Alex Laurant production design/art direction, concept art, visual ...
Alex Laurant production design/art direction, concept art, visual ...
Alex Laurant production design/art direction, concept art, visual ...
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<strong>Alex</strong> <strong>Laurant</strong><br />
<strong>production</strong> <strong>design</strong>/<strong>art</strong> <strong>direction</strong>, <strong>concept</strong> <strong>art</strong>, <strong>visual</strong> development<br />
portfolio website: www.alexlaurant.com email: lxl1@comcast.net phone: 415.827.6701<br />
Professional Summary:<br />
I am an Art Director, <strong>visual</strong> <strong>design</strong>er and <strong>concept</strong> <strong>art</strong>ist working across both feature films, commercials and<br />
games.<br />
My most recent film credits include <strong>visual</strong> effects <strong>design</strong>, <strong>art</strong> <strong>direction</strong> and matte painting for Robert<br />
Redford’s upcoming Civil War drama, The Conspirator, contributing effects work on Percy Jackson and<br />
the Lightening Thief and <strong>concept</strong> <strong>design</strong> and illustration for M<strong>art</strong>in Campbell’s Green Lantern feature,<br />
now in post <strong>production</strong>. For eight years I was a Senior Visual Effects Art Director and Concept Artist at<br />
Industrial Light & Magic, working on numerous feature films and commercials including Saving Private<br />
Ryan, Star Wars (Special Editions), The Mummy, Minority Report, Peter Pan and The Day After<br />
Tomorrow. I was co-nominated for Best Visual Effects Art Direction by the Visual Effects Society for my<br />
work on Minority Report (shared with Production Designer <strong>Alex</strong> McDowell).<br />
On the games side I worked for Electronic Arts’ UK Studio as a Sr. Art Director from 2004 through 2006,<br />
applying my <strong>art</strong> and film experience to the interactive medium. There I worked on the fourth Harry Potter<br />
movie game (Goblet of Fire) as well as several original I.P. <strong>concept</strong>s, while consulting with Frankfurt-based<br />
studio Crytek on their acclaimed 2007 PC game, Crysis. From 2006 through 2008I worked at Lucasfilm<br />
as a Sr. Art Director for LucasArts games, I built and managed a new <strong>art</strong> team and directed all <strong>visual</strong><br />
development and <strong>art</strong> pre<strong>production</strong> for an original, internally developed I.P./Franchise.<br />
I’ve given numerous talks on <strong>visual</strong> <strong>design</strong> and digital media, including: 2010 – panelist at AAM [American<br />
Association of Museums], L.A.; 2009 - solo presentation at DICE Summit in Las Vegas; 2008 - Solo<br />
presenter and panelist at FMX in Stuttg<strong>art</strong>, Germany; 2008 - solo presentation at GCDC in Leipzig,<br />
Germany; 2007 - 4-day solo workshop on film VFX and animation at the University of Zurich;<br />
Professional Experience:<br />
FILM & COMMERCIALS:<br />
Slash-FX/Reliance MediaWorks VFX (2009-2010):<br />
Senior Art Director, Designer, Matte Painter<br />
As the <strong>visual</strong> <strong>design</strong> lead and Art Dep<strong>art</strong>ment manager for this small media and VFX studio I was<br />
instrumental in all aspects of <strong>visual</strong> <strong>design</strong> and implementation; from <strong>visual</strong> pitch-packages and bids, to<br />
working with clients <strong>design</strong>ing shots, color <strong>concept</strong> <strong>art</strong>work and previs, final matte paintings and effects<br />
assets to re<strong>design</strong>ing the studio’s identity and promotions.<br />
Key projects included:<br />
THE CONSPIRATOR – Director: Robert Redford. Shot <strong>design</strong>, storyboards <strong>concept</strong> illustration, matte<br />
painting.<br />
PERCY JACKSON & THE LIGHTING THIEF – Director: Chris Columbus. VFX <strong>design</strong>, <strong>concept</strong> illustration,<br />
final <strong>art</strong> assets.<br />
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PostOffice Editorial - CHASE Sapphire card - commercial package (2010):<br />
Art Director, VFX Supervisor & Matte Painter<br />
I <strong>design</strong>ed and storyboarded sequences, did physical stage-set layout, VFX planning and supervision and<br />
final digital matte paintings for this package of TV spots (:30, :60 and 1:20 versions)<br />
