05 Number One.indd
Marc Gabbana in the studio, 2005
The Fantastic Visions of
MARC GABBANA
Interview by David Horn
A number of the fantastic paintings reproduced in this article are
drawing when I was around four or five years old. I was not very
not, technically speaking, illustrations. Though they may look like
serious about it at first but my parents encouraged me. They were
covers of science-fiction novels or magazines, many of these works
always buying me new art supplies, so I stuck to it and seemed to
are actually fine art paintings—expressions of Marc Gabbana’s highly
excel at it. In 1977, my dad wanted to move the family somewhere
personal futuristic visions and fantasies. While Marc’s career has
with better economic opportunities, so we moved to Ontario where
included work for some of the world’s largest advertising agencies,
we had some relatives. It was quite a culture shock for me as I had to
toy companies, and more, it is his portfolio of personal paintings
learn to speak a new language and adjust to life in a big city, but it was
that has led him to his latest and most fulfilling work as a conceptual
a very exciting time as well.
designer for the film industry.
’05: What sort of things first inspired you to draw?
Marc has lent his talents to some of the grandest Hollywood
Marc: They published some pretty cool comic books in France that
productions in recent memory, from the Star Wars prequels and The
I would look forward to seeing each week. One of the main ones was
Matrix franchise, to The Polar Express, The War of the Worlds, and
PIF; it was about a dog and a cat, and it featured work by Moebius
many more. He has worked on a bewildering number of blockbuster
and some of the other great French artists of that time. Asterix and
films in the past few years, yet while his plate is full with the day-to-
Lucky Luke were also incredible in terms of the detail lavished on the
day work of creating movie magic, his fertile imagination continues
artwork. Those were hardbound books and I collected them like little
to move forward. He continues producing new paintings for himself,
treasures. At the time I had no idea that I would end up in this field,
and is confident that one day soon he will have the opportunity to
but those images always stuck in the back of my mind. Most of my
create his own films or a book of his own characters and stories. We
other friends didn’t draw that much, but I had other interests back
sat down with Marc recently to discuss his evolution as an artist, and
then so it didn’t really bother me. Art is pretty much of a solitary
his unique career path in the field of conceptual illustration.
pursuit anyway.
’05: Tell me about some of the highlights of your emergence as an
’05: Tell me a little about where you grew up and how you first became
artist over the years.
interested in art.
Marc: Well, I studied art and drafting all through high school—
Marc: I was born in France in 1966 and I lived there for 11 years until
partially on the advice of my dad who encouraged me to take
my family moved to Canada in 1977. We lived in a small farming
architecture and design classes because he thought it would help me
community, a very peaceful, pastoral setting, very rural with a
to get a good job when I graduated. I found some of the coursework
population of only around 3,000 people. I had an ideal childhood
to be semi-creative, but I soon discovered that I excelled at art quite
with a lot of time spent with my family enjoying the outdoor life. I
a bit more. I enjoyed the freedom and creativity of being able to
would explore forests and caves with my friends, swim, play soccer, all
draw or paint whatever came into my mind. So all through high
the good stuff. The color gray did not exist in my life there. I started
school I continued to study both art and architecture, and when I
28 ILLUSTRATION’05
The B-Monster, 14 x 18, gouache
ILLUSTRATION’05 29
Detroit—Next Exit, 14 x 24, gouache
finished high school I was offered a four-year, tuition-free scholarship
decided to start freelancing, and by the time I graduated the following
to architecture school based on my portfolio and my grades. That
year I had enough clients to keep me busy full time. Most of my work
school was Lawrence Institute of Technology in Southfield, Michigan.
was for local Detroit-based ad agencies doing a lot of automotive
I went there for a year and then I decided to transfer to the Center
related paintings for the major manufacturers. I was also hired to
for Creative Studies, which is the biggest art school in Detroit,
create ads for K-Mart and Domino’s Pizza, so I kept pretty busy. I
known mostly for its industrial design program. It’s where all the top
really don’t remember ever turning down an assignment during that
automotive companies come and recruit their car designers, and they
time; I was just happy to be painting and seeing my work in print. I
have a very strong illustration department as well. It was a grueling
was happiest doing big paintings for posters and car ads rather than
yet very fulfilling program.
line art for K-Mart flyers, that’s for sure.
