Travis Vengrove is talking to the artist. Translated into Russian by Alexey Ionov
Many artists have worked on the Star Wars Expanded Universe, and among them there is no one more experienced than Dave Dorman. However, our conversation with him, which took place on one of art exhibitions, was dedicated to other, less well-known aspects of his work. We talked about Dave's own universe, G.I. Joe and how important it is to set goals.
Dossier
Dave Dorman - American artist working in genres science fiction, horror and fantasy. He is best known for his work on Star Wars.
Dorman is self-taught: most he received his knowledge in his own workshop, carefully studying the works of more than experienced craftsmen. He began his professional career in 1979 illustrating covers for marvel comics, DC and - later - Dark Horse. He gained wide popularity in 1983 after creating the cover for Heavy Metal magazine.
He won the 1993 Eisner Prize for his book Aliens: Tribes. Fans recognized him best artist who ever created based on " star wars».
When did you realize that you would like to devote your life to a career as an artist?
I loved to draw with early childhood As a boy, I spent a lot of time drawing comics about superheroes. But I decided to devote my life to art much later. AT high school I was a pretty big guy and played college football, so I planned to get an athletic scholarship in college and then decide what I would do after graduation. But then I got seriously injured and my football career was over. I had to seriously think about what I want to devote my life to, and since I still loved to draw, I thought: why not?
If earlier drawing It was a hobby for me, now it has become a job. I spent all my time on drawings, on improving technique, on teaching the necessary techniques. I immediately set several goals for myself: “I want to draw illustrations, I want to draw comics.”
I never went to college - instead I spent a year at the Joe Kubert Graphic School. True, at this school they taught how to draw comics and almost did not talk about working in color, so I began to study this in free time. I enjoyed working on a single painting in color more than drawing comics, panel after panel, page after page. Therefore, after graduating from the Kubert school, I decided to study on my own what would really be useful to me. This process took me a couple of years.
I lived at home with my parents, got a temporary job and spent every free minute on self-education. I sat down at the easel and studied. I studied engineering different artists, asked their advice, looked at their work and in practice learned the possibilities of brushes and paints.
And now, after about three years, that is, about the same time that I would have spent in college, I began to earn money by drawing illustrations. A little here, a little there. And then I drew the cover of a major magazine, and this work brought me fame. After that, I had enough orders to earn a living. So, I think I was lucky that I chose the career of an artist early, set goals for myself and worked hard to achieve them.
You are renowned for your attention to detail...
It's from the love of drawing. As a child, I wanted to draw comics, and in them you need to take into account small parts. Over time, this habit spread to my illustrations. My paintings are striking from afar, but when you get closer, you begin to notice details - for example, patterns on the character's scabbard, dents on his armor. All this enriches the picture and makes you stop and consider the image thoughtfully. Such details allow you to learn a little more about the hero or about what is happening on the canvas. And I always want to tell as much as possible with one single image.
Do you have any favorite sci-fi or fantasy universes?
During my career, I drew a lot of illustrations for Star Wars. I've been with Lucasfilm for twenty years and I've been painting Star Wars and Indiana Jones. I was lucky enough to work with Fox on Alien and Predator. I have been a fan of these films since the very beginning, and it was very flattering and interesting for me to participate in the development of these universes.
I also created the Wasted Lands project, for which I came up with all the characters, the plot and the whole world in general. I recently got the Wasted Lands Omnibus graphic novel out, and I really hope to be able to tell many more stories about this world.
Tell our readers about the world of "Empty Lands".
This universe was born about fifteen years ago as component more major project called Projected World ("Designed World"). It was a personal computer video game, and because it came out just as consoles were starting to catch on, it flopped and was quickly forgotten.
