kropserkel
Well-Known Member
The Evolution of a Character: The leap from 2 to 3 dimensions
When a conceptual artist first commits a design to paper, it is the earliest development sketches that are the purest to his imagination when translating from nothing but the spoken word for his guidance. Artists like Ralph McQuarrie are selected by their style to develop and refine raw concepts that are otherwise trapped in the mind of someone without the ability to bring them to life visually. Artists like these are a very important tool for story tellers. The images they create become an immensely important part of characters and environments.
Often, many artists with different areas of expertise are utilized throughout the process of bringing a character to life. Each stage of development may influence the final look, and therefore they each play a role in the final incarnation with their own interpretations. McQuarrie's drawings were developed extensively to what we know today, including additional illustration work by John Mollo, Joe Johnson, under the direction of production designer John Barry. Ultimately, sculptor Brian Muir fleshed out Darth Vader's mask as we know him today.
We were enthralled by this particular early sketch showing glimpses of the origins of an evil mask, and wanted to make it tangible, and wearable.We initially set out in 1997 to bring this piece to life, but only a personal project it remained. We actually literally abandoned the first sculpt at the curbside when we moved in 2003, promising to get back to it when given the opportunity. 10 years later, and now second in line to release such a piece (one that was a great rendition based on McQuarrie’s painting, but luckily not the same sketch), we’re finally ready to present.
And the sketch from which it was based:
We recognize that there are a number of ways to tackle the paint scheme, and since this piece is a concept, the sky(-walker) is the limit. With this first incarnation, we’ve gone with a combat/tactical helmet textured surface, which we think really works well with the piece. We have also experimented with a few of the details that worked best with the design, including the number of mouth grille slots, and the helmet base sweep decay, something that wasn’t possible the way it was drawn. Mimicking the original Muir sculpting process, this piece has maintained a similar organic feel to it, not out of asymmetry, but something that a mechanical process couldn’t have achieved.
Here are a few more images of the helmet to show some of the features:
More pictures of the process, including early sculpture stages on a head bust can be seen on our page at http://www.kropserkel.com/DVconceptual.htm
Thanks for looking!
When a conceptual artist first commits a design to paper, it is the earliest development sketches that are the purest to his imagination when translating from nothing but the spoken word for his guidance. Artists like Ralph McQuarrie are selected by their style to develop and refine raw concepts that are otherwise trapped in the mind of someone without the ability to bring them to life visually. Artists like these are a very important tool for story tellers. The images they create become an immensely important part of characters and environments.
Often, many artists with different areas of expertise are utilized throughout the process of bringing a character to life. Each stage of development may influence the final look, and therefore they each play a role in the final incarnation with their own interpretations. McQuarrie's drawings were developed extensively to what we know today, including additional illustration work by John Mollo, Joe Johnson, under the direction of production designer John Barry. Ultimately, sculptor Brian Muir fleshed out Darth Vader's mask as we know him today.
We were enthralled by this particular early sketch showing glimpses of the origins of an evil mask, and wanted to make it tangible, and wearable.We initially set out in 1997 to bring this piece to life, but only a personal project it remained. We actually literally abandoned the first sculpt at the curbside when we moved in 2003, promising to get back to it when given the opportunity. 10 years later, and now second in line to release such a piece (one that was a great rendition based on McQuarrie’s painting, but luckily not the same sketch), we’re finally ready to present.
And the sketch from which it was based:
We recognize that there are a number of ways to tackle the paint scheme, and since this piece is a concept, the sky(-walker) is the limit. With this first incarnation, we’ve gone with a combat/tactical helmet textured surface, which we think really works well with the piece. We have also experimented with a few of the details that worked best with the design, including the number of mouth grille slots, and the helmet base sweep decay, something that wasn’t possible the way it was drawn. Mimicking the original Muir sculpting process, this piece has maintained a similar organic feel to it, not out of asymmetry, but something that a mechanical process couldn’t have achieved.
Here are a few more images of the helmet to show some of the features:
More pictures of the process, including early sculpture stages on a head bust can be seen on our page at http://www.kropserkel.com/DVconceptual.htm
Thanks for looking!
