All posts by Julia

Atacac – using game technology to turn fashion upside down

“We want to show a completely new way to produce and sell fashion. Another world is possible” says Atacac founder Richard Lindqvist. With a renowned career as a fashion designer running his own studio as well as consulting mega brands such as Vivienne Westwood topped with a PhD he was ready for a new adventure. Together with Jimmy Herdberg, digital creative and founder of studio Kokokaka, he decided to try a new radical approach with starting a fashion studio that had very little in common with fashion production as we know it.

The studio – Atacac founded in Gothenburg, Sweden in 2016, does not only apply innovative ideas on garment construction but also new models on how to sell and price products. Using 3D software traditionally used by the game industry, Atacac generates realistic 3D models of the garments and selling them online to customers instead of already existing products, cutting stock-holding and over production out from the production chain. The Atacac on-demand model is using pricing in the same way as flight tickets – the earlier products are purchased the better the price. Keeping the entire production chain in one spot can enable an end to end process of only a few days – something the bigger fashion brands can only dream of. Atacac is a fresh example of a small innovative player challenging a slow and unsustainable fashion industry, enabled by game technologies. But how does it work and what is its goal? Rickard and Jimmy elaborates on potential futures from their studio at Ringön.

 

Is Atacac a brand using new technologies in selling its products or a technology platform using a brand?

-We see Atacac as a creative fashion studio. This studio is elaborating with new technologies with the aim to reinvent the fashion industry. As a part of this, we do among other things run the Atacac brand and the Atacac micro-factory.

-We are currently elaborating with custom-made services together with some chosen customers. In this project, the customer downloads the 3D model together with the 2D pattern from our shareware section. She then re-designs the garment and sends the digital garment back to the Atacac micro-factory (aka 3d printer for garments) for production. We see a huge potential in making digital products available for consumers, which might eventually lead to major changes in how we relate to products, brands and production. Soon altering 3D models will be a public domain.

 

 When launching Atacac as a service, what parts didn’t work as expected? What has been your main challenges building your business?

-Delays in producing abroad made us start our own in-house micro factory for being able to elaborate with super-quick turnover times. This was not a part of the original intention but turned out to be an important part of the creative work.

You are surfing global top trends using local manufacturing with short production cycles, on-demand production and unconventional pricing models towards a more sustainable fashion industry. Will it be possible for the bigger players in the industry to adopt this way of selling products?

-Our proposals for ways of working is primarily developed from a creative perspective. We believe that the consequences of a good creative work is profitable from many perspectives. Expressional, economical and sustainable ones for example.

-Yes, it will be possible for larger companies to adopt this way of working. Most companies will have to change the ways they work in order to still be around. Some will be successful in doing so while others will disappear and be replaced by new ones.


 

What is the end goal for Atacac? Will you scale up the core brand or rather keep it small selling the platform to other brands as a service? Will Atacac ever be a multi brand platform?

-Our goal is to develop creatively and to inspire. We change from day to day. We have no end goal, there is only the end of the day. Atacac as a brand will be scaled up, to which scale is an open question.

-In a way Atacac already is a multi brand platform. As a part of elaborating with the future of retail we recently we started a monthly Fashion-Art-Technology market, that we call F.A.T market, in our studio every last Saturday of the month. We invited other brands, artists and companies to sell their things next to our products. Some of the other fashion brands produce their garments in the Atacac micro factory. This could very well also develop into a virtual multi brand community as we deliver both a digital and a physical product from the factory.

 

 

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CLO

Kokokaka

 

Zeitguised – a quasi world in 3D

Since its founding in early 2000 they have kept pushing boundaries in crafting 3D, building their very own visual universe. Berlin-based studio Zeitguised clearly blurs the line between art and commercial work. However continued exploration of their personal voice catapulted them into becoming true pioneers – a path that later attracted even more and renowned clients rather than the opposite. Today Zeitguised has formed a commercial arm ‘Foam studio’ allowing the other part of the studio to focus on experimental work.