But for me, the world, in the creation of which I participated, has not lost its appeal. The characters invented by me did not go out of my head, and from time to time I began to print individual short stories in small publishing houses, step by step expanding the picture of the world. In 2000, I had the opportunity to publish a graphic novel called Rail, which was to be the first of six. However, there were difficulties with the publisher, and I decided to temporarily scale down the project. Fifteen years later, I finally returned to this world - with renewed enthusiasm, because I had the support of many people. I remastered the original graphic novel, added new material to it, and collected it all under one cover - in the same omnibus that was released in July 2014. I think it will be a good introduction to my world for readers.
In addition, we are working on board game with the working title Rail: Iron Wars, which serves as a kind of backstory for my novel. This is a strategy in which you have to fight for resources and railways in the desert region. This is partly card game- armies exist in the form of cards in hand. Other players don't know what kind of power you have, and when two armies clash on the battlefield, the size and strength of the enemy is always a surprise. All as in real life, and it’s much more interesting to play like that than it is corny to throw a die.
We also plan to release several texts that will be released in in electronic format on Amazon and iTunes, we are thinking about a series of toys and other related products. I hope I can keep readers interested in the world of The Hollowlands long enough to tell all the stories I've made up.
I heard you dated George Lucas?
Yes, thanks to my work with Lucasfilm, I was lucky enough to meet Lucas a few times. It's no secret that he's a big fan of art. He especially likes illustrators of the early 20th century - Norman Rockwell, Newell Wyeth, Joseph Leyendecker, Dean Cornwell and others. All these artists also staggered my imagination when I was just learning the basics of craftsmanship. Lucas has been collecting art for many years. I first offered some of my work for his collection and was very flattered that Lucas appreciated my services to Lucasfilm and bought several pictures.
Are you expecting anything special from the new films? (We took this interview even before the premiere of The Force Awakens - approx. MIRF)
You know, no. I want to go to them without expectations, with a willingness to learn and see something new. I still love Star Wars, but I'm not a hardcore fan who loves only the original trilogy, or only the prequels, or only the Clone Wars, or only the Expanded Universe. These are just stories and I'm really looking forward to seeing what JJ Abrams comes up with. I believe in Lucasfilm, and in Disney, and in the cinema, I will go with the expectation of having fun and watching spectacular adventure movie, where there will surely be something familiar and something new.
"Waiting for Indy". One of my favorite static paintings. A woman holds a hat and leather jacket and waits for Indiana Jones to return.
How did you get started drawing illustrations for G.I.Joe**? (A cult series of toy soldiers by Hasbro in the USA, based on it the film G.I. Joe - "Throw of the Cobra" - approx. MIRF)
Oh G.I. Joe. I was living in Florida at the time and a friend of mine was making miniature sculptures. He traveled with them to various military shows, and people came to gawk at his exhibitions. Among them were the guys from the Hasbro development department. A friend of mine became friends with them, and one of them once mentioned that Hasbro was looking for an artist to draw G.I soldiers. Joe in the form of real, living people. A friend recommended me and I was the perfect fit for them. For the next six years, I drew illustrations for Hasbro.
How did it work? The guys from the development department came up with new models of toys, new weapons or armor, drew diagrams and drawings, but had no idea how it would look like in real world. And this is where I came into play. I was given developments, and I created a realistic picture based on them. After all, weapons that look great on paper are not always applicable in real life.
My illustrations are for internal use only. The guys from the development department used my pictures for presentations with which they went to the authorities. They showed me pictures and said, “This is what this character looks like,” then they showed the design of the toy, and the bosses then said something like, “We do this and that, finalize these, but forget about the rest.”
After desired characters went into development, and the rest went to scrap, the need for my illustrations disappeared, and they were simply thrown away. When the guys from the art department found out about this, they literally pulled them out of wastebasket and shown to collectors. That's how it became known that I was doing illustrations for G.I. Joe. Mostly people thought that I was drawing illustrations on toy packages, because usually the name of the artist is not indicated there.
Rolling Thunder, published in 2010, covers your entire career. But they say that your stash will contain material for at least two more such publications, and material that the public has not even seen.
