I had the great privilege of being part of Production Designer Darren Gilford’s concept art team on this project. It was an incredible experience working alongside such a talented group of artists, from whom I learned a great deal.
Working with Darren was a dream come true and being able to add my 2 Cents to the Tron franchise made my inner child very happy.
Here’s a collection of some of the images I produced for this show:
Dillinger Technologies - Campus
Dillinger Jr.’s Office
The Brain Bar
The Printing Room
Action Sequences
This is a collaboration piece with the great designer Haisu Wang. He designed the jetpack and posed it for me so that I could then use it in this illustration. It was a great learning opportunity and an amazing experience.
The Dillinger Grid
The next two illustrations are collaborative pieces created with the amazing Fausto De Martini, an incredibly talented artist and designer who developed the shape language for the Dillinger Grid. My role was to build upon his foundation,, using his renders and adding new layers of detail, light, atmosphere and movement to elevate his already stunning design. It was no easy task, but an exciting and rewarding challenge nonetheless.
When Ares and Eve plunge into the Grid, they’re forced to weave through streams of incoming and outgoing Solar Sailors. Director Joachim Rønning wanted the moment to evoke a real sense of vertigo, which meant it was on me to find ways to create as much verticality as possible within a horizontal frame. It turned into a fun creative challenge, and I’m really proud of how the sequence came together on screen.
Lightcycle Chase
This sequence was a particularly enjoyable one to help visualize. I was provided with a scan of the location, and in collaboration with Production Designer Darren Gilford, we developed a series of beats to break down the chase and identify the key elements the props department would need to create—specifically the recycled paper cubes designed to burst on impact. A significant amount of planning went into mapping Ares and Eve’s trajectories and determining how their collisions would unfold. Overall, it became one of my favorite sequences to contribute to.
Bike Chase Breakdowns
Encom Office - Flynn Museum
Concept Artist Stevo Bedford modeled and designed the interior of the Encom Offices. I was tasked with coming up how the Flynn Museum at the center of the office would look like. We looked at a lot of props from the original film, including things from his old apartment. Things to show how FLynn lived and how he came up with all those ideas for his games. Lead Graphics designer Ellen Laml helped out with all the great graphics and posters to help decorate the office.
This shot was done in order to show the destruction and debris that would be happen after Athena crashes into the side of the Building.
The Quonset Hut
I was very fortunate to have had the opportunity to do the promotional image created to unveil Ares’ costume and the first look at the Movie. The original design was developed by Alan Villanueva.