Zeitguised’s work is difficult to describe yet visually irresistible. In one of their latest projects, Geist.xyz “handcrafted algorithmic textiles” are portrayed in dance-like movement. Its artistic expression feels realistic yet abstract at the same time –  referred to by the studio themselves as “synthetic art”. Experimenting with algorithms and light simulations they remind us of the famous quote by Arthur C. Clarke  – that “any sufficiently advanced technology is indistinguishable from magic”. Henrik Mauler, one of the founders of Zeitguised took time to elaborate with me on their studio and on virtual textiles and its potential futures.

Henrik – if aliens landed on earth, how would you explain to them what Zeitguised does?

ZEITGUISED is a conceptual design studio that explores the aesthetic potential of digital design and its poetic application in the materiality of the physical world. Okay, that doesn’t sound apprehensible for aliens.
Humans are a life form mostly on the surface of this planet that doesn’t know better than expanding the reach of their minds by refining their techniques and habits via repetition and variation. We’re some of them, making representations of a quasi-world, an extension of the human mind and its imaginations, a world that might not physically exist yet very much does via sensual experiences.

There is a clear voice in what you are creating. How does a studio of many people like Zeitguised keep a consistent aesthetic?

We are a diverse group of artists, commanding different aesthetics. Yet I think we share some sensibilities, so if we discover something new via exploration, we’ll try to tie it into our expanding own cosmos. We realized our common denominators are probably, on the one hand, an empathic approach that allows inanimate objects become beings that behave and speak through shape, colors and materials. on the other hand there is the love for tension, to unite elements that seemingly don’t belong together yet make for good aesthetic dance partners.

What is the most important key in making virtual textiles to look and feel realistic?

The relation of texture detail and simulation detail. There is no algorithm that makes this easier to achieve through automation yet, it’s still a manual art and craft.

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What do artificially generated textiles have that real ones don’t?

The possibility to expand their character, which is one between a dynamic, living sculpture and a lifeless, passive drape. Suddenly there is the possibility to become a being, a life form, through this means.

Technology is advancing and in the future computers are likely to generate imagery that is today created by humans. Do you think an AI ever could create good art?

Actually, we entertain the daring thought that a sophisticated AI, much unlike the vulgar AIs that we talk of nowadays, might be capable of making art that is more powerful, mind-expanding and envelope-bursting than anything humans could ever conceive. We’re talking about an AI that is not modeled to resemble the human mind. Until then, the race is on for us humans to show that we can come up with the more unexpected concepts and aesthetics.

What client do you dream of a phone call from?

We had a couple of dream clients calling us which made us realize afterwards: we’re our own dream client…we just haven’t called ourselves yet. 🙂
On the other hand, our dream clients trust us and our creative potential and vast experience and want to see objects and products that are unique, unseen, unusual, exciting, emphatic and full of character.

Zeitguised

Foam Studio

geist.xyz

 

Machine learning – the future of design?

Online retailer Zalando has teamed up with Google to create a new virtual fashion experience letting shoppers create their own designs in 3D. The initiative called Project Muze uses a neural network trained with design preferences such as colours, textures and imagery. By answering a few questions such as mood and style the shopper will generate a design based on the answers as well as data from the Google Fashion Trends Report and top trending objects from Zalando’s online platform.

The project taps in to the trend of using machine learning to create a personalized experience using Google’s open-source platform TensorFlow combined with a set of aesthetic parameters. It launched at trend show Bread&butter in Berlin earlier this fall where a few handpicked designs were highlighted. The chosen pieces were later to be translated into real garments. Considering the visual experience the project clearly shows a big gap between digital and physical dimensions yet to be filled. However the concept of combining algorithms with 3D product interaction suggests a potential future where shoppers can virtually create their own products based on personal data.

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Read more about 3D avatars and CGI in fashion

Twisted lamb merges fashion and gaming

Why does one of the leading game companies in the world decide to let a fashion stylist design their game characters?

