Concept desing

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concept design

h.belker s.burg j.clyne m.goerner n.pugh s.robertson


Foreword by Francis Ford Coppola Introduction by Scott Robertson

04 05

Concept Designers

James Clyne
20 44 66 90 116 140 164

To all of you who choose to dream, draw, paint and use your imagination....

Harald Belker ScottRobertson Nick Pugh Steve Burg Neville Page Mark Goerner

Index of Images Contact Info

188 192

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 StudioPress. 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: 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



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 driveof the artist where the vision receives a soul, and in the manipulation of materials where it acquires a body. Society is often measured by the level of sophistication captured in its artistic expression, 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 ofinnovation 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. 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 andprovide 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 provide 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, thepresent—and the future.

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 ofhis 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 LosAngeles, I could start something that might build into a rewarding shared experience for more of my friends. 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...