Concept Design 1 - Works from 7 L.A. entertainment designers, KURSY RYSOWANIA

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concept design
WORKS FROM SEVEN LOS ANGELES ENTERTAINMENT DESIGNERS
h.belker
s.burg
j.clyne
m.goerner
n.page
n.pugh
s.robertson
CONTENTS
Foreword
by Francis Ford Coppola
04
Introduction
by Scott Robertson
05
DEDICATION
Concept Designers
James Clyne
20
To all of you who choose to dream, draw, paint and use your imagination....
Harald Belker
44
Scott Robertson
66
Nick Pugh
90
Steve Burg
116
Neville Page
140
Mark Goerner
164
Index of Images
188
Contact Info
192
Copyright © 2003 by Design Studio Press
All rights reserved.
No part of this book may be reproduced or transmitted
in any form or by any means, electronic or mechanical,
including photocopying, xerography, and videography
recording without written permission from the publisher,
Design Studio Press.
All illustrations in this book are copyright © 2003 by
the respective artists.
Published by Design Studio Press
8577 Higuera Street
Culver City, CA 90232
E-mail: Info@DesignStudioPress.com
Graphic design by Jane Ward
Designers photographed by Lew Robertson
Printed in China
First Edition, March 2003
Library of Congress Control Number: 2002096016
Softcover ISBN 0-9726676-0-1
Hardcover ISBN 0-9726676-1-X
FOREWORD
INTRODUCTION
In every form of artistic expression there is passion, and a need to tell a story, convey
an idea, or project an ideal. To be in a position to express these concepts and have
the tools and foresight to communicate parallel to, or beyond one's vision, is the goal
of every artist. It is in the drive of the artist where the vision receives a soul, and in
the manipulation of materials where it acquires a body.
In the spring of 2001 I lost my father to cancer. He was and still is very important to me. At his funeral
services I witnessed an amazing outpouring of affection for him from his many artist friends and family
who had traveled from faraway places to say good-bye. In the last months of his life he had spoken to
me often about a collective spirit he believed in—one in which all of his interactions with others would
be remembered by those people and his spirit would live on in their memories of him. Several months
after his death I was reflecting back and came to appreciate more fully all that he had done for me and
for his friends. I stepped back from my own life to observe my friendships. I had a few very close friends
but I thought that maybe, even in the middle of Los Angeles, I could start something that might build
into a rewarding shared experience for more of my friends.
Society is often measured by the level of sophistication captured in its artistic expres-
sion, and can serve as the scale from which its path is plotted. This quest to keep
moving forward, not content to rest too long in the imagery and visions of those
before, is what keeps the wheels of innovation and collective development spinning.
It is a course that while fanning and extending outward like the branches of an
immense tree always has roots referring back to its origin.
I fondly remember the creative energy and freedom my friends and I had while we were attending Art
Center College of Design. I thought to myself it would be great to do work in that type of environment
again—surrounded by friends striving toward a common goal, inspiring and competing with each other to
push our skills and visions to new levels. So from this memory, and a desire to build new friendships
and revive old ones, I proposed the idea of this book.
The visions of worlds, tools, spaces, and methods of conveyance not yet known, are
all part of the internal dialogue of the concept artist. It is this ability to step outside
of one's present condition and provide a voice to the hypothetical future that places
them in a distinct position; one where their understanding of technology, expression
of art and method of communication result in the objects and environments that pro-
vide influence on modern societies' daily experience. In the end, art’s role is not to be
amusing either for the artist or the audience…it’s to interpret life, in the past, the
present—and the future.
The original idea went something like this: a group of friends meet every other month and share with
each other two original pieces of concept art each had created outside of their normal jobs. At the end
of a year’s time I would launch a small publishing company to publish and sell our first book,
Concept
Design
. The project went well—we all made time in the evenings and on the weekends to explore new
ideas and artistic techniques. That’s not to say that there wasn’t a mad rush at the end to try to wrap up
our images and text. It was now exactly as school had been…all-nighters included!
Francis Ford Coppola
The majority of the color artwork in this book was created with digital brushes, as opposed to traditional
ones. Most of us have found that the flexibility and speed of working digitally helps us to communicate
our design ideas more easily. Adobe Photoshop is the software of choice. There are a few examples of
traditional media work and other software programs throughout, but the bulk of the work was painted
within Photoshop 6.0 and 7.0. We hope that by sharing with you our experiences and ideas we might
inspire you to create images of your own. Immediately following this introduction you will see one exam-
ple spread from each of the seven designers. This will give you a quick feel for the range of work we
have created. After the first seven spreads the book is organized by designer. Each designer's chapter
leads off with a brief biography before you view his work.
We hope that you enjoy the works within.
Special thanks to all of you who have helped
us make this book a reality. And to my
friends, old and new, you will always live on
in my memories.
Scott Robertson
Autumn 2002
4
5
JAMES CLYNE:
LOST CITY
Large abandoned structures such as vacant factories and
mills, decommissioned ship loaders, and dilapidated train
yards have always fascinated me, probably originating from
my appreciation of artists like Giovanni Piranesi and Hugh
Ferriss. To me they imply a mysterious, unknown narrative.
This image is from the perspective of a traveler who is dis-
covering this lost city for the first time.
I first sketched out my composition using graphite pen-
cil on newsprint to establish the point of view and perspec-
tive. I then scanned it into the computer, and rendered in
Photoshop using custom brushes combined with texture
overlays. Using a Wacom tablet and pen, I was able to keep
the image loose and sketchy by drawing on top of composit-
ed textures and color tones that I had blocked in. I restrict-
ed my color palette to dark earth tones to give it a sense of
abandonment and neglect.
6
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Concept Design 1 - Works from 7 L.A. entertainment designers, KURSY RYSOWANIA

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