Being two very different industries, fashion and games rarely intersect as they operate on separate markets. With household tech taking giant strides forward in terms of complexity as well as availability – the demand for games or gamified products increased. This likely resulted in a dual effect – the game industry, usually perceived as conservative began to open its doors to new influences.

One of the first to enter those very doors was Mary Lee, fashion stylist and creative director of renowned fashion blog Twisted Lamb. Her distinct and peculiar style has attracted clients such as Kanye West and Nicola Formichetti and could be described as a flirt with alternative culture as well as goth and tribal aesthetics – a visual expression she was later given the chance to transfer to game characters working with titles as Eve Online and World of Darkness together with Icelandic CCP games.

You were handpicked from one of the leading multiplayer companies in the world, how come they chose to work with a fashion stylist?

-CCP Games wanted to create virtual assets to sell in the game and for the players to have options for their characters. it was a bold step and very ahead of its time. They brought in myself to create current and futuristic virtual collections and to merge fashion and gaming together.

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What was your role working with their games, how much influence did you have on the production as a whole?

-I worked with a team of illustrators in Iceland and Atlanta to create the digital collections. We would create separate collections based on the type of vampire clan. For example the Brujah are very punk so we tailored outfits to them while the Tremere are rich and high end so we created clothes that would fit their lifestyle. 

How did the project actually come together, where there any culture clashes?

-The project turned out beautifully but the concept for the gaming world a bit ahead of itself. We found that many players were resistant to adopt the virtual clothing aspect.

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Tremere.SacrificialLambSome years ago Nicola Formichetti, close collaborator with Lady Gaga and former Creative Director of fashion house Mugler launched a project with the very same company, CCP games in which he sought to bridge the gap between fashion and the digital world. A digital replica of fashion model Rick Genest also known as “Zombie boy” was recreated as a life size avatar on a virtual catwalk, specially designed for a pop up store on New York Fashion week. A fashion experiment between digital and physical worlds in which Mary Lee worked as the producer, a project that created quite a buzz in the fashion industry.

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How was the collaboration perceived from the game industry, any aftermath?

The gaming industry loved this project! The aftermath was all positive and it was the beginning of all fashion/gaming collaborations. 

Back then Nicola Formichetti claimed that virtual fashion will become a core part of the fashion industry. Do you see that happening?

-Absolutely. This is just the beginning.

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Note: CCP title World of Darkness was unfortunately never released. However, with Paradox Interactive recently acquiring the rights to the World of Darkness property and its assets, a wave of expectation has swept across the hordes of excited fans for a continuation of the popular franchise.

Twisted Lamb 

CCP games

What fashion can learn from character customization

Customizable characters or the ability to create your very own avatar is a well known element in video games. Major game studios are even creating customization interfaces that are reminiscent of a real world fitting room including the ability to pick characteristics such as eye colour, skin tone and hair style.

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The importance of identification has positioned character customization as a component for game studios with graphic ambitions. It has also raised the issue of lack of diversity in an industry with reputation to only be representing white men as has historically been the only character option to choose from. Insomniac games is one of the studios rebelling against that norm in their action game Sunset Overdrive. In it, the players are given the option of playable female character as well as customization options that are unrelated to gender. It points out the importance of identification in recreating yourself digitally: you not only have the possibility to represent your physical world self, but who you want to be or, even let your imagination take you to a new digital self.

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In Bungie’s Destiny as well as BioWare’s fantasy title Dragon age: Inquisition, the player can choose his or her appearance with high level of detail in everything from race, gender and class to face features. As computer graphics have advanced into close in on photorealism, the gaps in implementation have decreased. The type of self-visualizing which has so far only been used for character design is now of interest when we digitize our lives for different kinds of services.

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Fashion ecommerce is constantly looking for new visualization tools to provide stunning digital experiences with technology used by game artists. 3D content such as creating personal avatars, virtually trying on 3D rendered garments or customizing products are services now popping up globally to bring us new ways of living our digital lives. The skillset of a CG artist is suddenly pure gold in a new fashion landscape. As shown by the advances of self-visualisation in gaming we will most likely see great innovations in the near future at this very intersection, taking the shown examples out of their original context. When it comes to visual experiences fashion has everything to learn from game art and digital storytelling.

