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Issue link: https://digital.macdirectory.com/i/90549
INTERVIEW start to shape the final product to a higher degree. This does not rule out direction and collaboration which are necessary to achieving a result that satisfies the client. And great direction will propel you to greater artwork. MD > When I look at your conceptual characters, they all appear to have magical and mysterious powers. What is your inspiration? WM > Fantasy has always inspired me. From the Ray Harryhousen stop-motion characters to J.R.R. Tolkien's "Lord of the Rings," mystical characters open your mind to possibilities that you may have never considered. Much of our modern-day fantasy characters are rooted in ancient mythology. As Joseph Campbell and others have taught, mythology can been described as a roadmap to a transcendent experience. Anyone can learn about life and the person that they want to be from examples in timeless tales from the past. And it is the mystery, magic, and fantasy of characters that are bigger than life that grab your attention and unlock your imagination. They will unburden your mind from the pitfalls, shackles, and drudgery of conventional thinking. If you are inspired by art and creation, and if you follow a path that leads you farther than you thought possible, you will create your own future. MD > Can you give us an insight on the design process you use in order to conceptualize and complete a project? WM >Where are new ideas born? New thoughts are realized by combining or rearranging old thoughts that were once believed to be separate. Abstracting reality, engaging your intellect, opening your mind to possibilities, and training your body to execute what you've discovered is a simple through line. Defining conceptualization to a finite degree is impossible because it incorporates the subconscious mind. But when you have a new and exciting thought you must record it fast before it slips away using notes or sketches, whatever is available. Then comes design and execution. This is where care must be taken to shepherd the idea into reality. Too many times I've seen great ideas lost to too many arbitrary opinions. Having a solid vision and the boldness to follow it through was the path to great creations of the past, and hopefully that will continue into the future. MD > How does the conceptual design development differ from print to film? WM > Concept art for film generally is a means to an end. That end may be costumes, spaceships, visual FX shots, etc. While concept artwork exists to lead film makers to an end product, artwork for print i sthe final product. Faithful reproduction is the goal. That doesn't exclude concept art for print, but it is not a prerequisite. For this reason, concept art can be rougher and more suggestive. It's a way to kick-start the idea. Many times art for print requires a resolution and attention to detail not found in concept art. And the subject(s) of the print image must MacDirectory 107