Before SST was a 3D show it had to be sold internally at Columbia Tristar. This was the art used by Executive Producer Richard Raynis to get the show into production. I did the layout, and designed the characters, creatures and environment.
Brilliant picture here mate. Do you have any art of the tankers lying around? Ive always had questions about them but id never seen any traces of them but on my dvds. For example, massive redesign from the films (I think yours is better), what inspired it etc etc? Ive got a heap of questions about this show, but I wont flood you with them XD
So this question sent me digging through my plastic tubs of show folders. It turns out that I never got around to coloring the Tanker bugs, so I've added them to the pile of old show art that I'm slowly coloring for DA. I also discovered that my final design of the Tanker Bug was based off a tiny thumbnail that Darren Roach one of my Employees back in Australia had done. I didn't like the ones in the movie, they looked more like robots than something organic. So I was happy to redesign the Tankers and apply my species rules to them so they looked like part of the family.
Hey wow! thats really cool! Cant wait to see them, They never really gave you a good look at them in the show, only parts, itll be sweet to see what they look like now. On the topic of the SST creatures, are there any sketches of the, hmm, i think it was a stealth bug? it slowly mutated the character zander. Or others like the "water tigers" or the rippler queen? Hope im not wasting your time mate Its really damn cool you are taking time out to answer peoples questions. So many artists on here wont do that.
This is one of those shows that, in my opinion, would have been a cult classic if it was given a chance. You guys did an amazing job, not only with the graphics, but the plot and characterizations were just flat-out amazing! With everything being a sequel to earlier stuff, I'm hoping maybe they'll try to reboot the series in a few years. With Gossard, he's my fav.
Thanks, I totally agree with you, what we did at Sony was a completely missed opportunity as far as I'm concerned. However things worked out the only way they could, at least the work exists to speak for our efforts and reach it's own audience.
Would you believe I had to fight so hard to keep Gossard looking the way I wanted, the 3D modelers all tried to take him away from my vision of a Native American, they kept caucasianing him up. He has quite a few admirers, so I'm happy that I stuck with it.
I'm surprised you guys haven't done a comic. Especially since your style has a lot of punch to it; you're really good at giving still images a lot of energy and emotion. They don't have a static feeling to them without being weighed down by unnecessary lines. Your art has that nice balance between detail, and not heavy. And a great sense of color! It was so awesome they picked someone like you to work on SST. As an NA myself, it explains so much! XD I do have a question about Goss, and one about the ending if you'd be so kind to answer/actually know the answer? Brutto (SR.) is from lower Morelands, PA, and Goss is from Upper. Did they ever meet before the war, or was that an Easter Egg? My other question is what kind of stuff were you hoping for the last few eps? I've read that it was planned at the last ep, only 1 marauder was supposed to get inside to fight the queen. And it's probably a shoe in that it was Rico... But part of me thinks he might be less than willing to get inside a marauder again, and Doc and Goss would have had more experience. (What an interesting twist if Doc was the one who killed the Queen?)
I really appreciate your insight, you have picked up on some very subtle things about my process. I started as a cartoonist, and I'm talking young here, my work was first published when I was 8, I began professionally at 16 using nib and brush to ink my work. So I had years of practice summarizing my drawings into a clean line. I also sculpted and could draw and sculpt the same character without difficulty transitioning them from flat to dimensional. I also painted and was working in oils by 17. There were NO computers back then, everything was done by hand, no cheats. All that practice and my deep study of the natural world, pouring over photos of animals, insects and flowers, has resulted in what I was able to do. 3D was new to the studio and I was the only artist there with the 3D program Lightwave and able to sculpt in it. Rather than picked for the job I was the only one capable of what was required. After a meeting with Foundation Imaging my friend and boss, Executive Producer Richard Raynis, turned to me and said can we really do this? I said I know what to do. I'm grateful that he trusted me.
Your Goss questions will need to be answered by someone from the writing department. I was never included in their discussions, or even saw any writers in our building for that matter. We were highly compartmentalized. By the time the end of the show was written I was off the show as all of the bugs had been designed and they were just pulling stock, I had Heavy Gear to design! However I will ask around and see what answers I can uncover for you. Keep in mind that a fair bit of this stuff was thrown together on the fly. You have had the benefit of time to consider these deeper concepts, the answers may turn out to be fairly mundane.
Again thank you for for giving our work such deep consideration.
I dabble at art myself (though, writing called to me more), and I completely agree with working in various creative mediums to help even one medium. Like you say with sculpting; Somehow, it does help you get a better feel for drawing. I know my work with oil pastels helped me get a better handle on color and texture (Though, I've wanted to get a better handle on prisma markers and I'm currently trying to teach myself Poser). To me, I can't draw a figure without imagining backstory. And I can't write without the character visualized. It's a viscous cycle that leaves me as more of a 'jack-of-all-trades, master-of-none'. I think computers are a great medium, and it reminds me of a debate I had with a friend who said non-computer images were more artistic, and I rebutted saying computers were a medium and therefore artistic. Yes, the undo button is great, but it also makes you that much more critical. And that kind of carries over to other mediums where you get less critical because you will make mistakes and from that you may develop a new style that transfers back to computers. Roughnecks are actually on Crackle (the first couple seasons), and it's what got me back to the show. I'm hoping renewed interest (and I hear rumors of a new starship troopers movie is in the works) might actually complete the show. I think I'll wallow in SST for a while before I move back to XGB, since I enjoyed that show as well when I was a kid and I think I would enjoy it more as an adult. Thanks for looking into that! The writer in me is compulsive with those questions - I actually kept stopping on the Tophet episode to read all those stats and now I can't get it out of my head.
It's funny oil pastels are the one medium I never got comfortable with, I'm impressed with anyone who can work it! I completely understand the catch 22 situation of needing visual reference to write to, I consider myself a visual writer, I often write comics by connecting images together that I want to draw. I always need thumbnails to figure out the pace of a story, which is why I am so suited to comics, my images tell half of the story. I love computers! I just finished making a font in my nib style, I never have to hand letter another speech balloon! But it looks exactly as though I hand lettered them. Computers are a huge leg up for people who want to be creative, I love not having to mix paint I can just get on with it. The real test is to see what an artist can do without their computer.
Enjoy your viewing and memories watching SST.
I'm still waiting on a responses to my inquiries on your behalf, I don't know any of the writers and I only have contact with a couple of people from that time, and they were artists.
Sorry for the late reply, something's going around my college... To me, they're like giant soft crayons with amazing color and the ability to really play with texture (My favorite is some rough paper towels all wadded up and streaked through, nice effect effect for hair/fur/grass). For me, it's why I could never get into comics, I never drew what I wanted, I drew what needed to be shown, as if a movie was going through my head and using the main 'cels' as my picture reference. I think I like your idea better. When I circle back to it, I think I'd try that. Right now I'm frustrated in drawing dragons. They never turn out how I'd like... (I blame the deforestation in South America on my inability to draw dragons). I never even tried to make my own font, I am in awe of you. It's funny about the mixing paint thing; as a kid, I would get a glass of water and just mix different drops of food color in to see what colors I'd get. I think that's how I learned to like color so much Thanks for even trying to get those answers! I'm trying to get a few of my friends to watch SST now, but they're on a Spartacus kick. Someday...!