Warner Brothers Pictures – Green Lantern (2009):<br />
Senior Illustrator and Designer<br />
I was a senior in-house illustrator and <strong>concept</strong>ual <strong>design</strong>er in the L.A. pre<strong>production</strong> <strong>art</strong> dep<strong>art</strong>ment,<br />
working under Production Designer Grant Major and Director M<strong>art</strong>in Campbell. During my 7 months on the<br />
team I developed a variety of key environments, characters and sequences, helping the <strong>production</strong><br />
<strong>visual</strong>ize and plan the film’s look, moods and scope.<br />
Walt Disney Pictures – UNIQUE (2007):<br />
Concept Artist - (feature film bid) - (VFX Supervisor John Berton)<br />
Industrial Light & Magic (1996 – 2004):<br />
Senior Visual Effects Art Director and Concept Artist<br />
I was responsible for <strong>design</strong> and <strong>art</strong> <strong>direction</strong> of <strong>visual</strong> effects at all stages of <strong>production</strong>, including initial<br />
<strong>art</strong>work pitch packages, early <strong>concept</strong> development with studios/directors/<strong>production</strong> <strong>design</strong>ers, digital and<br />
practical set <strong>design</strong>, final <strong>concept</strong> <strong>art</strong>work, 2D and 3D pre-vis, management of <strong>art</strong> teams, steering approved<br />
<strong>concept</strong>s through all phases of <strong>production</strong>, <strong>art</strong>istic supervision of miniature sets, <strong>art</strong> <strong>direction</strong> of digital<br />
characters, environments, matte paintings and compositing, in close collaboration with numerous<br />
<strong>production</strong> <strong>art</strong>ists, CG and VFX supervisors.<br />
ILM Feature films:<br />
2006 THE SPIDERWICK CHRONICLES - Freelance Concept Artist (VFX Supe: Pablo Helman)<br />
2004 THE DAY AFTER TOMORROW - VFX Art Director, Concept Artist (VFX Supes: Jim Mitchell, Eric<br />
Brevig, Dennis Murren)<br />
2003 PETER PAN - VFX Art Director, Concept Artist (VFX Supes: Scott Farrar & Eric Brevig)<br />
2002 MINORITY REPORT - VFX Art Director,, Concept Artist (VFX Supe: Scott Farrar)<br />
2002 STAR WARS EPISODE 2 - Contributing Concept Artist (VFX Supe: Dennis Murren,<br />
John Knoll, Pablo Helman)<br />
2001 THE MUMMY RETURNS - VFX Art Director, Concept Artist (VFX Supe: John Berton)<br />
2000 MISSION TO MARS - VFX Art Director, Concept Artist (VFX Supe: John Knoll)<br />
1999 THE MUMMY - VFX Art Director, Concept Artist (VFX Supe: John Berton)<br />
1999 THE BFG (bid) - Concept Artist<br />
1998 FRANKENSTEIN (bid) - Concept Artist<br />
1997 SAVING PRIVATE RYAN - VFX Art Director (VFX Supes: Stephan Fangmeier & Roger Guyett)<br />
1997 CONTACT - Concept Artist<br />
1997 JACK FROST - Concept Artist<br />
1997 DEEP IMPACT - Concept Artist (VFX Supe: Scott Farrar)<br />
1997 RAIDERS of the LOST ARK–SPECIAL EDITION (bid) - Concept Artist<br />
1997 CITY OF ANGELS (bid) - Concept Artist<br />
1996 RETURN OF THE JEDI, Special Edition - Asst. VFX Art Director (VFX Supe: Dave Carson)<br />
1996 EMPIRE STRIKES BACK, Special Edition - Asst. VFX Art Director, Digital Matte Painter (VFX Supe:<br />
Dave Carson)<br />
ILM Commercial Productions - TV spots & music videos:<br />
1999 DODGE ‘MOLECULE’ - Storyboard/Concept Artist (Dir: Steve Beck)<br />
1997 DODGE ‘STRATUS’ (“Blobs” series) - Designer/Art Director (Dir: Steve Beck)<br />
1997 DISCOVERY CHANNEL - Concept Artist (Dir: Michael Brunsfeld)<br />
1997 Will Smith “JUST CRUISIN’” music video - Concept/Storyboard Artist (Dir: Robert Caruso)<br />
1996 BUDWEISER LIZARDS (bid) - Character/Concept Designer<br />
GAMES & INTERACTIVE MEDIA:<br />
LucasArts (2006-2008):<br />
Senior Art Director and Creative Co-Director: (unannounced internal property)<br />
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I co-led a team tasked by George Lucas with conceiving and developing his next new franchise, to be<br />
launched initially as a game. Over a period of 9 months I led this ‘story incubator’ effort of <strong>art</strong>ists, writers<br />
and <strong>design</strong>ers, developing and pitching dozens of game/story <strong>concept</strong>s. These were refined, tested and<br />
vetted by studio executives before one core idea was approved; this has been in development since.<br />
I then managed a growing team of 25+ 2D and 3D <strong>art</strong>ists, led blue-sky brainstorm sessions and co-wrote<br />
