2012 Syd Mead: visiting artist
2012 Syd Mead: visiting artist
11/12 Brad Yarhouse
11/12 Brad Yarhouse
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BIO:
Syd Mead presented on Nov. 8th 2012 a retrospect of his work and his thoughts on working as a Visual Futurist, a title he invented for himself for the credits for the 1982 film Bladerunner. Syd's contribution to the field of concept design is unparalleled and at the age of 79 he continues to work for industrial design and film companies. I have compiled a list of comments that he made during his visit categorizing them for easy access and relevancy.
On Creating the initial concepts:
On Creating the initial concepts:
- When designing for the future, within the images you need to include "Familiarity Triggers" This is some element that brings the viewer into the image and concept. There will be a remembrance of the past with in the concept of the future. Examples include classical architecture that show up in his paintings.
- Commercial concept work must be comfortable to live in. It needs to have appeal.
- Story must always be present, even if the client has not provided one, you as the artist need to create it.
- Because the future is always built on the past, the "retro deco" and trash, buildings, old machines also inhabit the future.
- To design the future, he is always researching the latest scientific ideas and cutting edge technologies.
Designing for the movies:
Designing for the movies:
- Take into consideration the physical needs of the equipment, such as in Short Circuit the robots base had to be squat and thick to hide the batteries.
- Designing for the location: Sound of Thunder was shot in Prague but had to look like Michigan Ave in Chicago – but in the future.
- Design props and vehicles for the types of needs required. For example, the Taxi in Bladerunner is very dehumanizing on purpose. The type of transportation used in design will tell you what era you are in.
Thoughts on the future:
Thoughts on the future:
- The future will be a balance between the manufactured and the handmade.
- Craft will become more valuable as it gets easier to make stuff fast.
- Douglas Trumbull is creating a 3D dome experience for film that is better then drugs.
About going into business:
About going into business:
- The government is your business partner and they are really inept.
- Being in business is fragile (unless you own a cemetery)
- Somewhere out there are people better then me, just not found.
- "Luck is preparation meeting opportunity." Socrates
Process of Making the Art for Game or Film:
Process of Making the Art for Game or Film:
- Syd Mead uses guache for painting, Photoshop for compositing and Google Sketchup for Modeling
- New Concept artists in the industry need to be digitally prepared - Using Photoshop and 3D Software
- Find ways to make your work look unique - The challenge is to design something we have not seen before. Syd is paid to invent reality.
- Sketch idea quick
- Greyscale first
- Then refined
- Then it goes to model makers - either practical or CG
- The earlier you are involved in the concept stage for a movie or game the more control you will have over the visual outcome.
Are Kendall DM Students ready to go into the Concept Art industry?
Are Kendall DM Students ready to go into the Concept Art industry?
- After the portfolio- reviews, Yes - those that did the Matte Paintings for Film and Digital Concept Environments to the proficiency level where they were believable.
- The key to their success is to make sure that they are inventing a reality that has not been seen before that triggers familiarity. Some are ready for internships, others are ready to start in jobs in the industry.
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