’05: What were you preparing yourself for in terms of a career?
’05: How did you promote yourself as an artist?
Marc: After two years, I declared my major in illustration and then
Marc: A few years after I graduated I began placing ads in American
this little voice inside me told me to start doing sci-fi work on my
Showcase and Blackbook, and started to receive a lot of calls. It was an
own time. It was what I really wanted to do ever since I was a little
opportunity for me to get my work seen not only outside of Detroit,
kid filling notebook sheets with monsters and spaceships. What really
but by people other than your typical ad agency art director. The best
brought it home to me was when I read about Ralph Mcquarrie, one
part was that it gave me a forum to showcase my sci-fi artwork. I
of the original artists who worked on the Star Wars films. I realized
would occasionally include some of my more elaborate car paintings,
that you can make a career out of doing fantasy art. I started to see
but mostly it was my sci-fi work that got the most exposure. Once I
the potential commercial applications of the kind of work I enjoyed
started focusing exclusively on my sci-fi work, there was no looking
producing. I decided to aggressively beef up my sci-fi portfolio while
back.
still doing as much pure commercial art as I could to pay the bills.
’05: Have you always preferred creating finished painting to doing
There was no movie industry where I lived in Canada, so I had to try
sketches and comps?
and find a way to make my work known out in Hollywood.
Marc: Absolutely. I always saw things in a very cinematic way. What
’05: At what point did you decide that you were going to concentrate
school taught me was the technique of how to lay a painting down.
strictly on freelance assignments rather than going to work for
The finished painting is always the most satisfying part of the process
someone full time?
to me. Most of the paintings I did for my portfolio back then were
Marc: While I was attending school I landed an internship where I
horizontal, in a cinematic format. I always wanted to work for the
went to work for a graphic design studio, and I became completely
movies.
immersed in this working environment for an entire summer. It
’05: Did you want to do fantasy book cover illustrations?
scared the hell out of me! I vowed then and there that I would never
Marc: I had always admired fantasy book covers by Michael Whelan
be employed in that capacity again. Places like that do not put a
and other illustrators, and I thought at first that I would like to do
premium on imagination. That’s why I decided to do most of my
that, but I never had the opportunity to present my portfolio to any of
work in the advertising field—to pay the bills while I was trying to get
those publishers. I was always busy enough with my advertising work.
my sci-fi work noticed. My incarceration in the work-force taught me
Also, I figured if a client was telling me what to do in the advertising
a lot about discipline and meeting deadlines, as well as the ability to
field, I didn’t want a client telling me what to do in the fantasy art
communicate with clients and work with other creative people, so I
field as well.
guess it wasn’t all bad!
’05: Tell me about how you broke into Hollywood working on the
’05: Tell me about your commercial art career.
Spawn movie.
Marc: During my third year at the Center for Creative Studies I
Marc: I was visiting with a friend of mine in California back in 1996
30 ILLUSTRATION’05
Blow!, 14 x 18, acrylic. Cover for Amazing Stories magazine.
ILLUSTRATION’05 31
and by chance I happened to meet Mark Dippe, who was heavily
’05: Did you enjoy being a small part of such a large project?
into computer-generated graphics and actually helped design the
Marc: It seems to me that movies are one of the key art forms of
water creature in The Abyss and the “T-1000” terminator in T2. He
the 21st Century. Once a drawing is done, someone has to build a
worked for Industrial Light and Magic at the time. Later, when he
model, then it’s filmed, sound effects are added to it, and suddenly it
was just starting to pitch his own movie, Todd McFarlane’s Spawn,
becomes a reality. For me, being a part of that process is very fulfilling.
he remembered me and called and asked if I would be interested in
When Mark first approached me for Spawn, I told him that I had
designing some of the costumes. He subsequently had the film green-
no previous film experience, and he didn’t seem to mind at all. As
lit by New Line Cinema with a $40 million budget, which I think was
long as you can bring a creative vision and something exciting to the
a record at that time for an independent production. I didn’t want to
table, they have other people who can put it into the big Hollywood
move to Hollywood at that time, so I started doing some design work
machine and make it work. There are so many talented people out
long distance via fax and FedEx.
there, and everybody is so specialized, that if an artist has an original
’05: What kind of stuff were you designing?
vision they will greet him with open arms.