pitch-briefs, <strong>design</strong>ed our <strong>visual</strong> <strong>design</strong> processes and workflows, and supervised research and <strong>visual</strong><br />
exploration, collaborating closely with our lead game <strong>design</strong>ers and engineers, in addition to continuing to<br />
direct ongoing development of 3D test characters, environments, and animation for previs. In addition I:<br />
• Developed and pitched a stylized, non-realistic <strong>visual</strong> approach for the game which was<br />
represented with <strong>concept</strong> <strong>art</strong>work, reference and animated look-tests.<br />
• Authored and edited <strong>visual</strong> <strong>design</strong> guidelines, including reference and <strong>art</strong> packets for <strong>production</strong><br />
<strong>art</strong>ists, pre-<strong>production</strong> processes and scope forecasting documents to inform, direct and support our game<br />
engineers, <strong>design</strong>ers and producers.<br />
Electronic Arts, Ltd. UK Studio (2004 – 2006):<br />
Senior Art Director on ‘Harry Potter & the Goblet of Fire’ game (PS2):<br />
I joined EA in London to guide the new look for the 4th movie in their successful game franchise, aimed at<br />
‘maturing’ the <strong>visual</strong> quality bar of this more mature-themed episode. St<strong>art</strong>ing from the prior games‘ younger<br />
audience and more c<strong>art</strong>oony style I directed this game’s look, lighting, characters and worlds to be more<br />
‘cinematic’ and <strong>visual</strong>ly rich, developing new creatures and locations while remaining true to the spirit of<br />
both J.K. Rowling‘s fiction and the film’s <strong>visual</strong> aesthetic.<br />
• Authored and presented detailed ‘Visual Target Guidelines’ and style documents for teams and<br />
managers.<br />
• Assembled reference and led research visits to the film sets at Leavesden Studios to better<br />
reference the movie’s <strong>production</strong> <strong>design</strong>.<br />
• Worked closely with <strong>art</strong> teams across disciplines (world, character, modeling, paint & animation,<br />
atmospheric & <strong>visual</strong> effects, Graphic User Interface <strong>design</strong>, etc).<br />
• Established new forums for team creativity and communication, ‘shared <strong>design</strong> labs’, improving<br />
collaboration between <strong>visual</strong> <strong>art</strong>ists and game <strong>design</strong>ers.<br />
• Designed, storyboarded and supervised cinematics, game trailers and PR video assets, liaising<br />
with both our internal post / video dep<strong>art</strong>ment and external (Soho) post/VFX houses.<br />
Senior Studio Art Director for EA UK Central Concept Group:<br />
• During my second year I served as consulting Art Director for numerous games in development<br />
across the studio.<br />
• Interviewed prospective outsourcing animation studios in India, including site visits, co-created &<br />
supervised new I.P animation tests, sequences with both internal and external (India based) animation<br />
teams.<br />
• Mentored jr. <strong>concept</strong> <strong>art</strong>ists, interviewed, hired and managed consulting <strong>concept</strong> <strong>art</strong>ists, both inhouse<br />
and remotely<br />
Art Director / co-creator for new EA game <strong>concept</strong>s:<br />
• Led a comprehensive story and <strong>visual</strong> development effort for several original I.P. game <strong>concept</strong>s,<br />
including creation and supervision of key <strong>concept</strong> <strong>art</strong>work.<br />
CRYTEK, Frankfurt, Germany for EAP (Electronic Arts P<strong>art</strong>ners, UK) (2005 – 2006):<br />
Consulting Art Director & <strong>concept</strong> <strong>art</strong>ist for Crytek’s 2007 PC game CRYSIS<br />
Rocket Science Games, San Francisco, CA (1996):<br />
Contributing Art Director on Mac/PC adventure game OBSIDIAN.<br />
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Albathion Software, Inc, Sausalito, CA (1993 - 1996):<br />
Art Director, <strong>design</strong>er, illustrator, animator for a variety of educational games and multimedia<br />
products. Clients included Mattel Media, Broderbund Software, Johnson & Johnson and the<br />
Exploratorium museum.<br />
THEATER, PRINT & MISCELLANEOUS:<br />
Sunday in the Park with George, (theatrical <strong>production</strong>) London & New York (2006):<br />
Digital theatrical background <strong>art</strong>ist for award-winning London & NY runs of Sondheim’s re-mounted<br />
