For awhile I’ve been working on a personal project in fits and starts. I have a fair bit of material in my sketchbook, but I thought I would reveal the name of the project and the logo. It will be a narrative art book with some actual video elements for promotion.
In 2013, I was contacted by Tony DiTerlizzi to create a couple of keyframe illustrations based on his book “The Search for Wondla”, the first book in his excellent science fiction trilogy. It’s a superb series, and it would be incredible to have it made into a feature film franchise or Netflix series.
Here are a couple of new “inventions” – a Dream Reader, and a wizard staff, both made with found objects.
During the holidays last winter, I created a few personal works for a project, and here are the results. I will be moving in a different direction from this style of Photoshop painting over the coming holidays. Descriptions below, and of course, click to see bigger.
(Part 1 here) Once again, no spoilers.
When I was asked to take a shot at designing the aliens for Arrival, I leapt at the opportunity. It was still the very early days of pre-production, and Denis and Patrice had already given the alien task to a couple of concept artists. The extraordinary concept artist Peter Konig was working at the same time as me, but I didn’t get to see any of his work till a few weeks ago. In the end, veteran creature designer Carlos Huante was the one that got it right; his majestic and mysterious heptapods embodied all the qualities Denis was looking for.
My contributions were more to see if I could come up with something different than the other guys, so I had a little free reign to mess around with ideas, with the mandate to “design something we haven’t seen before.” I had only a couple of weeks for this task, so I experimented more with shapes and impressions. Below are just a few samples of ideas I tried. In hindsight, after seeing the film, I’m glad these didn’t make the cut, as I was going a bit too abstract to identify with the beings. Once again, I’m still so grateful that I got to work on such an incredible film, even if my part was small.
In February of 2015, I began work on “Story Of Your Life,” the Denis Villeneuve movie that would eventually be called “Arrival.” I worked with Patrice Vermette, the production designer to illustrate his and Denis’ ideas, and over the course of three months provided many variations of designs for the ship and its occupants. It was a real treat to be part of this film, and to work so closely with one of our most visionary directors, a real honour.
Here are a few samples of the various designs, beginning with the vessels which were called ‘shells’. There were many shape explorations, beginning with a sphere, some triangles, odd shapes, and eventually an ovoid. The lozenge shape seen in the final was designed by another concept artist; sorry, not sure who*. No spoilers here, as most of what you see ended up in the trailer. (*Edit – the final lozenge shape was rendered by assistant art director Aaron Morrison)
Coming next, Part 2: Alien designs
Here’s the full trailer to Arrival. I did a fair bit of concept art during the early stages of preproduction, and I’m pleased to see a lot of my work in this trailer. It was by far the best screenplay I’ve worked with. The work itself challenged me immensely – in a good way. Denis Villeneuve and his production Designer Patrice Vermette were a joy to work with – brilliant minds both. Intelligent, thoughtful Sci-Fi.
Back in 2011, I posted some images I created, trying to reproduce the effect of light through eyelids that are almost closed. Recently, I created a video based on these images for an exciting exhibit at Dawson College called Vision(s), on till May 11th at the Warren G. Flowers Gallery at Dawson College in Montreal. The video was created using photography through polarized mylar, Photoshop layering and effects, video segments using lenses and found objects in front of the lens and After Effects compositing – my first full video using that program. I created the music using a tiny segment of the end of a song, time stretching it, reversing it and layering it on top of itself to create an ambient wash.