How Important Is A Website To A Concept Artist?

I spend a lot of time checking out websites of artists in the film and television industry. In fact, the majority of my posts are based on them. There are so many, I started a blog roll to help me keep track of them.

Every now and then I run into an artist that doesn't have a web presence. It surprises me.

How could an incredibly prolific artist like Ed Natividad not have a website? Why would an artist have a blog and not update it for two years? How could a legend like Ralph McQuarrie have an up-to-date and comprehensive website and others don't?

Obviously, it depends on how important the site is to the artist. So, I reached out to some artists and got answers from both ends of the spectrum.

Warren Manser has worked on major films like Transformers and says that his site is extremely helpful to him. This is mainly because "the film industry changes very fast." Besides helping clients up-to-date on his work it constantly introduces his work to new people. "I've also been getting emails from non-film related projects." In his words, "Diversity is good." Keep an eye on his site because he's planning on expanding it to include more information to compliment the imagery. So, some artists feel it's essential to their work.

Of course, networking plays a big part in any successful job and some don't see websites as being equal to that.

Martin L. Mercer worked on such films as Predators. He said, while a web presence can be useful to show prospective clients, he values something more. He said, "overall in my experience its who you know not how good your web page is."

So, if you're an artist in the entertainment industry or just a fan I'd love to hear your thoughts on your favorite art website.let me know in the comments.

Speaking of websites, make sure you visit the websites of Martin L. Mercer  http://www.martinmercer.com and Warren Manser  http://www.WarrenManser.com.

UPDATED: Check Out the Stanley Kubrick's 'A.I.' Concept Art That Made It Good

UPDATE: After finding images from the film that match the concept art, I have to concede that the art is exactly the same. I never noticed it because the visuals were so integrated that they didn't stand out. So, I updated this post with screen caps and new title.

The movie A.I. (2001) was okay, but if it had some of Stanley Kubrick's trademark visuals it may have been great.

Back in 2001, the legendary director Stanley Kubrick was working on A.I. Artificial Intelligence based on the Brian Aldiss' short story "Super-Toys Last All Summer Long."

When he died in 1999, Steven Spielberg took it and produced a fairly successful film. But, imagine if the visuals below had been in the film.

Synopsis: A highly advanced robotic boy longs to become “real” so that he can regain the love of his human mother.

I know a couple of the artists are Chris Baker and Warren Manser, but there are others.

The Flesh Fair

The Flesh Fair

Post Humanity Ice Fields

Bridge entrance to Rogue City

Flesh Fair Moon Blimp

 Cryogenic Medical Facility

New York under water

 Rogue City

Moon

What do you think? Could have been even better?

Via io9

Warren Manser Talks About Creating 'Transformers: Dark of the Moon's' Laserbeak and Other Things That Don't Exist

Warren Manser once said, "As a conceptual artist, what I do is visualize the elements of the movie, so that everyone can understand what an effects shot is going to be..." And what a job he's done.

From Sam Raimi's low-budget horror classic Army of Darkness (1992) to Michael Bay's big budget Transformers: Dark of the Moon (2011) he has provided visuals that shape the landscape of film far beyond his illustrations. In this exclusive interview he shares his insights on concept art in general, the future of Photoshop and being a a kid again through his designs.

What's your background as an artist? 
My education is in industrial design and specifically automotive design. Early on I decided that I'd like to explore other forms of commercial art so I came to Los Angeles to break into the movie industry. It has been a non stop education since then. I learn something on every project and continue to develop as an artist.

How did you decide to become a concept illustrator versus other types of art?
I've been drawing as long as I can remember. And the subject matter has almost exclusively been about sci-fi/fantasy, superheroes, and vehicles.

I enjoy creating something that doesn't exist in the real world. Or creating something that will soon become part of the real world.

Its a form of artistic exploration that includes self expression, technical knowledge, technical skills, and especially abstraction. You get to expand your intellect as you create.

Working on Transformers: Dark of the Moon is there a piece that you created that you were excited to see come to life?
The 3D artists/animators really did an amazing job in bringing my concepts to life. It may sound unlikely but I really enjoyed creating concept art for Laserbeak the most.

My fellow artists and I invented a whole fictitious persona around him that had nothing to do with the movie, but was good for a laugh.

I created concepts for him transforming into a toy penguin that never made it into the movie, but I have it on my website. I think I get more comments about that penguin than anything else.