musical, performed at the Menier Chocolate Factory, the Wyndham’s Theatre, West End, and in 2008 on<br />
Broadway, New York. (director: Sam Buntrock, scenic <strong>design</strong>er Timothy Bird, for Knifedge Network,<br />
London)<br />
Freelance print illustration and graphic <strong>design</strong> (1984 -1996):<br />
Provided illustration and <strong>design</strong> for a variety of clients including book and magazine covers,<br />
posters, corporate communications, logos and signage. Clients included: Chronicle Books, San Francisco;<br />
Ketchum Agency, San Francisco; Express Publications, Oakland; Terry Pimsleur Assoc., San Francisco<br />
Professional Groups & Affiliations:<br />
ADG (Art Directors Guild) - Local 800 Los Angeles - member<br />
VES (Visual Effects Society) - member<br />
AIAS (Academy of Interactive Arts & Sciences) – member and panel juror<br />
5D Immersive Design Conference - advisory committee member<br />
Articles & Interviews:<br />
VFX World.com - FMX preview <strong>art</strong>icle “Why You Should Experience FMX/08 This Year”<br />
http://vfxworld.com/?atype=<strong>art</strong>icles&id=3611&page=4<br />
PERSPECTIVES - The magazine of the L.A. Art Directors’ Guild (June, 2006 issue)<br />
Making the Leap: Another Film Art Director Takes up the Videogame Challenge<br />
Yahoo Games - From Film to Games: Harry Potter & the Goblet of Fire interview (2005)<br />
http://videogames.yahoo.com/gamepreview?cid=1951020523&tab=previews&page=0&eid=411039<br />
CINEFEX (issue 77) Thoroughly Modern Mummy - <strong>art</strong>icle by Estelle Shay<br />
CINEFEX (issue 85) Warrior Kings - <strong>art</strong>icle by Joe Fordham<br />
CINEFEX (issue 91) Future Reality (Minority Report) - <strong>art</strong>icle by Joe Fordham<br />
Talks & Seminars:<br />
2008 GCDC – Games Conference / Developers’ Convention - Leipzig, Germany (solo presentation)<br />
2008 FMX - 13th Int’l Conference of Animation, VFX, Games - Stuttg<strong>art</strong>, Germany (solo presentation & 4<br />
panels)<br />
2007 University of Zurich - School of Cinema Studies (2-day workshop on film VFX <strong>design</strong> & techniques)<br />
2005 Celtic Film & Television Festival, Cardiff, Wales (The Great Debate, Film vs. Games)<br />
2004 HOW Design Conference, San Diego, CA (Design for Film VFX)<br />
2004 AEAF Film & Animation Conference, Sydney, AU (The VFX of Peter Pan)<br />
2003 AIGA "Y8" Design Conference, San Diego, CA (Design for Film VFX)<br />
2002 DreamWorks Studios, Los Angeles, CA (The VFX of Minority Report, DVD release PR Event)<br />
2001 VES (Visual Effects Society festival) 2001, Los Angeles, CA (The VFX of The Mummy Returns)<br />
2000 VES (Visual Effects Society festival) 2000, Los Angeles, CA (The VFX of Mission to Mars)<br />
2000 Vista College, San Rafael, CA (seminar on VFX <strong>design</strong> & techniques)<br />
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2000 Diablo Valley College, Pleasant Hill, CA (seminar on VFX <strong>design</strong> & techniques)<br />
1999 Academy of Art College, San Francisco, CA (seminar on VFX <strong>design</strong> & techniques)<br />
1999 "Dual Vision" public lecture, San Rafael, CA (Art processes in film & VFX <strong>design</strong>)<br />
1999 Monterey Film Festival, Monterey, CA (The VFX of The Mummy)<br />
1999 CINEQUEST 10 Film Festival, San Jose, CA (The VFX of The Mummy)<br />
1998 "Designing Dreams" Production Design lecture series, Lincoln Centre, New York (VFX and Matte<br />
Painting),<br />
1995 Monterrey New Media Conference, Monterrey, Mexico (Multimedia <strong>design</strong> seminar, co-taught by Ed<br />
Payne)<br />
1994 Stanford New Technology Series, Stanford University, CA (Multimedia <strong>design</strong> seminar, co-taught by<br />
Ed Payne)<br />
Education:<br />
California College of Arts, Oakland, CA<br />
BFA; Combined degree in iIllustration, graphic <strong>design</strong>, painting & drawing<br />
Studio Art Centres International, Florence, Italy<br />
One year studio fine-<strong>art</strong> and field <strong>art</strong> history program<br />
Contact Information:<br />
lxl1@comcast.net<br />
16 Truman Drive<br />
Novato, CA 94947<br />
home: 415.408.3181<br />
cell: 415.827.6701<br />
Updated profiles and references available online at:<br />
Linked-In: http://www.linkedin.com/in/alaurant<br />
Plaxo Pulse: http://lxl.myplaxo.com/<br />
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