The conclusion from this meeting was that we become “Pre-Visual Artists producing a Concept Outline” for the film. By doing this we were free to be as creative as we liked, fill in detail where detail was needed, and have more time to develop and produce a coherent visual treatment. To back ourselves up we researched practitioners within the field; George Hull, Walter P Martishius and Dawn Brown.
George Hull, Creative Director, ESC Entertainment
CGNetworks Production Coverage
Concept Art Production for the Matrix Reloaded/Revolutions
Commissioned to start helping the visual development process but later moved to the studio to join the Production Designer, storyboard, and Previsualisation artists
Drew design concepts for set interiors and vehicles
The film contained several thousand visual effects so this had him dedicating most of his time to drawing and painting key sequences from the script
“What was unique was the attention the directors paid to concept design and graphic story telling- very refreshing and creatively fulfilling”
Produced about 100 drawings of how set designs, miniature models and visual effects shots should look as well as 100s of colour storyboards including several high-detail production paintings
Pre-visualisation
“The process always starts by talking through the script with the directors and sketching out designs or scenarios: I would then ink in more detail and finish them into colour paintings or storyboards.”
“In post-production, I transitioned to ESC Entertainment as a Senior Visual Effects Art Director – I found the best way to provide art direction was to digitally paint ideas into highly detailed ‘key-frames’. These gave the crew visual targets to help describe precise lighting direction, colour palettes, value, composition and atmospherics.”
“Whenever I start an illustration, I think about the focal point and value composition first. I like images that can be bold enough to make the point in a few seconds, yet subtle enough to have depth and emotion”
“At the beginning of the creative process it is important not to get too tight with your work. For me, the production process starts with me blocking out my designs or storyboards in pencil first and then having the directors check to see whether I am on the right track. Because the Wachowski Brothers wanted considerable detail in the artwork I did, I would almost always ink my pencil drawings into higher design resolution.”
I did this illustration to pitch a few art direction ideas to the brothers
Besides making a scene look dramatic, a concept artist should always try to elaborate on the ideas as well. They don’t always get used, but it is an important part of the creative process.
Walter P Martishuius
Production Designer, Art Director, Set Designer
For a Production Designer, concept art is used as a communication tool to convey the look, feel and emotional content of the film as a whole, a set, or moment in the film
“The first use of the art is to express Walter’s vision of the film to the producers. The concept art is Walter’s opportunity to share with everyone what he “sees” for the project. At that point the look and style of the film is either approved or revisions are made. Once everyone agrees on the style, the images are shared as a source of inspiration with the rest of the production company. These images are usually presented in what Walter calls his concept outline. He will do an image for every major movement in the film. This way you can get a feel for the overall look of the flow of the movie. With the concept outline a viewer can see, at a glance, the balance between light and dark, colour, mood, emotion, shape and form as the movie progresses.
The concept outline can be as few as a dozen images or as many as thirty or forty or more.
The concept paintings can then be used by modellers, texture artists, lighting leads and effects artists as reference.
Dawn Brown
Illustrator, Set Designer, Concept Artist
Red Queen’s Castle (Alice in Wonderland 2010)
In Alice in Wonderland she was involved in the conception of the sets for the Red Queen’s Castle.
Worked with Set Decorator Karen O’Hara. Dawn produced concept sketches based on Karen’s direction and Karen showed them to Tim and Rob Stromberg (PD). Dawn the makes revisions to the design or if approved they go to set designers for blueprints then onto the shop to be built.
“Its the small unspoken details that are so important in telling a story like this.”
Most of the animal furniture Dawn created never made it to film but “that’s showbiz”.
For the red Queens castle Karen wanted lots of artwork- Dawn created over 25 pieces but only one was seen in the movie.
She created the environment by talking with Tim and Helena Bonham Carter so it would reflect where her character was coming from.
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