Updated: Is 'Avengers' Hulk Really 'Substationally Different" From Other Movie Hulks?

With Will the Hulk design for the Avengers movie be that much different from the past two movies? Yes, but not the way he says.

Kevin Feige, president of Marvel Studios and producer of The Avengers (2012)  in an interview with "Hero Complex" said the following:

It will be as different as "The Incredible Hulk" was from Ang Lee's "Hulk" in terms of its look and design, but it is Hulk.

As you can already see in that concept painting, it is — more than any Hulk that's ever been done in live action — a Hulk that let's you see the actor in there. You will be able to see Ruffalo in there. That was a big revelation for us. It's just a concept painting, but in that you can see the [influence of Marvel Comics pioneer and original Hulk artist Jack] Kirby, as people have already pointed out, but also, and equally important in this case, Ruffalo's eyes and his cheek structure. It is him.

So how different will the Avenger's Hulk be? He's implying that other Hulk's haven't really looked like the actor. Is that true?

Hulk (2003) with Eric Bana

Artist: James Carson

This looks quite a bit like Eric Bana. They widened his jaw and shortened his nose a bit. The eyebrow ridge is more pronounced and his jaw is much larger than his real one. The entire face looks like it was blown up like a balloon.

The Incredible Hulk (2008) with Edward Norton

Artist: Unknown (Aaron Sims Company)

This Hulk looks less cartoony than the first one. His face isn't as exaggerated as the first one, but he looks a lot less like the actor Edward Norton. Mainly because Norton's face is much narrower. The face is very hulk-like, but not as Norton-like. Notice they got rid of the crooked nose too.

The Avengers (2011) with Mark Ruffalo

Artist: Charlie Wen (Marvel)

Its hard to tell from this angle, but at first glance it looks like they took the same liberties as they did with the other films. Eyebrow ridge is larger. Nose is shorter. When you look closer though, you do see some changes.

Ruffalo's face is thicker, so it's easier to bulk it out. His jawline, while larger, isn't that much larger. The same with most of his features. He still looks like the traditional Hulk, but his face doesn't change as much.

It's possible that they chose him specifically because his face lends itself to the distortion. I've never done casting or concept design though. So, who knows?

In the end, it is different, but mainly because the actors face is Hulk-like.

Update: In the book Art of Marvel's The Avengers there was a quote from Ryan Meinderding that supports my viewpoint.

Joss really pushed us to take some of the cuses from those early Hulks and combine them with Mark Ruffalo's features. At first, we couldn't see how that would work - but he was dead-on in that direction. Mark's face really lends itself to hulking out, and we affectionally called the design "Hulkalo."

What do you think? Is it really a "different" Hulk?

Via: Herocomplex

Cesar Lemus Talks About Astonishing 'Heroes' and 'Wonder Woman' Storyboards

Here's another exclusive interview with my first storyboard artist and he draws on his experience to give us an inside look of the storyboarding industry and the unique chalenges of television.

Cesar Lemus is best known for his work on the television show Heroes, but he recently worked on another superhero show: Wonder Woman. He did storyboards for the pilot and when the Internet found out it exploded.

The industry has been struggling lately and many fine artists find themselves out of work or work is hard to come by. Cesar does a good job of expressing the challenges of being an artist in the film and television industry.

His work is prolific. He's done art for shows like Heroes, House M.D., Hawthorne, Mercy Reef/Aquaman (Pilot) Love Bites, Pretty Little Liars, No Ordinary Family, Melrose Place, Wonder Woman (Pilot) Smallville and Pushing Daises.

Q: When someone asks you "what's a storyboard artist" what do you say?

We help previsualize the action and tone for scenes. Animation and Live action share some of the same things but are two different animals.

Q: How did you get the job story boarding for David E. Kelly's Wonder Woman pilot?

I got a call from someone on the show, I believe it was the UPM (Unit Production Manager). I was also familiar with the director, he was a ex-producer on The Event, which I also worked on.

Q: What was your reaction when you found that the pilot wasn't picked up by NBC?

Very bummed. Sad.... it would have been a great series to work on, great crew. I hate being out of work... I am actually looking for work now.