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Also read about the work of Joseph Cross and Chris Wells

The researcher who puts 3D avatars on the fashion runway

Kate Moss will have to look for a new job – the instant media response after a Manchester Metropolitan University  press release suggesting a new virtual direction in fashion. Runway models are replaced by digital replicas – “near-faultless copies”  that need no sleep or expensive plane tickets. Academic research has never felt more like science fiction.

Dr Andrew Brownridge with Dr Peter Twigg use a combination of 3D scanning and motion capture in developing the hybrid avatars that creates a human digital copy to be digitally dressed in virtual haute couture. From there you can either render a fashion show to video file with animated characters ready to distribute or have a live performance with models in motion capture outfits, working in real time.

However the research project did not start out with a fashion focus but as an analysis tool for the movement of ballet dancers.

How come ballet was the focus of your research Andrew? 

– The research began when we were approached by the Northern Ballet School enquiring about using motion capture equipment. Their interest was for use within augmented performance which had been touched upon by the Melbourne Dance Company previously. We suggested developing the technology further in order to provide a database of gestures for choreography purposes. Upon speaking to the dancers and researching the discipline it occurred that the motion capture technology we were using had the capability of recording very accurate measurement of movement which could be used for analytical purposes for corrective coaching and training.

Would that focus have been possible outside an academic context?

– No, I don’t believe so. It takes researchers who do not have the pressure of training and performance constantly present to look at methods and processes in a different way to see further possibilities of applying the technology. We also had equipment and appropriate expertise readily available to bring technology and physical performance together.

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How did the research move over to fashion?

– Following discussions with researchers in the fashion department, it was pointed out that modelling is simply a different form of performance and the same technologies associated with movement analysis and physical representation in a virtual world could be applied similarly in the fashion industry. The fashion department had an excellent high specification body scanner which we were quick to employ and develop techniques for generation of life-like avatars.

When research has a strong technological focus, what really drives the innovation in implementation? Do those ideas come from inside the team or from the outside?

– Personally, coming from a creative background, I found it fascinating that the technologies we were using had such a wide range of application in various other fields. I had recently studied feedback methods and motor skill learning and saw the potential for utilising the motion capture technology to analyse a performance and provide detailed and accurate feedback to aid coaching methods.

What really is your personal drive as a researcher. Do you feel stronger about “cracking the code” or does how it is being used equally interest you?

– I think if you are involved with technological research, you cannot help but constantly try to be innovative and creative. I personally feel stronger about the application and how the technology can be used, and the ‘cracking the code’ is more of a means to take the technology and implement the idea.

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The fashion avatar reminds you that physical reality and virtual worlds are merging at a fast pace. On a philosophical level, what impact do you think that has on how we look at ourselves? Will we stop looking at things as “real” or “digital”?

– My personal view is “Yes!”. Initially as the visual appearance of virtual characters becomes increasingly life-like, both from an image and a movement point of view, correspondingly the levels of artificial intelligence that can be used to drive and control such avatar will rapidly develop to the point where it would not be possible to distinguish between real and digital. For example, Windows ‘Cortana’ virtual assistant is very much in its infancy, but imagine a character like this being super imposed on an avatar in a decades time. The possibilities are endless.

 

Manchester Metropolitan University

Also read about virtual prototyping

CGI meets haute couture in Thomas Traum’s virtual experiment

Team of creatives at Thomas Traum, a Swiss agency for digital innovation teamed up with British fashion designer Cristopher Raeburn to land this magic fashion concept for his S/S collection. Titled “Meridian” the movie clearly crosses that mind tickling border between fashion, storytelling and video game graphics.

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Meridian sets place at a military wasteland, inspired by a desert boneland in Arizona where old airplanes are stored waiting for reappropriation. In a digital rendered replica a model is by flying airplane particles dressed in one of Christopher Raeburn’s signature looks. “We wanted to explore the possibilities of 3D-modeling clothes in a high fashion context and make a virtual version of a complete 3D fashion look,” says Thomas Eberwein, founder of Thomas Traum.