How did you handle the incredibly intricate designs of the robots? Was there one that was more challenging than others?
I relied on my years of drawing experience. Many times these days artists rely on found imagery, but when you can't find the pixels, you have to invent them. Not that collaging is invalid, but it is limited to the elements you find. Whereas if you can draw from a blank page, you manipulate every line, every shape. Its time consuming, but it is also custom made.

Laserbeak was very challenging, but great fun as previously mentioned. His form is composed of many small twisted shapes that curve around his neck and into his body. Once I had a rhythm going it became easier, but getting it all to work together took some time and concentration. Then, translating that into his penguin form was another mind bender, but totally worth it.

Some of your designs are dated from 2009. As a concept artists, what's it like working with such a long time between design to completion?
I think I was on Transformers 3 for around 7 months or so, and that's a pretty good run. It was an intense schedule, so I enjoyed a break upon completion.

Once I start another movie, I usually start to forget the last, or at least most of the details. So when the film comes out, some things are a surprise to see.

I think its fun to not know what happens in a film before you see it - to experience it for the first time. I don't look at a lot of trailers or purposely seek out info before the release. I still want to be a fan sometimes, so the longer time between design and release date the better - for me anyway.

Transformers 3 is a great theatrical experience.

While everything you have done has its own rewards is there one project that you're particularly proud of?
I think I'm most proud of my work on Spider-Man.

The Matrix was fantastic, but short in duration, while Spider-Man utilized many skills and was a great education as well.

Creating the concept art was very exciting. It was like being a kid again.

And on the flip side, I contributed to the trompe l'oeil technique applied to the actual suit fabric and created the vector artwork used to make the raised webs on his suit. All of which was incredible experience gained that has been invaluable on subsequent projects.

Where do you see the conceptual design industry five years from now?
That's a great question. Its evolving very fast and sometimes in unpredictable ways.

Over ten years ago Photoshop changed everything, and since then 3D software has become very prevalent. And by every prediction, my friends and I thought by now 3D would consume everything and more traditional skills would be obsolete, but that hasn't completely happened.

There seems to be a time and place for a variety of talents and disciplines depending on the project or goal. I do see more 3D in the future though, and eventually someone will make powerful 3D software that a child can use. By removing the steep learning curve of technology, I believe an individual's talent will then be exposed.

Do you have a favorite tool that you work with?
Besides the usual digital tools, Wacom tablet with art pen, large displays, etc, I recently bought a Humanscale monitor arm to float my Apple display and it is fantastic. I can rotate vertical, raise and lower height, and swing the display around for presentations.

Now if I can lose the wires it would be truly free.

How does color influence your design?
Color is a great psychological tool. Color can evoke a mood, an atmosphere, or energy from the viewer and myself.

I created an illustrated book on the Epic of Gilgamesh (Constellation Orion: The Immortal Hunter) and I desaturated the images. I showed a friend and he said "don't be offended, but it reminds me of an old illustrated bible I once saw." I was the opposite of offended, I really was happy to hear it. I was telling the most ancient adventure poem in history and through drawing and color choices I evoked the response I wanted.

Who influences your artistic style the most?
I like a variety of artists including Lawrence Alma-Tadema, Alphonse Mucha, Frank Frazetta, William-Adolphe Bouguereau. And of course DaVinci and Bernini, to name a few. I find it impossible to not be amazed and humbled by the greats.

What's the next movie you'll be working on?
I cannot comment just yet, but I will be more than happy to follow up when the time comes.

Thanks Warren!

Warren Manser's website warrenmanser.com is chock full of great artwork from movies like Daredevil, Speed Racer and other great films! Also, check out Warren Manser's amazing book Constellation Orion: The Immortal Hunter.

Check out more of my interviews with artists here including my interview with Mr. Manser's wife Dawn Brown.
What do you think of Warren Manser's work?  Is the future of art really in 3-D?

Top Ten 'Transformers: Dark of the Moon' Concept Art

Check out the best concept illustrations for the Michael Bay film Transformers: Dark of the Moon (2011). A lot of artists put in a lot of work, but we can only feature the ones on the Internet.

Because of commercial obligations concept artists can't reveal their work til after a film opens. Now that Transformers: Dark of the Moon has been released the flood gates are open and a ton of cool concept art is being shown. The art is from Joel Chang, Warren Manser and Josh Nizzi.

1. "Megatron in Africa" by Josh Nizzi

Decepticon leader Megatron is a mess in this film, but here we get to see that he still had his dignity.

