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Notes

"I was facing a wall of malice. Angry spikes and leaves, dripping with venom, acid, who knows what else…

Not for the first time I was ready to give up. What kind of life was this?  To face pain and misery, loneliness and fear, without knowing when it would end…

My journal is now my shield. Writing down my thoughts, photographing these extraordinary places… It’s the only thing that keeps me sane.”

Read more here: Floran Traveller  

"I was facing a wall of malice. Angry spikes and leaves, dripping with venom, acid, who knows what else…

Not for the first time I was ready to give up. What kind of life was this?  To face pain and misery, loneliness and fear, without knowing when it would end…

My journal is now my shield. Writing down my thoughts, photographing these extraordinary places… It’s the only thing that keeps me sane.”

Read more here: Floran Traveller  

Notes

It’s hard to underestimate the impact Bill Sienkiewicz had on comics, but I just really like him as an artist in his own right. 

Love this cover he did for Epic illustrated. It reminds me of classic movie posters of the 80s. :-)

It’s hard to underestimate the impact Bill Sienkiewicz had on comics, but I just really like him as an artist in his own right. 

Love this cover he did for Epic illustrated. It reminds me of classic movie posters of the 80s. :-)

1 Notes

A still from my upcoming short film “Dear Joni”. Shot with vintage camera lenses.

A still from my upcoming short film “Dear Joni”. Shot with vintage camera lenses.

Notes

I am hereby re-opening my Tumblr account. I will keep posting about stuff that inspires me but also post photos and videos that I create.

Hopefully I can get back up to my old posting frequency.
So, who likes this mysterious underground bazaar with beautifully diverse lifeforms?

I missed you all. Sorry I have been quiet.
Rudolf

I am hereby re-opening my Tumblr account. I will keep posting about stuff that inspires me but also post photos and videos that I create.

Hopefully I can get back up to my old posting frequency.

So, who likes this mysterious underground bazaar with beautifully diverse lifeforms?

I missed you all. Sorry I have been quiet.


Rudolf

Notes

(Image taken from an upcoming unannounced game by Caspar Sawyer)
It may come as no surprise that I rather enjoy certain aspects of retro sci-fi culture, considering the type of posts I have written so far.
Films like Tron, or The Last Starfighter have for ever warped my mind to enjoy a certain look and style.

There is a nostalgic element at work there, but I actually think it goes deeper than that.  So, I am going to focus a bit on “classical “ computer graphics this time to make a specific point:
I honestly believe that the aesthetic of a lot of early computer/video game graphics, is extraordinarily powerful.
And it has been like this for longer than you may think… Yes, initially the visuals were created in the context of limited technological means…

Yes sometimes this led to a certain crudeness…
But ultimately it informed a unique aesthetic that turned constraints into strengths.  It developed it’s own grammar and style that is direct and effective. many classic CG images and animations can be seen as exuberant and innovative, rather than primitive or artless.
The lack of processing power led to clarity of design. (which is often sorely lacking in pointless and soulless photorealism that we often see today)
I actually think we should do more to SERIOUSLY celebrate classical computer graphics. Why deride it? We don’t laugh at the crudeness in a lot of constructivist art, or the simplicity of “de Stijl” or the lack of detail in minimalism. So why then does early CG gets dismissed as cheap retro cool? Personally I would like to see more serious analysis, curated exhibitions, and writing on the subject.
From John Whitney , to various film / television/ corporate  SFX, to video games,  to various movie idents, to research projects … it really needs some cultural re-appraisal. 

Some people are aware of Classical CG’s intrinsic value and create new work that celebrates this. (See Caspar’s image at the top of the page).
It is entirely possible to employ a classic style without creating something derivative. Let’s have more of that. :-)
 

(Image taken from an upcoming unannounced game by Caspar Sawyer)

It may come as no surprise that I rather enjoy certain aspects of retro sci-fi culture, considering the type of posts I have written so far.

Films like Tron, or The Last Starfighter have for ever warped my mind to enjoy a certain look and style.

There is a nostalgic element at work there, but I actually think it goes deeper than that.  So, I am going to focus a bit on “classical “ computer graphics this time to make a specific point:

I honestly believe that the aesthetic of a lot of early computer/video game graphics, is extraordinarily powerful.

And it has been like this for longer than you may think… Yes, initially the visuals were created in the context of limited technological means…

Yes sometimes this led to a certain crudeness…

But ultimately it informed a unique aesthetic that turned constraints into strengths.  It developed it’s own grammar and style that is direct and effective. many classic CG images and animations can be seen as exuberant and innovative, rather than primitive or artless.

The lack of processing power led to clarity of design. (which is often sorely lacking in pointless and soulless photorealism that we often see today)

I actually think we should do more to SERIOUSLY celebrate classical computer graphics. Why deride it? We don’t laugh at the crudeness in a lot of constructivist art, or the simplicity of “de Stijl” or the lack of detail in minimalism. So why then does early CG gets dismissed as cheap retro cool? Personally I would like to see more serious analysis, curated exhibitions, and writing on the subject.

From John Whitney , to various film / television/ corporate  SFX, to video games,  to various movie idents, to research projects … it really needs some cultural re-appraisal.
 

Some people are aware of Classical CG’s intrinsic value and create new work that celebrates this. (See Caspar’s image at the top of the page).