The film does not strive for photorealism but instead brings fashion concepts and storytelling together in a product line. By using 3D scanning and 3D software Marvellous Designer, earlier featured on Magic Fabric, the film results in an expression we have so far only seen in video games and opens up a new interesting digital landscape in fashion.

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Augmented reality disrupting the fashion show

Digital fiction is still where the most mind-breaking and visually seductive stories take place. But as technology advances the opportunity of creating interesting visual experiences expands to a wider group of creatives.

Speaking to the humans senses in digital and physical form simultaneously creates great and memorable experiences. In this virtual fashion app a digital fashion show appears just at the palm of your hand. By printing out an online available catwalk card and downloading the augmented reality app, the user points at the card and a 3D-catwalk pops up.

The show gives you front row to London College of Fashion graduation show and was developed by students Chirag Grover and Tanisha Arora in collaboration with augmented reality specialists Holition and media partner Shopping Spy.

There’s no doubt that augmented reality has the potential of disrupting the concept of fashion shows and its alternate futures.

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Download the app at myshoppingspy.com/frow

 

London College of Fashion

Holition

Also read about Virtual Prototying

Fashion magician Jacob Kok

Dutch Jacob Kok proves what research already knows about the characteristics of an innovator – double degrees.  Having background in animation he stepped in to the role as a fashion designer ending up winning the Dutch version of the well-known tv series Project Runway. However his journey in to the high fashion world did not end up just building a ready-to-use fashion line but followed the path concept of an “Evolution” – the name of one of his  collections that brought him in to a groundbreaking collaboration with software company Autodesk.

– How did you really end up working with Autodesk Jakob?

– After seeing a demonstration of the 123D Catch application I was instantly intrigued and impressed Autodesk is able to offer such complex technology in such an accessible way. I contacted them to work together, and they were up for it, curious and excited like me.

Using the app 123D Catch the Evolution collection is brought to life letting the user rotate and interact with the model, zoom and examine the garments in detail. A digital fashion experience far from convention.

It is not the only virtual collaboration Jacob has taken on. In 2013 he presented his “Paradise” Collection, a both physical and virtual fashion experience brought to the runway as well as on the famous game platform The Sims by Electronic Arts. Without compromising his psychedelic, spectacular aesthetics  he entered the game industry.

– I’m generally very attracted to the game aesthetics, and I like the idea of interaction. Fashion is very personal, but fashion shows can be distant and impersonal. I’m working towards a similar playful interaction between fashion and the wearer. 

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Lover of aesthetic “tackiness” and “awkwardness” his specific style in fashion entered the virtual every-day life in the Sims. As a concept, you downloaded Jacobs collection to use on your very own Sims character.

Your aesthetics differ from most of the art in the video game industry, what were the reactions to the Sims collection?

– As a statement it worked very well, and people in fashion were excited about the project, but obviously people that got to play with it were mostly gamers. They were, to say it mildly, not into it at all.

You have now been making collections that both have a physical and a digital life, claiming that virtuality gives fashion new dimensions. Would you consider only making the garments digitally, or are they mutually dependent?

– Fashion is in essence about people wearing it. Even though the core of my work is about visual stimulation I tend to find it necessary to also work towards a physical purpose. I would like to state I can fully let go of the physical and investigate solely the virtual, but something inside me tells me I need to work on both. 

Jacob Kok

 

You are working in an innovation landscape of virtual technology with many possible directions such as art, computer games, online retail, product development etc. What path would you want to take from now if you could choose?

– At the moment I’m working towards a broader interpretation of my vision, approaching my brand as a design studio. Doing so I don’t restrict myself to any field. The vision and the fascination need to be guiding me.

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Jacob Kok

futureoffashion.nl

 

Also read about Virtual Prototyping 

 

Joseph Cross pushes the magic border between fashion and fiction

How does our perception change when fiction looks as real as reality?