Yes, my 30-year career has been eventful. I myself am amazed at how much work I managed to do. When we were collecting material for Rolling Thunder and I was looking through all these sketches, folders, photos, slides, I was just shocked at the scale of it all. So yes, a book containing over two kilograms of art contains only a third of my total work. And following books, if they come out, will greatly surprise the fans.
What advice can you give to aspiring artists?
You know, when I lecture to the younger generation, I always emphasize two things: perseverance and patience. You cannot achieve the ideal overnight, you need to set a goal and gradually move towards it. With each new job your skill level grows, even if you are unhappy with the result. So if you love something, keep doing it. And if you fell out of love, try yourself in another area.
But keep working patiently every day. You can't draw for an hour a week and expect to achieve some success. This must be done daily, and in the end your efforts will be rewarded. I consider myself the most happy man on the ground. Every day I wake up, look at a blank piece of canvas and create on it the whole world. Every single day. There is no better job in the world.
Science fiction is referred to as a kind of art direction that depicts the world based on real ideas about other worlds, creatures and other worlds that are logically incompatible. fantasy style common in most various types, directions and currents of the arts. It must be said that the fantastic imagery present in cinema, theater, literature, and art is clearly arbitrary, which in itself violates all real parameters, as well as the basic laws of the objects it depicts. Any artistic creativity as part of its components, it must necessarily have at least elements of fantasy, because it helps to create and develop art. Since images in this area arise through inventing and synthetically combining elements, such images often lack liveliness and artistic truth.
One of the subgroups of the fantasy style is fantasy, which is a direction art, main actors which are fantastic images, mythological heroes, as well as images created by a personal representation. As fantasy art, this trend was finally formed at the end of the twentieth century, while I. Bilibin, M. Vrubel, V. Vasnetsov are considered its founders, since it was in their works that new characters of the genre from fairy tales and oral folk art.
The fantasy style promotes all the main ideas that occupy the minds of representatives of creativity in modern society. In other words, fantasy is the same science fiction, but slightly simplified and absolutely not overloaded with technical details. In works of this type, motifs that are familiar to everyone from early childhood slip through, but at the same time they are completely cleared of frank primitivism, childish naivety and are not at all absurd. Fantasy works organically combine familiar myths about ancient civilizations along with extraterrestrial civilizations and all the incredible achievements that they bring. In this mix of legends, folk art, fantastic events and characters, and finally formed relatively new genre visual arts.
Pictures of fantasy in literature quite successfully coexist with fantasy in painting, and therefore a large number of artistic and literary compositions are brought to the attention of the audience, which are used in the design of books, posters for films, drawings for books and huge canvases. Most often, authors in this genre are inspired by books written in the fantasy style. But the opposite also happens. Julia Bell, Boris Vallejo, Luis Royo - these authors are quite close in their style to the direction of heroic fantasy, as evidenced by their paintings. But truly the greatest influence on the appearance of images of a fantasy nature was made by the work of D. Tolkien. Events of an unrealistic nature inspired many artists to portray his fictional characters. Illustrators of his books were Ted Nasmith, the Hildebrandt brothers, John Howe, Alan Lee.
Fantasy is a rather extended concept and implies the presence of a large number details. hallmark this style has a peculiar way of presentation, which is complemented by unrealistic descriptions of nature, scary monsters- representatives of unknown extraterrestrial civilizations. Commonly used cliches in this case are simple weapons, war, magic, dragons, elves, horses, leprechauns.
Fantasy may in some cases work closely with others artistic directions. For example, quite close to him fantastic realism, sometimes - symbolism, surrealism, or even abstractionism.
Travis Vengrove is talking to the artist. Translated into Russian by Alexey Ionov
Many artists have worked on the Star Wars Expanded Universe, and among them there is no one more experienced than Dave Dorman. However, our conversation with him, which took place at one of the art exhibitions, was devoted to other, less well-known aspects of his work. We talked about Dave's own universe, G.I. Joe and how important it is to set goals.