Marc: Well, he sent me a copy of the script and a couple of copies of
’05: What happened to all of your original artwork for Spawn?
the comic book. At first he just wanted me to work on Spawn’s suit,
Marc: The original artwork for that movie is owned by the studio, so
because in the comic book it was pretty much just a black leotard, so
I don’t have any of it. Almost all of the work I’ve done for the films
I had to come up with what every muscle and every little detail, from
I’ve worked on has been on a “work for hire” basis, so even ideas that
his belt buckle to his chains, looked like. I designed all of his weapons
are not used are still technically owned by the studio. When I design
and showed how they would switch from inactive to war mode. All
things I try to stay very, very close to the script.
that work was done initially as marker and pencil drawings. Mark
’05: What was your reaction when you saw the finished movie?
knew exactly what he wanted, yet there was still a lot of freedom, so
Marc: I liked the movie. I was really proud of the fact that my designs
whenever I had the urge to try something new he was very open to it.
were up on the screen, so I guess I had a certain amount of bias.
I found the whole experience to be very educational and rewarding.
As far as some of the effects go, I think they fell a bit short of my
’05: Were there any designs you did that did not end up making it into
expectations, but that’s to be expected when you’re working with a
the finished film?
finite budget. For example, there was a scene with a motorcycle that
Marc: Oh yes, a lot of the stuff I came up with was pretty far out, like
was pretty cool in the movie, but the motorcycle didn’t come off quite
chainsaw belt buckles and wrist rocket launchers, and there was just
as intense as I had designed it. Seeing my drawings come alive on the
no way to include those due to budget constraints. That was really
screen was a feeling I will never forget and never get tired of.
the first time I encountered that. I suddenly realized, “That’s right,
’05: Do you worry at all about what happens to your ideas and designs
somebody has to pay for all of this.”
once they leave your hands?
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Funny Boy is Dead!, digital
32 ILLUSTRATION’05
ILLUSTRATION’05 33
Eat Led, 19 x 14, gouache
design, and the one that ended up on screen was very far
removed from the very first sketch I did. In the film the
bubble cities are floating in the middle of the ocean, but in
my original sketches I had coral formations growing from
the bottom with weirdly-shaped houses attached to them so
there was a real evolution from original concept to finished
design. George would typically like certain aspects of certain
drawings and that would give me a new direction to proceed
in. It was definitely a build-up process.
Graffiti, 10 x 12, gouache
That’s the biggest difference to me between advertising
work and film work; in advertising there is one final image
Marc: The nice thing about working on major Hollywood films is
and most of them were in black-and-white because George Lucas
and you’re done, whereas in film work the images are
that you’re not working alone. You’re working with a team of creative
likes to evaluate all of the designs in black-and-white so that color has
constantly changing and evolving.
and talented people, and once my designs get approved they go right
no influence on his decisions—at least at the inception of the image.
’05: What is the sum of your work for the Star Wars films?
to the computer effects guys or the modeling department and I’ve
Working in black-and-white was an interesting experience for me
Marc: I worked on Episode I—The Phantom Menace, Episode
learned that there are a lot of talented people working in the business
in that it allowed me to work much faster and to not have to worry
II—Attack of the Clones, and I had to turn down Episode
who love their jobs as much as I do. It’s not scary at all for me to send
about mood on top of the design, so I was able to focus all my efforts
III because of other opportunities I had. But some of my
my designs into the next step of the filmmaking process. It’s actually
on what the scene looked like, what the architecture looked like, and
unused spaceship and environment designs from Episode II
kind of fun and exciting.
the basic construction of all the sets. Once the designs were approved,
will be used in Episode III—Revenge of the Sith.
’05: Tell me about how you got involved in working on Star Wars.
Doug would start doing paintings or the guys would start building
’05: Tell me about your work on Episode II—Attack of the
Marc: I was contacted by Doug Chiang, the concept art director for
models in 3-D and then do matte paintings. My job as concept artist
Clones.
Episode I, whom I had met a few years previously at ILM. He asked
was to come up with the original ideas so I never did any finished
Marc: I worked on lots of architecture, robots, vehicles, and
me if I would like to show my portfolio, and I was thrilled at the
paintings for Star Wars.
storyboards. I think there were five planets in that movie, and
opportunity. I actually came in on the tail end of Episode I, so I really
’05: How were your assignments given to you and where would you
I worked on all of them. I also designed landing platforms, the
didn’t do too much work, but I’m really proud of the designs I did for
end up getting your ideas?
