The Concept Art on these pages was done primarily for films. For a Production Designer, concept art is used as a communication tool to convey the look, feel and emotional content of the film as a whole a set or moment in the film.
The first use of the art is to express Walter’s vision of the film to the producers. The concept art is Walter’s opportunity to share with everyone what he “sees” for the project. At that point the look and style of the film is either approved or revisions are made. Once everyone agrees on the style, the images are shared as a source of inspiration with the rest of the production company. These images are usually presented in what Walter calls his concept outline. He will do an image for every major moment in the film. This way you can get a feel for the overall look of the flow of the movie. With the concept outline a viewer can see, at a glance, the balance between light and dark, color, mood, emotion, shape and form as the movie progresses.
The concept outline can be as few as a dozen images to as many as thirty or forty or more.
Most images start as a “Blackbook Sketch”, almost always done with a fine ballpoint pen, very small in a black Moleskin sketchbook. Those two to three inch sketches are then scanned into the computer and painted with Photoshop CS3 and Corel Painter X.
Many times Walter will build a rough 3D model, using the application Form Z, to establish basic shapes and perspective. This is an advantage for Walter as the Production Designer. If the concept art is approved he already has a rough model of the set that can then be refined and put directly into modeling and used in the 3D Workbook process where the director can start blocking rough animation.
The concept paintings can then be used by modelers, texture artists, lighting leads and effects artists as reference.
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| CONCEPT ART I |
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| CONCEPT ART II |
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| CONCEPT ART III |
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