Dossier
Dave Dorman is an American science fiction, horror and fantasy artist. He is best known for his work on Star Wars.
Dorman is self-taught: he received most of his knowledge in his own workshop, carefully studying the work of more experienced masters. He began his professional career in 1979 illustrating covers for Marvel, DC and, later, Dark Horse comics. He gained wide popularity in 1983 after creating the cover for Heavy Metal magazine.
He won the 1993 Eisner Prize for his book Aliens: Tribes. Fans have recognized him as the best artist ever created based on Star Wars.
When did you realize that you would like to devote your life to a career as an artist?
I loved to draw from early childhood, as a boy I spent a lot of time copying comics about superheroes. But I decided to devote my life to art much later. I was a pretty big guy in high school and played college football, so I planned on getting an athletic scholarship in college and then deciding what I would do after graduation. But then I got seriously injured and my football career was over. I had to seriously think about what I want to devote my life to, and since I still loved to draw, I thought: why not?
If earlier drawing was a hobby for me, now it has become a job. I spent all my time on drawings, on improving technique, on teaching the necessary techniques. I immediately set several goals for myself: “I want to draw illustrations, I want to draw comics.”
I never went to college - instead I spent a year at the Joe Kubert Graphic School. True, at this school they taught how to draw comics and almost did not talk about working in color, so I began to study this in my free time. I enjoyed working on a single painting in color more than drawing comics, panel after panel, page after page. Therefore, after graduating from the Kubert school, I decided to study on my own what would really be useful to me. This process took me a couple of years.
I lived at home with my parents, got a temporary job and spent every free minute on self-education. I sat down at the easel and studied. I studied the technique of different artists, asked their advice, looked at their work and in practice learned the possibilities of brushes and paints.
And now, after about three years, that is, about the same time that I would have spent in college, I began to earn money by drawing illustrations. A little here, a little there. And then I drew the cover of a major magazine, and this work brought me fame. After that, I had enough orders to earn a living. So, I think I was lucky that I chose the career of an artist early, set goals for myself and worked hard to achieve them.
You are renowned for your attention to detail...
It's from the love of drawing. As a child, I wanted to draw comics, and in them you need to take into account small details. Over time, this habit spread to my illustrations. My paintings are striking from afar, but when you get closer, you begin to notice details - for example, patterns on the character's scabbard, dents on his armor. All this enriches the picture and makes you stop and consider the image thoughtfully. Such details allow you to learn a little more about the hero or about what is happening on the canvas. And I always want to tell as much as possible with one single image.
Do you have any favorite sci-fi or fantasy universes?
During my career, I drew a lot of illustrations for Star Wars. I've been with Lucasfilm for twenty years and I've been painting Star Wars and Indiana Jones. I was lucky enough to work with Fox on Alien and Predator. I have been a fan of these films since the very beginning, and it was very flattering and interesting for me to participate in the development of these universes.
I also created the Wasted Lands project, for which I came up with all the characters, the plot and the whole world in general. I recently got the Wasted Lands Omnibus graphic novel out, and I really hope to be able to tell many more stories about this world.
Tell our readers about the world of "Empty Lands".
This universe was born about fifteen years ago as part of a larger project called Projected World (“Designed World”). It was a personal computer video game, and because it came out just as consoles were starting to catch on, it flopped and was quickly forgotten.
But for me, the world, in the creation of which I participated, has not lost its appeal. The characters invented by me did not go out of my head, and from time to time I began to print individual short stories in small publishing houses, step by step expanding the picture of the world. In 2000, I had the opportunity to publish a graphic novel called Rail, which was to be the first of six. However, there were difficulties with the publisher, and I decided to temporarily scale down the project. Fifteen years later, I finally returned to this world - with renewed enthusiasm, because I had the support of many people. I remastered the original graphic novel, added new material to it, and collected it all under one cover - in the same omnibus that was released in July 2014. I think it will be a good introduction to my world for readers.