Q: The costume was highly controversial, but your storyboards show her dressed in the new costume. How late in the design process did the new costume remain?

I actually used the concept [art] as reference in the boards, but I did tweak the design a bit in the cconceptual art I did... I switched the boots color back to red.

Q: You worked on the superhero show Heroes, what was the best part of the job? Did anything you learned there help with Wonder Woman?

Basically getting to do a show about superheros.

I love comics and grew up on them. I've never gotten to work for DC or Marvel, so it was bittersweet.

That show helped me to get faster at boards, turnaround was [always] fast, also getting to work with a different directors... it's intimidating at first, getting to work with guys that have been in the business WAYYYY longer than me...it makes you step up your game.

The top guys that do boards, have been doing it twice or three times as long as me. I was VERY fortunate to work on that show. I worked on all 4 seasons in some way. Seasons 2, 3 and 4 ... 3 & 4 were the most busy.

Q: What did you use for inspiration for the look of the Amazon world of Themyscira and your art in general?
A lot was influenced by Alex Ross...and Adam Hughes.

Q: What was it like story boarding the action for such an iconic superhero?
Very cool, I never got to see it filmed... I had to work on another show. I still would love to watch the pilot.

Q: You do conceptual art, storyboarding and sculpting. Is there one you enjoy more than another?

Boarding is harder... and Conceptual is hard too but you have a lot less stress, I guess sculpting is the most relaxing. But it don't think I can pick one... Also I have yet to do sculpting for work.

Q: Having worked on video games, what's the biggest difference between working on games versus television?
TV is crazy... very tight turn arounds. When I worked in games, it seemed pretty chill. Schedule was more 9-5, when I board stuff my schedule is all over the place. ...Long nights, crazy hours.


Q: You've worked many art mediums from markers to 3-D software. Is there a favorite tool that you like to use?

Traditional... it's so easy to pick a pen, pencil or marker and just draw!

The only drawback is scanning your work to email to clients or any show you might be working on.... I want to switch to more digital boards, but a lot of TV directors need you to you be able to draw on the spot.

There is no time to set up a laptop...I wish Apple would get on the Ipad and make it so you can plug in another hard drive for more space or install a program like "Painter" or "Photoshop."

Q: You're known for building scale models. What's the most surprising way this helps with your other artistic efforts?

Well, it just helps in using it as reference, helps with scale and proportions.

Q: What's the next project from you we can look forward to?

I am working on a comic book for a friend, doing pencils, hopefully it will be done by Dec.

But as far as Storyboards? I wish I knew...I am actually waiting for my agent to tell me if a got a gig or not. Work has been slow, so I cant wait for a nice long gig!

If you're reading this and need a storyboard artist, hire this guy! His talents have just begun

Check out more of his work on his blog and read more about him on HeroesWiki.

To see a list of all the exclusive interviews with other great artists on my blog go here.

What do you think of Cesar Lemus' work?

Profile Image: Huy (Wee) Dinh

Captain America Strong-Arms Hydra in 'Captain America: The First Avenger' Storyboards

Storyboards from Captain America: The First Avenger show how cool Cap's bike really is.

As always, after a movie release concept art and storyboards are up from the artists. Captain America is no exception.

I was checking out the artists and came across these storyboards from Rodolfo Damaggio.

The sequence is called "Bike Chase." He's heading through the woods to the base of the evil H.Y.D.R.A. The scene right before this one has him using his motorcycle gadets to get rid of some agents chasing him.

Here's what he said about them:

Here are some the storyboards I did for Captain America, the "Kruger Chase" and the Bike chase sequence. Joe [Johnston] thumb nailed the Bike chase entirely.

For comparison, check out the video clip below. It's a shame it cuts off right when it gets interesting. I would have loved to see him backflip off his bike onto the sheild. Guess we'll have to check out the movie. ;)

Check out the rest of his storyboards from the movie and his other amazing art work at Damaggio.com.

Do these storyboards make him look cooler than ever?

UPDATE: What Does Marvel's Avengers SDCC Concept Art Poster Not Show?

UPDATED: Sure enough, the next day they released some more of the concept poster I predicted. Plus, they're lining about how I said they would. I've updated the post with the newly released posters and the updated compilation poster.

