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As the 2017 series proved, graphic designers like Matthew Clark make a subtle but important contribution to Doctor Who.
Matthew took this picture of Peter Capaldi as the Doctor for The Pilot (2017), to add to the photos he took of Rosie Jane as Bill’s mother.
Graphic designer Matthew Clark on the set of the TARDIS.

The role of the graphic designer in TV production isn’t as obvious as that of a costume designer or a visual effects artist, and that’s kind of the point. Their skill lies in crafting the intricate details that sit in the background and tie the episode to a certain era – past or future. On Doctor Who, this could be anything from a Victorian street sign to a spaceship schematic.

“Graphic design for TV shows has changed tremendously in the last ten years or so,” explains Matthew Clark, who worked as a graphic designer on Doctor Who for the 2015 and 2017 series. “Back in the day, it would have been a lot of hand drawing, using things like Letraset, whereas now it now covers almost anything on screen that isn’t a purchased prop. I do anything that needs to be printed – posters, tickets, newspapers, signs – and I also do the majority of video screens, mobile devices and alien control panels. Thanks to newer technology like laser cutting and large format printing, I’m also responsible for constructed 3D graphics.”

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Find the complete article and many more in this issue of Doctor Who Magazine - DWM Special 48 - The 2018 Yearbook
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About Doctor Who Magazine

At the end of 2017 a remarkable chapter in the history of Doctor Who drew to a close. Two incarnations of the Time Lord overcame an existential threat... before the arrival of the Thirteenth Doctor heralded a bold new era for the programme. The latest Special Edition of Doctor Who Magazine is a unique souvenir of the Twelfth Doctor’s final adventures, from The Return of Doctor Mysterio through to Twice Upon a Time. Packed full of all-new features and previously unseen images, this is the essential guide to the year in Doctor Who.