We're also working on a board game, tentatively titled Rail: Iron Wars, which serves as a kind of backstory for my novel. This is a strategy in which you have to fight for resources and railways in the desert region. This is partly a card game - armies exist in the form of cards in hand. Other players don't know what kind of power you have, and when two armies clash on the battlefield, the size and strength of the enemy is always a surprise. Everything is like in real life, and it is much more interesting to play this way than to throw a dice.
We also plan to release some texts that will be released electronically on Amazon and iTunes, we are thinking about a series of toys and other related products. I hope I can keep readers interested in the world of The Hollowlands long enough to tell all the stories I've made up.
I heard you dated George Lucas?
Yes, thanks to my work with Lucasfilm, I was lucky enough to meet Lucas a few times. It's no secret that he's a big fan of art. He especially likes illustrators of the early 20th century - Norman Rockwell, Newell Wyeth, Joseph Leyendecker, Dean Cornwell and others. All these artists also staggered my imagination when I was just learning the basics of craftsmanship. Lucas has been collecting art for many years. I first offered some of my work for his collection and was very flattered that Lucas appreciated my services to Lucasfilm and bought several pictures.
Are you expecting anything special from the new films? (We took this interview even before the premiere of The Force Awakens - approx. MIRF)
You know, no. I want to go to them without expectations, with a willingness to learn and see something new. I still love Star Wars, but I'm not a hardcore fan who loves only the original trilogy, or only the prequels, or only the Clone Wars, or only the Expanded Universe. These are just stories and I'm really looking forward to seeing what JJ Abrams comes up with. I believe in Lucasfilm, and in Disney, and in the cinema, I will go with the expectation of having fun and watching a spectacular adventure film, where there will certainly be something familiar and something new.
"Waiting for Indy". One of my favorite static paintings. A woman holds a hat and leather jacket and waits for Indiana Jones to return.
How did you get started drawing illustrations for G.I.Joe**? (A cult series of toy soldiers by Hasbro in the USA, based on it the film G.I. Joe - "Throw of the Cobra" - approx. MIRF)
Oh G.I. Joe. I was living in Florida at the time and a friend of mine was making miniature sculptures. He traveled with them to various military shows, and people came to gawk at his exhibitions. Among them were the guys from the Hasbro development department. A friend of mine became friends with them, and one of them once mentioned that Hasbro was looking for an artist to draw G.I soldiers. Joe in the form of real, living people. A friend recommended me and I was the perfect fit for them. For the next six years, I drew illustrations for Hasbro.
How did it work? The guys from the development department came up with new models of toys, new weapons or armor, drew diagrams and blueprints, but had no idea how it would look in the real world. And this is where I came into play. I was given developments, and I created a realistic picture based on them. After all, weapons that look great on paper are not always applicable in real life.
My illustrations are for internal use only. The guys from the development department used my pictures for presentations with which they went to the authorities. They showed me pictures and said, “This is what this character looks like,” then they showed the design of the toy, and the bosses then said something like, “We do this and that, finalize these, but forget about the rest.”
After the necessary characters went into development, and the rest were scrapped, the need for my illustrations disappeared, and they were simply thrown away. When the guys from the art department found out about it, they literally pulled them out of the trash and showed them to collectors. That's how it became known that I was doing illustrations for G.I. Joe. Mostly people thought that I was drawing illustrations on toy packages, because the name of the artist is usually not indicated there.
Rolling Thunder, published in 2010, covers your entire career. But they say that your stash will contain material for at least two more such publications, and material that the public has not even seen.
Yes, my 30-year career has been eventful. I myself am amazed at how much work I managed to do. When we were collecting material for Rolling Thunder and I was looking through all these sketches, folders, photos, slides, I was just shocked at the scale of it all. So yes, a book containing over two kilograms of art contains only a third of my total work. And the next books, if they come out, will surprise fans a lot.
What advice can you give to aspiring artists?