UPDATE 2: The final posters have been released and I've updated the post. Hi-Res final poster no doube releasing tommorrow. Overall, it's awesome. Wen and Meinerding have done a great job.

Marvel released a concept art poster at San Diego Comic-Con 2011 for the film The Avengers (2012) and it shows two of the Avengers, but we can guess where the others are if we look closely.

On their website they describe the newly released poster(s).

Fans who attended Comic-Con International 2010 will remember the free “Thor” and “Captain America: The First Avenger” posters handed out at the Marvel Booth featuring art by Wen and Meinerding, respectively. This time, to celebrate next year’s release of “Marvel’s The Avengers,” Meinerding and Wen have joined forces to create a series of interlocking posters spotlighting Earth’s Mightiest Heroes.

More on Marvel.com

Added 7/23

Added 7/23

Added 7/23

Added 7/24
 

So, we know that these are not two separate posters. They're described as a "series" meaning there are more to come.

If we look closely at the edges though, we can see that there are parts that go off the page. Chances are these are two of six interlocking posters. One for each member of the team.

Here's the roster of the superhero team "The Avengers:"

• Captain America (Chris Evans)
• Iron Man (Robert Downey Jr.)
• Thor (Chris Hemsworth)
• Hulk (Mark Ruffalo)
• Black Widow (Scarlett Johansson)
• Hawkeye (Jeremy Renner)

So, we know there are four members missing.

We can make a pretty clear guess who's next to the Captain America poster since we can see the Hulk's elbow in the background. If we go by the design of the other two posters the washed-out image of Hulk is probably just a background reference shot.

That doesn't leave a lot of room for the other four members of the team unless they're really far away.

I created a pic to show the Hulk and what looks like the edge of another poster. Too soon to guess what the other poster edge is from.

So be on the look out for four more posters coming soon.

What do you think of the poster? Want to guess where the other four members are?

Artists of 'Captain America: The First Avenger' (2011)

The film Captain America: The First Avenger (2011) opens tomorrow and, to recognize the artists involved, I'm reprinting the IMDb list of artists from the film with notes. If I learn about any more I'll update it as appropriate.

Director: Joe Johnston

Production Design
An artist responsible for designing the overall visual appearance of a movie.

• Rick Heinrichs

Art Directors

The person who oversees the artists and craftspeople who build the sets. See also production designer, set designer, set director, leadman, and swing gang.

• Neal Callow
• Dean Clegg
• John Dexter
• Jason Knox-Johnston
• Chris Lowe
• Andy Nicholson
• Phil Sims
• Clint Wallace

Concept Artists

• James Carson (concept artist)
• Rodolfo Damaggio (concept artist)
• Dan Walker (concept artist)
• Andy Park (concept illustrator)
• Henrik Tamm (conceptual illustrator)
• Kathy Heaser (graphic artist)
• Anita Dhillon (graphic designer)
• Ted Haigh (graphic designer)
• Mauro Borrelli (illustrator)
• Nathan Schroeder (illustrator)
• Daniel Simon (lead vehicle designer)
• Jim Barr (set designer)
• Mike Stassi (set designer)
• Douglas Ingram (sketch artist)

Storyboard Artists

• Brent Boates
• Federico D'Alessandro
• Darrin Denlinger
• James Doh

Updated list

Is IMDb Useless?

The most popular source of movie information the Internet Movie Database (IMDb) is useless for getting information about movie casts.

In my blog I try and share information on who's creating the films we love. That takes a lot of research.

When the blog began I figured my main source of information about films would be IMDb, but its the most useless place to go. Here's why.

Cast Information

The list of cast information is usually wrong. Either there are people missing or people listed that don't actually work on the film.

Movie Synopsis

The movie synopsis is almost never the official version. It wouldn't be hard to do. A quick Google search for "official synopsis" usually gets it.

The official one is usually better thought out, has the main cast and doesn't give away plot points. They're just better.

For some reason, IMBd prefers one written by some loser.

Filmography

The list of films someone has worked on is sometimes pitifully short our is based on speculation.

For example, Tuesday I updated Cesar Lemus' IMDb page so it shows he's worked on more than two shows. If you just went by his page, you'd never know he was a prolific artist.