2. Laserbeak as a Cute Penguin by Warren Manser

I'm still not sure if this was in the movie, but Warren Manser has a design of a cute toy penguin transforming into the assassin bird "Laserbeak." Hilarious.


3. "Breakdown v4a" by Josh Nizzi

To keep people from guessing the evil Soundwave was in the movie they named him "Breakdown." He has Laserbeak on his arm and sports an awesome speaker system. If you look close you can see a major spoiler from the film.

4. "Blitzwing, Colossus" by Joel Chang

Here Shockwave (Blitzwing) is riding another renamed Decepticon named Driller (aka Colossus).

5. Driller attacks a skyscraper by Joel Chang

We never see all of Driller in the film because he's huge! Here we see Driller attacking the N.E.S.T. team in a skyscraper. Notice they're wearing full armor battlesuits. This was in the script, but never made it to the screen.

6. "Flying Optimus" by Warren Manser

In the new film heroic Autobot leader Optimus Prime pulls a trailer with an arsenal of weapons including a flying suit. Here he brings death from the above.


7. Laserbeak Attacks by Warren Manser / B. Procter

Laserbeak takes on a much more fearsome and important role in this film. Here we see him swooping into an attack. Love the stormy background. Very dramatic.

8. Ark Wreckage on the Dark Side of the Moon by Joel Chan

Here's a real dramatic shot of the wreckage of the Autobot "Ark" crash site by Joel Chan. Notice the two astronauts coming up on the right. In 1969, the crew of Apollo 11 lands on the Moon to explore the craft. The colors and looming shadow of the Earth in the background is stunning.

8. "Flash with Dog" by Josh Nizzi

Here we see Leadfoot (aka Flash) one of the "Wreckers," a commando unit that transforms into heavily armed NASCAR Sprint Cup Series Chevrolet Impala stock cars. I really like the idea of him having a robot junkyard dog. He's great.

9. "N.E.S.T. Soldier" by Josh Nizzi

Here we see more of the armor used by the government strike team known as N.E.S.T. It never made it into the film except for a glove and mine. It would have been awesome and made a lot of sense. How do humans fight robots? A robot suit of course.

10. Bumble Bee by Warren Manser

I love the insane amount of detail in these concept drawings. I heard Michael Bay wanted to know what each part did too, so it had to be right.

What do you think of the illustrations? Let me know!

Related Posts

• Warren Manser Talks About Creating 'Transformers: Dark of the Moon's' Laserbeak and Other Things That Don't Exist
• Robert McKinnon Shares the Secrets of Rampaging Terminators and the Secret Ending of TRANSFORMERS III
• Exclusive: Tim Flattery Talks About His Organic Concept Art And The Batmobile That Almost Was

Via Transformers Live

The Artists of The Last Airbender: Warren Manser

On Thursday, the new M. Night Shyamalan film The Last Airbender will be released and I'll be featuring a profile on the two concept artists (Warren Manser and Dawn Brown) and storyboard artist Jim Magdaleno.

Warren Manser started out working for Sam Raimi on Army of Darkness, since then he has worked on great films like The Matrix, X-Men, Spider-Man, Minority Report, Serenity and is currently working on Transformers 3. "Primarily, my work has been for the film industry, but I've also had the opportunity to be involved with theme park design, video games, animation, and other industries. I'm originally from Detroit, Michigan where I studied Industrial Design at the Center for Creative Studies."

Here's what he told io9 about the difference between being a comic book versus a concept artist.
"Concept art differs from comic art and book illustration in many ways. It is extremely rare that a concept art piece is actually seen by the audience, whereas other forms of illustration display a faithful reproduction of the art piece itself.

Concept art depicts a set, scene, or object that will be built by carpenters, model makers, or digital artists, so the concept artist has to have some idea of the reality of the final product.
And, the concept art piece can be created to depict its subject in a cinematic manner. That is, in some instances a 2D piece that is illustrated, however beautifully, potentially depicts a scene that can not be shot with a camera."

This a profound statement. A concept artists job is to take a two-dimensional image and portray it in a way that allows those working on the film to see it in three-dimensions. That takes a lot of skill.

If you'd like to read more about him check out "The Art of the Matrix" and "Pearl Harbor: The Movie and the Moment." Also, check out his new book "Constellation Orion: The Immortal Hunter". It is beautiful.

I was hoping to get permission to feature some of his work on this blog, but, for now, just head over to the gallery on his website for more.