Naboo spaceport, spaceships, interior and exterior designs
the interiors of the underwater city, Otoh Gunga. They wanted me
Marc: When Doug assigned me to design interiors for the underwater
for the water city, the interior of Dextor’s Diner, the waitress
to move and work with everyone at the Skywalker Ranch, but I really
city, he sent me a collection of his exterior designs, some preliminary
droid, the rickshaw droid on Tatooine, the Emperor’s secret
wasn’t ready to move from Canada at that time so I did all my work
sketches of interiors, and some photos of the actors from inside the
lair on Coruscant, and many others.
on that film long distance.
sets that had already been built. That was my starting point. After
’05: So you weren’t really typecast as an architectural
’05: How was your work for the Star Wars films rendered?
I determined the actual dimensions of the room it was really all
designer, or a spaceship designer?
Marc: All of my concept work for Star Wars was executed in markers,
up to me. I did a ton of sketches and different approaches for the
Marc: No, not at all. That was the great thing about it; Doug
would just throw something my way and I never really knew
Aprönstrings, 18 x 18, acrylic. Cover for Sounds of Death magazine.
34 ILLUSTRATION’05
ILLUSTRATION’05 35
Battlebots Poster, 18 x 36, acrylic
what I would be working on from one day to the next, so it
really kept me fresh. We had to turn out most of the work
very, very quickly, which was another reason we worked
mostly in black-and-white.
’05: How was your design work transformed into the final
images on the screen?
Marc: George wanted as much design work done as possible
so they could decide how much of a set would need to be
built, and how much of the film would need to be shot
against blue screen or green screen so that ILM could insert
the effects shots later. Most of my work was used as a guide
for matte paintings or models, some of which were actually
miniature sets the size of entire rooms. The miniatures ended
up looking far better than anything they could create in CG
because they could control the lighting and atmosphere on
the miniatures. Believe it or not, it’s actually cheaper to build
miniature sets than attempt to render some scenes in CG. It
can take months to do a scene in CG, whereas you can build
a model and shoot the scene in just a couple of weeks.
’05: What was it like for you working at the Skywalker
Ranch?
Marc: It was an awesome experience for me since I had
been working in isolation for so long. To be in that kind of
environment was very inspirational. The first time I visited
the art department on the third floor of the Skywalker
Ranch, there were hundreds of models that had been built
based on all the designs that we had been doing, and it was a
very tangible thing for me to see.
’05: How happy were you with the finished product?
Marc: I was totally enamored with the finished film from
a design standpoint, and since that was the extent of my
involvement, I was very happy with my contribution.
’05: Tell me about how you got involved with your next
project, The Matrix.
Marc: Well, I had just finished working on Star Wars and was
about ready to head back to Canada, but I decided to visit
Robot Wars Poster, 18 x 24, acrylic
36 ILLUSTRATION’05
Titanium Bone, digital
ILLUSTRATION’05 37
OB-GYN, 18 x 13.5, gouache. Illustration for OB-GYN magazine.
What is Life About?, 14 x 18, acrylic. Album cover art for the band Lesser Known.
Gigantor, 17 x 28, gouache
a friend in Los Angeles and he was working on The Matrix and told
’05: Was it fun for you to be doing finished paintings again after doing
me I should show my portfolio to Owen Paterson, the production
so much black-and-white work for Star Wars?
designer for the second Matrix film. I really wasn’t looking for work
Marc: Oh yeah, although the color scheme for The Matrix was mostly
after all the time and effort I had just put in on Star Wars, but I called
warm, cool grays, so the paintings weren’t quite as colorful as some
Owen and he said he would love to meet with me. A few days later
of my portfolio pieces. The painting I did for the interior of Zion
I walked into Larry and Andy Wachowski’s studio down in Venice,
ultimately served a lot of purposes. It showcased for everyone working
California, and I told Owen that I would love to show him what I had
on the film the mood for this particular scene, but it also went a long
been working on over the previous many months on Star Wars, but
way in establishing budget, as far as how much of the set would have
I had signed an airtight non-disclosure agreement. He understood
to be built, how much blue screen work would be needed, how many
completely and he asked me if he could keep my portfolio overnight,
miniatures would need to be built. The paintings I did for The Matrix
but he also asked me during the interview if I would be interested in
were like detailed roadmaps to show each department working on the
working on The Matrix. Like I said, I really wasn’t looking for work,
film exactly what the scope of their task was.
but it was an opportunity that I just couldn’t turn down.
