Quantum Dreams: The Art of Stephan Martiniere

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Quantum Dreams: The Art of Stephan Martiniere

Show related SlideShares at end. WordPress Shortcode. Published in: Design. Full Name Comment goes here. Are you sure you want to Yes No. Begging you to send me a copy of this. Sincerely thanking you in advance. No Downloads. Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Quantum Dreams 1. To make real; to convert from the imaginary or fictitious into the actual; to bring into concrete existence. This is the best word I can come up with to describe what Stephan Martiniere does. He is a bridge builder between the real and the imagined. He realizes people, places, and things that have only pre- viously been understood and discussed precariously in abstract form.

It's a wonderful gift, this thing that he does so well; the first step in bringing fantastic worlds to life. All rights reserved. No part of this book may be reproduced or transmit- As you immerse yourself in the images in this book think of the thousands of words that preceded ted in any form or by any means, electronic or their creation: all of the work, all of the confusion, all of the difficulty in trying to understand and mechanical, including photocopying, xerography, and relate to only words and concepts.

Stephan has taken all of these vagaries and realized something videography recording without written permission you can now simply bask in. Sit back, relax and enjoy. Introduction My expected two years in animation school were cut short when, unexpectedly, I was hired by an animation company as a character and background designer, at which point I was immediately sent to Japan. Comic Space was the big thing at the time; it was one year before the first man walked books were put aside for a while as I found great joy and challenge at testing my skills all on the moon.

I held that wish of cumbersome space suits and blazing rockets as I start- over the graphic spectrum of animation. As I traveled from Japan to California furthering ed my schooling years. One grade after another I found myself drawing a lot, and the my skills, I became more and more interested in the storytelling aspect of animation. I more I doodled, the more I liked it. One of the interesting aspects of directing is the idea of working with a team of people to achieve one vision, I was born and raised in France.

As a kid I was not allowed to watch much TV and the and to trust others to do their best to service a project. All that sounds very noble, and it little I saw was in black and white. A visual to experience the convoluted meanders and the foul smell of office politics. The more I was forced to battle, duck, and finesse the on-going crises inevitable in was increasingly drawn to the little movie theatre around my block. There, another and any production, the more difficult it became to spend time drawing. The came back to the drawing world.

I started exploring new avenues in the theme park indus- blood, guts and slime in all these classics were overwhelmingly cool!

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I started to realize how important it is for me The result was a gradual change in my drawings. My astronauts were now equipped to connect with an audience through my art. Theme parks led me to motion rides where I with laser guns, battling monstrous alien ants that bore elongated fangs and razor sharp had another rewarding experience working on both Star Trek, the Experience and The claws. Bambi and Cinderella quickly faded away or maybe they were zapped or dismem- Race for Atlantis in Las Vegas.

Both of these projects were done in 3D and both had an bered by alien monsters at the whim of my pencil. At the same time that this pandemoni- irreversible impact on my career. Star Trek introduced me to Photoshop, which created a um of creatures was filling my dreams, my drawings also started showing strong influ- major shift in my career and later opened the gates of Hollywood. The Race for Atlantis ences of a super-heroic nature from the comic books I was reading.

Superman, X-Men allowed me to design almost an entire world, and see it created in full detail in high reso- and all those bulging muscle heroes in colorful spandex were becoming part of my draw- lution 3D, projected on an IMax screen—and to top all that, to fly through it wearing 3D ing fantasies. I started to appreciate the drawing skills involved, and was starting to emu- glasses!

The sense of scale is incomparable.

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It was an unbelievably gratifying experience late one style after another, as I discovered comic book masters like Jack Kirby and John as an artist. Not surprisingly, these two projects led me to special FX and Hollywood Buscema. Robot and Star Wars Episodes 2 and 3. My dream of becoming an astronaut started to fade away without regret.

Stephan Martinière

I realized my Armed with some years of experience as a concept artist, the Photoshop palette, and calling was going to be in art. My following years of junior high were booming times for a bit of 3D under my belt, I made my foray into the game industry working for Cyan, the the comic book industry; France was the happening place and I found myself bombarded company behind Myst.

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At the same time I started painting book covers. I loved both from by every style imaginable. In both fields I had the chance to work with people who appreciat- magazine was revolutionizing the comic book industry, I was discovering the book covers ed and valued my artistic vision, trusted me, and allowed me to create fantastic worlds. I of Chris Foss. This wave of imagination and talents forever changed me. My astronauts, have also been very lucky to work with a talented group of people who have helped me to who had become super astronauts a while back, were now adorned with fanciful Arzak- become a better artist along the way.

When high school started, I decided to special- graphics has been yet another dream come true. I have been very fortunate.

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In the end, ize in art and was accepted to one of the renowned art schools in Paris. The following there is no greater joy than being able to do what you love and to know it is appreciated. I found myself refining my skills and discovering new ones. The classical art and illustra- tion masters became part of my daily sustenance, as did such landmark films as Alien, Blade Runner and The Dark Crystal. Completing my art school years, but unsure about making the jump to theprofessional comic book life, I found safety for a little while longer in an animation school.

Bambi and Cinderella came back with a vengeance. Thank you for making me a better artist. For the last twenty years Martiniere has focused on digital paintings for book covers, digital art and concept art for major motion pictures as well as artistic design and direction for computer games including Rage , Stranglehold , Uru: Ages Beyond Myst , Myst: The Path of the Shell and Myst 5.

Martiniere has authored four art books, titles Quantum Dreams , Quantumscapes , Velocity and Trajectory. Stephan Martiniere is currently a visual consultant and freelance concept illustrator for various films, games and theme parks and frequently teaches workshops and presents lectures worldwide. He is an advisory board member of the CG Society.