Joseph Cross,  senior concept artist at American Bungie pushes the magic border with his robotic characters, excelling in tricking the human eye. Originally trained in traditional illustration Joseph bounced around different areas of commercial art, teaching and retail jobs until landing the first job in games as an environment concept artist on Dead Space 2 for EA Visceral. Since then he’s been working on a variety of other projects and games including Dead Space 3 and Destiny.

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 What is the story behind these characters?

-All of these are personal works. If you had asked me before I started working as a concept artist what I imagined myself doing in the field, I probably would have said designing characters. But as it worked out I’ve spent the vast majority of my career as a concept artist designing environments and spaces. So that’s what these guys are born out of, years of pent up desire to design characters.

– Aesthetically these characters come from a growing interest and appreciation of fashion, and being inspired by all the amazing character concepts out there. I did all these characters fairly quickly over about a month or so, and I really tried to think of them as fashion designs (as opposed to concept art) and myself as a fashion designer. It really freed me up mentally, and I tried to focus on textiles, materials, trends, color blocking, as opposed to rendering and how “cool” can I make this character.

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For many of us, it’s hard to grasp that these outfits are actually 2D and not 3D looking amazingly realistic. They are also highly detailed descriptions of textiles and materials. How would you for someone outside of game context explain how you technically go about?

– I always start with a photograph in Photoshop, usually of a figure that has a nice gesture or lighting, and is not too stylized design wise, something utilitarian that will provide a nice “canvas” to work on top of. Then I’ll start searching through my library of photos that I keep of industrial objects, fabrics, textures etc. looking for things might be interesting to combine with the original photo. For example a section of an airplane wing overlaid on a figure in the same perspective might provide an interesting design idea for a helmet. Then I go through that process dozens more times, with each new element informing the next, and painting in areas of the design where the materials or textiles or lighting doesn’t match. It can be tedious, and I never really know what the end result will be, but that’s the fun of it. Spontaneity is really important for me, I love reacting to design decisions that I didn’t know I was going to make.

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When is high realism something to strive for in concept art and when is it not?

– In production art I like to think realism is always ideal and something to strive for, but not always required. As a production concept artist it is your job to provide visual information and inspiration to other artists whose job it is to turn that art into a usable asset or 3D environment.

-Realism=information so the more realism the better in most cases. There are definitely times when it is not required, like if an environment artist has a tight budget or schedule and just needs a couple of quick ideas for a prop or a motif for a room to slam in. Or a quick proof of concept sketch to show a particular size of door will work in a space etc. There are also concept artists who specialize in more illustrative work, and are brought into to create amazing paintings of castles and ships to inspire the story and generate ideas in a more grand sense. In that case realism certainly isn’t a requirement.

 

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Your concepts are, as I assume imaginary futuristic. What do you think the actual future will look like in terms of aesthetics. Are the alien like, sci-fi and robotic shapes we use to describe the future ever likely to come true?

 “Predicting the aesthetics of the future” is definitely in the job description of a concept artist. It’s a slippery slope and can do your head in if you think about it too analytically, but it’s also what makes the job so fun.

– The way I see it there are a few key points or rules that I keep in mind when thinking about and designing the aesthetics of the future. These are in no way meant to be a formula for predicting the future of design, but I think they are valuable things to keep in mind if you find yourself in the position of having to do so for a living:

 1: Design is cyclical

2: There are periods of design that are objectively outstanding/superior to others

3: Life imitates art

 

So in practice I try and apply those points like this:

 For whatever point in the future you happen to be designing for or thinking about, it is reasonable to draw aesthetically from some point in the past (or present).

 –Whether it’s art, architecture, graphic design or industrial design, when drawing from the past or present make sure you have educated yourself thoroughly in as many fields as possible, so that you can make intelligent, informed and creative choices for your references.

 –Have confidence in your ability as an artist and visionary and know that artists have always had a profound influence on industries outside of the medium. 

 

Joseph Cross

Bungie

 

Also read about Chris Wells’ work for Gears of War