After doing specific designs and paintings for each scene we would
’05: What was your contribution to the film?
also do a lot of storyboards, and the storyboards that I did were
Marc: Larry and Andy loved to see paintings and final illustrations
actually very small, detailed paintings. On a typical day I would sit
that looked as close to the final image in the film, so it was a lot
with Larry and Andy in their office and they would read me a couple
different for me than working with George Lucas on Star Wars. The
of pages from the script, and I would do small thumbnail sketches
first assignment they gave me was to design the Keymaker’s cell in
based on their descriptions, and they would give me feedback as to
Reloaded, so I started doing marker sketches, working very closely
what they wanted right on the spot. Once I had a good sense of what
with Owen and the brothers, Larry and Andy, getting feedback and
they wanted, I would finalize each storyboard shot with pen, markers,
refining my work. The art department consisted of 12 artists, and
and paints.
each one of us had our specialty, but we also worked on projects
’05: When did you begin painting digitally on the computer?
outside of our specialty, so it was very interesting and challenging. I
Marc: Around the time I was working on The Matrix I finally bought
did everything from storyboards to finished paintings to designs for
a computer and started training myself in the various programs I
robots and spaceships. My second assignment was to visualize what
wanted to use. I was interested in painting with the computer pretty
the interior of Zion would look like, and I was able to look through
much the same way I had done traditionally. I still wanted everything
a lot of preliminary design work some of the other artists had done.
I did to look like a Marc Gabbana painting, as opposed to a Photoshop
My job was to bring all of the designs together and showcase the set
painting using a lot of Photoshop tricks to make something look
in its full glory.
cool. I spent several years learning the programs, and I actually did
The Swiss Army Monster, 14 x 18, gouache
38 ILLUSTRATION’05
ILLUSTRATION’05 39
Blue Spider, 12 x 24, gouache
a few paintings for some of my advertising clients on the computer.
into 3-D and used to build virtual sets. Once the set is built inside the
I wanted to be as profi cient with the computer as I was with paints
computer, you can move the camera around inside the environment
before I did any of my portfolio work that way. Looking back now it
with great ease.
doesn’t seem like such a big deal, but at the time when you’re looking
’05: This fi lm has a very original look to it.
at a totally different medium it’s very, very daunting. I never took any
Marc: The evolutionary step in this movie was that the 2-D images
formal classes—I just purchased Photoshop and started reading the
we created in Photoshop ended up being identical to the fi nal
manual and experimenting on my own. Now the interface is totally
frames of the fi lm. This was the fi rst time that there was virtually no
seamless with what I do, so I can switch between pen-and-ink and
difference between what I created in Photoshop and what ended up
Photoshop effortlessly.
being on the screen. Our job was to design the look and feel of the
’05: Are there things that you can do in Photoshop that you just can’t
fi lm. The snow looks real, the buildings look real, the lighting effects
do with traditional mediums?
are photorealistic, everything is still stylized to a certain extent, but
Marc: Yes. In fact, I haven’t painted with actual paints for
it was our job to determine what the level of stylization
the past two to three years, although I draw and use
would be. We had certain color palettes that repeat.
markers all of the time so my drawing skills are
We had certain styles that we kept using over
still sharp. Photoshop is great. You don’t
and over again. What was really amazing
have to breathe in all that paint for one
about working with all the other talented
thing. But I think the main advantage
artists was how consistent our work
when you’re working for the motion
would look from scene to scene. This
picture industry is that corrections are
is obviously important to the fl ow of
so much easier. In Photoshop, I keep
the fi lm. There’s a lot of synergy going
different elements on layers and I
on in a project like The Polar Express.
can turn layers on and off and check
There’s a certain visual style that we
out all the possible permutations of
invent, and that becomes our guide
the fi nished work. This would be
throughout the project.
impossible to do with traditional
’05: Was there a strong effort to bring
painting. Photoshop and Painter have
the illustrations of Chris Van Allsburg
become standard tools in the industry.
to life with this fi lm?
