Ferguson was a masterclass in visual storytelling; his singular vision allowed the graphics to become architectural extensions of the characters themselves.

I want to extend a very special thank you to my American colleague, Graphic Artist Camellia Cox. Her contribution was pure magic, and her unwavering support and brilliant collaborative spirit were vital to this project. Working alongside Camellia was an absolute joy.

Monster S4 reminded me that even after all these years, a blank canvas, the right history, and a brilliant global team can still make the heart race.

Thank you.

Monster Season 4 - Fall River - Hero Bookshop - Ella Beatty as Lizzie Borden

Monster Season 4 - Fall River Backlot - Ella Beatty as Lizzie Borden

Monster Season 4 - Fall River Backlot Suffragette protest - Vicky Krieps as “Maggie”, Ella Beatty

Monster: Season 4 | Fall River Backlot – Hero Bookshop | Art Director: Anna Cuciniello | Graphic Artist: Tommaso Borrelli

Monster: Season 4 | Fall River Backlot – Elevation A | Art Director: Anna Cuciniello | Graphic Artist: Tommaso Borrelli

Monster: Season 4 | Fall River Backlot Elevation A | Featured Shops: Loans, Clothing Shop, Hotel Mellen Grill | Art Director: Anna Cuciniello | Graphic Artist: Tommaso Borrelli

Monster Season 4 - Fall River - Flowers Shop, Five Cents Saving Bank - Ella Beatty as Lizzie Borden

Monster Season 4 - Fall River - Bakery, Electric Company - Ella Beatty as Lizzie Borden

Monster Season 4 - Fall River - Bakery

Monster Season 4 - Fall River - Five Cents Saving Bank

Monster: Season 4 | Fall River Backlot – Elevation B | Art Director: Anna Cuciniello | Graphic Artist: Tommaso Borrelli

Monster: Season 4 | Fall River Backlot | Elevation B Tailor Shop, Ghost sign, Cafè | Art Director: Anna Cuciniello | Graphic Artist: Tommaso Borrelli

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