It is entirely possible to employ a classic style without creating something derivative. Let’s have more of that. :-)

 

Notes

A lot of people have fond memories of their younger years reading comics, and I am no different. I have blogged about this before wrt to European Sci-Fi.
Just as influential however were American superhero comics. I just devoured them with an ever increasing voracity, partially because they just offered such grand scale ideas! (Which is part of the fun of Sci-Fi for me)
The period that spoke to me most was the late 70s/early 80s Marvel era, especially the work of John Byrne.
John Byrne worked on all the greats; Fantastic Four, X-Men, Avengers, Spiderman… you name it, and often gave them new life with seminal issues. His work with Chris Claremont on the X-Men or his superb Fantastic Four run defined the era for me.
He could easily compete with the less formulaic European scen though, if given the freedom. Check out this rare example (Critical Error) couresy of the Space in Text blog:

Its the super hero stuff that did it for me though. Be they classic characters or new heroes or villains Like Terrax the Destroyer who was such a good character in the Fantastic Four:

Ultimately what really makes his work stand out is that it is always inventive, full of colour and ideas, without being overly shouty or pin-up influenced.  Somehow it feels both iconic and modern.
I am not sure if anybody produces superhero comics quite like that anymore, but I would love to find some.

A lot of people have fond memories of their younger years reading comics, and I am no different. I have blogged about this before wrt to European Sci-Fi.

Just as influential however were American superhero comics. I just devoured them with an ever increasing voracity, partially because they just offered such grand scale ideas! (Which is part of the fun of Sci-Fi for me)

The period that spoke to me most was the late 70s/early 80s Marvel era, especially the work of John Byrne.

John Byrne worked on all the greats; Fantastic Four, X-Men, Avengers, Spiderman… you name it, and often gave them new life with seminal issues. His work with Chris Claremont on the X-Men or his superb Fantastic Four run defined the era for me.

He could easily compete with the less formulaic European scen though, if given the freedom. Check out this rare example (Critical Error) couresy of the Space in Text blog:

Its the super hero stuff that did it for me though. Be they classic characters or new heroes or villains Like Terrax the Destroyer who was such a good character in the Fantastic Four:

Ultimately what really makes his work stand out is that it is always inventive, full of colour and ideas, without being overly shouty or pin-up influenced.  Somehow it feels both iconic and modern.

I am not sure if anybody produces superhero comics quite like that anymore, but I would love to find some.

509 Notes

For me Sci-Fi art was at its best in the 70/80s. You could see a step change in production design on films like Alien, Star Trek, Blade Runner and Tron (and others). You could see it on 1000s of sci-fi book covers, (often better than the books themselves). You could even see it on record sleeves.
I will likely do a seperate detailed blog post one day about the virtues of Sci-Fi art in this era, vs the largely bland, militairistic, and worse uniform efforts we see so much in modern concepts. But for now I am going to do some quick posts on a few of my favourite artists.
Today it’s John Harris, one of my favourite Sci-Fi artist. Not famous by name, but famous through his work. Browsing his portfolio is an excercise of AHAAA-so-HE-did-that-cover moments. Many people’s favourite sci-fi books bear his work on the cover. Have a look here, at his official site.
One of the key aspects of his work is simply the sense of scale*, and sense of wonder that he brings to the table. Or as he puts it, the sheer MASS of his subject matter.
(*via Astrona)
I am lucky enough to have this original on my office wall:

We need more of this I think.

For me Sci-Fi art was at its best in the 70/80s. You could see a step change in production design on films like Alien, Star Trek, Blade Runner and Tron (and others). You could see it on 1000s of sci-fi book covers, (often better than the books themselves). You could even see it on record sleeves.

I will likely do a seperate detailed blog post one day about the virtues of Sci-Fi art in this era, vs the largely bland, militairistic, and worse uniform efforts we see so much in modern concepts. But for now I am going to do some quick posts on a few of my favourite artists.

Today it’s John Harris, one of my favourite Sci-Fi artist. Not famous by name, but famous through his work. Browsing his portfolio is an excercise of AHAAA-so-HE-did-that-cover moments. Many people’s favourite sci-fi books bear his work on the cover. Have a look here, at his official site.

One of the key aspects of his work is simply the sense of scale*, and sense of wonder that he brings to the table. Or as he puts it, the sheer MASS of his subject matter.

(*via Astrona)

I am lucky enough to have this original on my office wall:

We need more of this I think.

Notes

I am obsessed with cinema. Always have been, always will. I am one of those people that want people to shut up during the commercials and previews in the theatre. I’d rather have the whole cinema to myself to be honest.

I studied film, made crappy amateur videos, and am currently writing scripts. I run an indie production company called Omni Systems Limited, and although my main focus is video games, I also work on cinematic/television projects.

Anyhoo, the point is, for me cinema is magic. And one of the spells it casts is the gloriously beautiful and weird concept of “idents”. Little animated business cards created by production companies all over the world.

Including my own

And for a real treat check out this video by Justice, that celebrates idents to brilliant effect.

11 Notes

Has anybody done cyberpunk as well as Koji Morimoto?

From the Ken Ishii music video “Extra ” (the video above) to the best sequence in the Animatrix as well as his impeccable qualities as an illustrator and designer, Koju Morimoto just keeps on impressing. Check out his book “Orange” if you can find a copy. (I bought mine in Tokyo). Parka blog did a review here.

His work is extremely influential, but often flies just below the radar.

I would love to work with him one day, maybe on my Neopolis project. :-)

2 Notes

Karl Sims is a fairly well known name in areas of A.I., computer graphics, and procedural content generation he made his mark on the field with various explirations of evolutionary A.I, and wrote a pretty influential paper or two on computer graphics

Although evolutionary algorithms turned out to be less fruitful than initially promised there is still an undeniable brilliance and magic to these early videos. Some of their content was even used in music videos by Future Sound of London and Pantera. (No, Really!)

It is one of the key influences on my work on Eufloria. Have a look here and here.