Issue link: http://digital.copcomm.com/i/891583
P E R S P E C T I V E | N OV E M B E R / D E C E M B E R 2 0 1 7 45 assistant at Zoetrope. The idea came from Disney animation, where Dean worked as a young man. He adapted it for his first film, Bonnie and Clyde. Thank you, Dean! Dennis Gassner, Production Designer Camille Verhaeghe, Assistant to Production Designer Paul Inglis, Supervising Art Director Rod McLean, David Doran, Bence Erdelyi, Lydia Fry, Tibor Lázár, Stefan Speth, Art Directors Gergely Rieger, Junior Art Director Zsolt Tárnok, Vehicle Art Director Alessandra Querzola, Set Decorator Laszló Szirmai, Orsolya Maza, Elicia Scales, Assistant Art Directors Joseph Hiura, Set Designer Petra Balogh, Bence Kalmár, Dominique Pace, Zita Galántai, Levente Sulyok, Róbert Taller, Peter Várdai, Draftspersons George Hull, Senior Conceptual Designer Victor James Martinez, Ed Natividad, Concept Designers Scott Lukowski, Jon McCoy, Peter Popken, Kamen Anev, Kim Frederiksen, Emmanuel Shiu, Gábor Szabó, Dan Walker, Concept Artists Veronika Szücs, Art Department Coordinator Syd Mead, Visual Futurist Laura Dishington, Lead Graphic Designer Enikö Bognár, Graphic Designer Agnes Maza, Assistant Graphic Designer Annamária Orosz, Alina Papp, Standby Art Directors "The constant circling of narrative and visual story has always intrigued me, a desire to find that perfect balance, something I call pattern language." A. Police station exterior. Concept art by Kamen Anev in 3ds Max and Photoshop. B. Casino gaming room. Concept art by Kamen Anev done in Photoshop. C. Rooftop panorama. Concept art by Kamen Anev in 3ds Max and Photoshop. D. Wallace's Office. Concept art by Peter Popken, done in SketchUp and Photoshop. D As our world developed, each department continued finding the rhythm, retracing and refining old ideas into new. Wardrobe, props, transportation, special effects and visual effects found their stride, sharing a pattern language that finally fused and created the brutal world of Blade Runner 2049. ADG