You know, when I lecture to the younger generation, I always emphasize two things: perseverance and patience. You cannot achieve the ideal overnight, you need to set a goal and gradually move towards it. With each new job, your level of skill grows, even if you are not happy with the result. So if you love something, keep doing it. And if you fell out of love, try yourself in another area.
But keep working patiently every day. You can't draw for an hour a week and expect to achieve some success. This must be done daily, and in the end your efforts will be rewarded. I consider myself the happiest person on earth. Every day I wake up, look at a blank piece of canvas and create a whole world on it. Every single day. There is no better job in the world.
Tornadoes, snakes, octopuses and ancient lizard skulls inspire American artist John Brosio. Agree, an unusual set. Jonah is a great reason to think about what to do if we are ever taken over by giant octopuses or crabs.
Unusual, sometimes terrifying, John Brosio perfectly simulates a futuristic reality. Moreover, it's not even about frequent destructive tornadoes. The most truthful and recognizable element of his paintings is the indifference of others.
People calmly walk along the deserted streets a couple of blocks from the disaster. The man with the diplomat stares blankly at the giant octopus that has taken over his house. No panic, no escape. Not the slightest emotion. Except, perhaps, the smile of a girl, behind whose back a tornado has already destroyed part of the city.
All this leads to different thoughts. Of course, on the one hand, it's clean fantastic pictures. It is unlikely that huge chickens will walk the streets, destroying everything in their path. However, people really began to treat anyone's death rather indifferently. And this can have certain consequences, and not only in art paintings.
On the eve of All Saints Day, we decided to remember the most outstanding artists who worked and still work in the style of fantasy and science fiction. This legendary people, with whose work you are, albeit fleetingly, but, for sure, familiar. However, it would not be out of place to learn a little more about them - and maybe find a stunning idea for a Halloween costume.
Frank Frazetta
American science fiction artist Frank Frazetta is one of the most famous representatives of the genre. Frank was born in Brooklyn in 1928. From the age of 16, he began to draw comics - first in the Western style, then - about superheroes, the most famous of which are Buck Rogers and Flash Gordon. Since 1964, Frazetta has been designing book covers, particularly for the Conan and Tarzan series. He was the animator of Ralph Bakshi's cult fantasy cartoon "Fire and Ice". The works of the classic fantasy illustration are highly valued - in 2009 one of them was sold at auction for $ 1 million.
Ralph McQuarrie
Ralph McQuarrie went down in history primarily as the artist and designer of the Star Wars film trilogy - it would not be an exaggeration to say that without him the whole cultural layer would look very different! Ralph was born in Indiana in 1929. After serving in the army during the Korean War, he studied at the College of Art in Pasadena, in the 60s he worked as an artist in a dental clinic, a concept designer at a Boeing 747 factory, and an illustrator of posters for films. In 1975, George Lucas offered Ralph McQuarrie a job. In addition to "Star Wars", Ralph worked on the series "Battlestar Galactica" (Battlestar Galactica, 1978), the painting "I. P. - Alien "(E. T. the Extra-Terrestrial, 1982) and" Cocoon "(Cocoon, 1985). Ralph is the winner of the Oscar for best visual effects.
Moebius (Moebius)
french artist Jean Giraud or Moebius is also a comic book writer, writer and screenwriter. Jean was born in 1938, at the age of 18 he drew the first comic strip - "Frank et Jeremy". Subsequently, Giraud became prominent representative waves of aesthetic comics of the 1970s and 80s, moving away from pop art. Turning to science fiction, Giraud took the pseudonym Mobius. At the same time, he began to collaborate with the British magazine New Worlds and illustrated books by Moorcock, Samuel Delaney, Philip Dick, Roger Zelazny. Since the late 1970s, Giraud has been working in films in the films Alien (1979), Blade Runner (1982), Tron (1982). In 1982, the cartoon "Lords of Time" was released, where Giraud acted not only as an artist, but also as a screenwriter. In the 90s he was busy with Besson's The Fifth Element. In 2003, the animated series "Arzak" was released, created by Giraud based on his own comic book.