’05: Tell me about The Polar Express.
Marc: Absolutely. In fact, a lot of our
Marc: I did hundreds and hundreds
paintings were exact copies of Chris
of sketches for The Polar Express, which I
Van Allsburg’s pastel illustrations. We
would then scan and paint on top of in the
consciously tried to stick very close to the
Spectrum, digital
computer. Eventually my designs were translated
source material, but Bob Zemeckis wanted us to
X-Mas card, 2004, digital
40 ILLUSTRATION’05
ILLUSTRATION’05 41
STEP-BY-STEP:
take things so much further that there was a lot of opportunity for
while, and it was fun to go from working on a happy Christmas movie
stretching our creative abilities.
to a cutting edge sci-fi fi lm. It’s great for me to be part of a dedicated
One of the things that gives this movie such an original look was
team, because I feel that we can make any project that comes through
the use of motion capture, which is a way of capturing the actor’s
our doors look like gold. Our skills are always expanding as we learn
movements and using that data to apply those movements to
from each other. I’m learning stuff from guys who are matte painters
computer-generated characters. Tom Hanks would play a scene, and
from ILM—some guys just graduated from school a few years back—
then the motion capture data would be used by the animators to make
we have a whole range of talent and experience at work for us and it’s
the scene look as real as possible—even though the movie is highly
such a blessing to walk into that room every morning and know that
stylized. The fi lming of the actors took place on very minimal sets
we’re going to be working on something really, really cool as a team.
built out of chicken wire and plywood, with locators to show where
’05: Have you had a chance to meet Steven Spielberg?
the edge of a door was, or how high a desk was. Armed with our
Marc: I had an opportunity to show some of my paintings to Steven
paintings, the directors and the actors would actually be able to see
Spielberg and the producers in a meeting in LA, and it was great.
what a fi nished scene would look like, as opposed to playing against
’05: I’m sure you’re under strict orders not to talk about the specifi cs,
a blue screen and waiting six months to see the results. The actors
but can you tell me anything about the movie?
were all dressed in black leotards with dots all over their bodies, and
Marc: I can tell you that the movie is on a real fast track and that
certainly had their abilities severely tested by the process.
I think they’re anticipating a Summer 2005 release date—and this
On top of the paintings we did a lot of animatics, which are rough
movie was only started a few months ago.
sequences that show exactly where all the actors are in a given scene,
’05: Has your work on all these fi lms inspired you to create your own
what kind of lens the camera has, exactly the kind of motion the
projects?
camera is going to be programmed for, how much of a set is going
Marc: Very much so. I look forward to having the time to work on
to be built, etc. These are all done months and months in advance, so
my own projects; write and create my own illustrations and designs.
that the actors and everybody involved in shooting these scenes are
There are so many images and ideas constantly coming into my mind,
totally aware of what’s going on, and what is going to be expected of
and I feel very inspired to capture and convey them in a way that
them on set.
would be ideally expressed in the form of a movie or a book. ’05
’05: And now you’ve begun work on War of the Worlds, directed by
— © 2005 by David Horn
Steven Spielberg.
Exterminatrix, 10 x 18, acrylic. Below: Preliminary sketches for the fi nal illustration.
Marc: Doug Chiang’s new studio, Ice-Blink, which consists essentially
All artwork in this article is ©2005 by Marc Gabbana, unless otherwise noted.
For more information, please visit Marc’s website at: www.marcgabbana.com.
of the same team that worked on The Polar Express, got the
opportunity to work for Steven Spielberg on War of the Worlds. It was
David Horn is a cartoonist, creator of the comic strip ZON, and the publisher of
a very smooth transition since we had all been working together for a
ANVIL magazine. He is currently at work on a children’s book.
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42 ILLUSTRATION’05
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STEP-BY-STEP:
Dawn of the Gargantuans, 10 x 18, acrylic. Below and Right: Preliminary sketches for the final illustration.
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ILLUSTRATION’05 45
STEP-BY-STEP:
The Submarine Nursery, 10 x 18, acrylic. Below: Preliminary sketches for the final illustration.
Headin’ Home to Hades, 10 x 18, acrylic. Below: Preliminary sketches for the final illustration.
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ILLUSTRATION’05 47
