Phil Saunders, the concept designer behind the Iron Man suits - Yanko Design
You may non have heard of Phil Saunders (or conversely you may have if you're a close follower of his work like I am), but you've definitely seen his work. There'southward no escaping his make of concept design that has, to put information technology mildly, molded my teenagehood. Known as the man behind the Atomic number 26 Man conform we saw and fell in love with in 2008, Saunders has worked on pretty every Curiosity movie since, designing suits, sets, and producing concept art that in itself captures every bit of drama we'd look from an action picture. Having designed the Atomic number 26 Man suits from the very kickoff movie to the latest Infinity State of war Movie, Phil even adult State of war Car, Ultron, and HulkBuster adjust. You lot may also exist familiar with his piece of work from Tron Legacy in 2010, having worked closely with Daniel Simon to develop every inch of the moving picture's visual flavour, too as piece of work every bit recent as concept art for Star Wars Episode nine. Scroll down to read what the man himself has to say about how he goes most designing Tony Stark's incredible superhero suits, and how each pattern is perceived from the PoV of a concept artist, with the need to create drama, as well as an industrial designer, with the need to make products following a certain visual language, and the honing of an approach that makes them transcend the conceptual realm and look realistic and achievable.
"Tell usa about your piece of work in Avengers: Infinity War."
"I was primarily responsible for designing the Iron Man Mk50 and State of war Machine Mk4 suits. The claiming this time effectually was that Tony Stark was going to have the "Bleeding Border" armor, which is different any armor in that it is grown effectually him with nanotech rather than being congenital out of stamped, machined and assembled parts. A new manufacturing process and new materials require a completely dissimilar form language. If you're essentially making something out of liquid metallic, you're not going to apply information technology to make traditional basics and bolts and separate panels. You don't need traditional cut lines if you lot can vary the hardness and flexibility of your material at will. But the audience needs something to connect with that telegraphs an understandable functionality, so the Mk 50 was designed around accordion-like semi-rigid joints in the areas that would demand it, then that you didn't feel like the whole thing was rubber or Terminator T-1000-like.
Likewise, the form language reflects the menstruation of liquid metal as it forms the suit. It was tough getting the correct residue of organic to mechanical to go along the feel of an Iron Homo suit. Information technology'due south bound to be his virtually controversial adjust pattern, considering it's such a departure from what people are used to. Some other claiming was developing weapons that likewise felt like they grew organically out of the suit. I took advantage of that to render them up in keyframes, something I don't often go to illustrate on Marvel projects. I'yard looking forward to showing that artwork when Marvel gives us the green low-cal."
Phil's visualization of the Marker 46 adjust for Captain America: Civil State of war
"Armed services Mk4 was a much more than classic pattern trouble, just the challenge was advancing that design as well to keep upwards but in a completely different direction. I always attempt to contrast the two as much as possible in both form linguistic communication and silhouette, then this time I went with a more faceted armor look that feels more futuristic to what Rhodey's worn in the past. I as well focussed on developing massive avant-garde weapons systems that fold up seamlessly into his back only totally change his silhouette when all deployed at once."
A War Automobile adapt render for Civil War
"What experiences brought yous to where you lot are today?"
"Well, I always knew since I saw Star Wars equally a kid that I wanted to be a concept designer for movies, but along the way I took a lot of detours, into automotive and product design, into theme park ride design and as the creative managing director of a computer game visitor. I recollect the diversity of design experience has helped brand me a more than well-rounded designer than if I had just jumped straight into concept art. Agreement how things work and how they are really manufactured I think lends a lot of believability to even fantasy blueprint. If every line is placed with a thought to it's theoretical function I recall designs simply feel "right" to the viewer. We absorb far more than we realize in our day-to-24-hour interval experience, and even the layman knows instinctively when something is off, fifty-fifty if they don't know why."
The technical detailing backside the Atomic number 26 Human suit's assembly was detailed out by Saunders too
"What is your advice for aspiring concept designers?"
"Nosotros live at a time when tools and techniques are readily available that let yous bypass the fundamentals of both design and image cosmos. And with the volume, stride and realism expected past the country of the art in games and movies, these tools are essential in the work environment to keep up with demands. But I would caution immature artists not to be tempted to bypass learning and applying the fundamentals of perspective, color theory, composition, material indication, lighting, anatomy, past jumping straight into 3D and photo bashing.
Software can exercise all of the same jobs for y'all, but unless you empathise them and accept mastered them from the within out, without any tricks crutches, your images volition be driven not by your atypical vision, but by what you've been able to find on Google images, or the kinds of forms that are easiest to make in your 3D software of choice, or simply the path of to the lowest degree resistance to creating an image. Worst of all, information technology won't be what you don't know that limits yous, but what you don't know that y'all don't know."
Hulkbuster and Black Widow from Avengers: Historic period of Ultron
"Every bit an example I am near usually asked how I am able to return such realistic metallic surfaces freehand without 3D. All of that feel comes from, every bit an automotive designer, sculpting surfaces into dirt, roofing them with shiny cloth and observing how infinitesimal changes in the cantankerous-department of a surface affected where the reflections fell, and how they travelled over that surface as I shifted my point of view. So with that experience, I am never satisfied with what comes out of Keyshot, for example, and I always have to paint information technology over in Photoshop to make it friction match what I see in my head. 3D may practice a dandy job of imitating reality, just our job as artists is to requite clarity, to simplify, to idealize.
We make choices of where a reflection should be elementary, in gild to communicate how a form is turning or to complete a graphic composition, or where it should be complex to give texture, granularity and realism. But without a key understanding of what'southward nether the hood and therefore what it should wait like, you lot will just accept the phenomenon of what your renderer gives you and not even know the opportunity you lot are missing to drag it to the next level."
An Iron Human being iii accommodate pattern with a more gilded-heavy approach
"Noesis is control. I am constantly grateful that I came of age at a time when pattern was created in gouache and marker, pencil and paper, cardboard and dirt, merely I'grand besides constantly lamenting that even with that background I didn't accept more training in traditional painting and art. I know enough to recognize my own limitations, and they don't come up from lack of experience in whatever software, they come from my ain headlong rush 30 years ago to become a concept designer without condign a solid artist outset."
The development of the concept art from Historic period of Ultron
The original interview with Phil Saunders was conducted by ArtStation Magazine and tin be constitute here.
All images are the holding of Phil Saunders
Source: https://www.yankodesign.com/2018/04/29/phil-saunders-the-concept-designer-behind-the-iron-man-suits/
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