Craig Mullins
Artist, art designer and illustrator Craig Mullins was born in 1964 in California. He studied at Pitzer College in Claremont, and then at the Art Center College of Design, where he studied design, illustration art, and in parallel - and digital art. Mullins began working as a designer at Ford, but soon realized he was thinking too broadly for the automotive design world. In 1987, with the publication graphic designer PaintBox, Mullins came to digital painting in which he found world fame. Craig did matte paint and concept art for The Matrix Revolutions, Armageddon, Apollo 13, Interview with the Vampire, Forrest Gump, Jurassic Park. Also among his merits is work with computer games Halo: Combat Evolved, Halo 2, Age of Empires, Age of Empires III, Need For Speed, Fallout 3, mass effect 2.
John Howe
John Howe has been a fan of Frank Frazetta and Robert Howard's Conan since childhood. In 1976 he moved to France where he studied at the American College of Strasbourg and at the Ecole des Arts Decoratifs. For some time he worked for an animation film studio in Switzerland, and then, in the 90s, he started his career as a fantasy illustrator. Howe illustrated books by Tolkien, Guy Gavriel Kay, Robin Hobb, Patricia McKillip, Charles de Lint, David Gemmel. In 1998, director Peter Jackson invited the artist to work on his adaptation of The Lord of the Rings. Thus, along with Alan Lee, John Howe became the creator visual solutions film trilogy. John Howe also collaborated with Meisha Merlin illustrating a limited edition of George Martin's Clash of the Kings.
Hans Giger
Hans Rudolf Giger was born in 1940 in Chur. Studied architecture in Zurich Industrial Design. Their surreal paintings Giger originally painted in large format, redrawing them with an airbrush. The artist himself called his style, where machines and living organisms fancifully grow together, "biomechanics", and many others - necrogothic or erotomechanics. Giger's third collection of work, The Necronomicon, caught the attention of director Riddley Scott, leading the artist to an Oscar for visual effects for Alien in 1980 and world famous. Giger is also known for creating album covers for many musical groups. The artist's name, along with John Tolkien, is inducted into the Science Fiction Hall of Fame in Seattle.
Drew Struzan
famous illustrator Drew Struzan was born in 1947. The passion for drawing captured him from childhood - when Drew was five, people from Stamford University came to see the child's drawings. Struzan was educated as an illustrator, preferring it to art for reasons of future income. After graduating from college, Struzan drew covers for music albums(most notable work- Alice Cooper's "Welcome to My Nightmare" album cover) and movie posters. The artist gained popularity, but real glory he got a job for Star Wars. After that, Drew Struzan made a huge number of posters for legendary films (Blade Runner, Police Academy, Back to the Future, Risky Business, American Tail, Goonies, Hook, Hellboy and "Harry Potter and the Philosopher's Stone").
Syd Mead
Syd Mead was born in 1933 in Minnesota and studied design at art school in Los Angeles, worked on the design of catalogs, including for Ford, and later founded his own design bureau. Upon moving to California, Mead begins to collaborate with Hollywood, working on films, among which were " Star Trek”, “Blade Runner”, “Tron”, “2010”, “Johnny Mnemonic”, “Short Circuit”. The work of Sid Mead can be attributed to futurism, but rather to retrofuturism. Obviously, thanks to his long work with the Ford concern, Mead in his work shows a great penchant for cars.
Andrew Jones
American fans digital artist Andrew Jones is known as Android Jones. He works in the area concept art for movies, video games, illustration and digital presentation. He can be called one of the first representatives of digital painting - Andrew began his career at a time when this art form was just gaining momentum. He worked with George Lucas at Industrial Light and Magic, with Nintendo, was creative director at Massive entertainment company Black Inc.. In 2002, Andrew Jones, Jason Manley and Coro Kaufman created the non-profit art community ConceptArt.org.