I can't do that with everyone.

The main problem is that its community based and most people don't care about the little details. Till they fix that, IMDb will be my least favorite website.

Warren Manser Talks About Creating 'Transformers: Dark of the Moon's' Laserbeak and Other Things That Don't Exist

Warren Manser once said, "As a conceptual artist, what I do is visualize the elements of the movie, so that everyone can understand what an effects shot is going to be..." And what a job he's done.

From Sam Raimi's low-budget horror classic Army of Darkness (1992) to Michael Bay's big budget Transformers: Dark of the Moon (2011) he has provided visuals that shape the landscape of film far beyond his illustrations. In this exclusive interview he shares his insights on concept art in general, the future of Photoshop and being a a kid again through his designs.

What's your background as an artist? 
My education is in industrial design and specifically automotive design. Early on I decided that I'd like to explore other forms of commercial art so I came to Los Angeles to break into the movie industry. It has been a non stop education since then. I learn something on every project and continue to develop as an artist.

How did you decide to become a concept illustrator versus other types of art?
I've been drawing as long as I can remember. And the subject matter has almost exclusively been about sci-fi/fantasy, superheroes, and vehicles.

I enjoy creating something that doesn't exist in the real world. Or creating something that will soon become part of the real world.

Its a form of artistic exploration that includes self expression, technical knowledge, technical skills, and especially abstraction. You get to expand your intellect as you create.

Working on Transformers: Dark of the Moon is there a piece that you created that you were excited to see come to life?
The 3D artists/animators really did an amazing job in bringing my concepts to life. It may sound unlikely but I really enjoyed creating concept art for Laserbeak the most.

My fellow artists and I invented a whole fictitious persona around him that had nothing to do with the movie, but was good for a laugh.

I created concepts for him transforming into a toy penguin that never made it into the movie, but I have it on my website. I think I get more comments about that penguin than anything else.

How did you handle the incredibly intricate designs of the robots? Was there one that was more challenging than others?
I relied on my years of drawing experience. Many times these days artists rely on found imagery, but when you can't find the pixels, you have to invent them. Not that collaging is invalid, but it is limited to the elements you find. Whereas if you can draw from a blank page, you manipulate every line, every shape. Its time consuming, but it is also custom made.

Laserbeak was very challenging, but great fun as previously mentioned. His form is composed of many small twisted shapes that curve around his neck and into his body. Once I had a rhythm going it became easier, but getting it all to work together took some time and concentration. Then, translating that into his penguin form was another mind bender, but totally worth it.

Some of your designs are dated from 2009. As a concept artists, what's it like working with such a long time between design to completion?
I think I was on Transformers 3 for around 7 months or so, and that's a pretty good run. It was an intense schedule, so I enjoyed a break upon completion.

Once I start another movie, I usually start to forget the last, or at least most of the details. So when the film comes out, some things are a surprise to see.

I think its fun to not know what happens in a film before you see it - to experience it for the first time. I don't look at a lot of trailers or purposely seek out info before the release. I still want to be a fan sometimes, so the longer time between design and release date the better - for me anyway.

Transformers 3 is a great theatrical experience.

While everything you have done has its own rewards is there one project that you're particularly proud of?
I think I'm most proud of my work on Spider-Man.

The Matrix was fantastic, but short in duration, while Spider-Man utilized many skills and was a great education as well.

Creating the concept art was very exciting. It was like being a kid again.

And on the flip side, I contributed to the trompe l'oeil technique applied to the actual suit fabric and created the vector artwork used to make the raised webs on his suit. All of which was incredible experience gained that has been invaluable on subsequent projects.

Where do you see the conceptual design industry five years from now?
That's a great question. Its evolving very fast and sometimes in unpredictable ways.

Over ten years ago Photoshop changed everything, and since then 3D software has become very prevalent. And by every prediction, my friends and I thought by now 3D would consume everything and more traditional skills would be obsolete, but that hasn't completely happened.

There seems to be a time and place for a variety of talents and disciplines depending on the project or goal. I do see more 3D in the future though, and eventually someone will make powerful 3D software that a child can use. By removing the steep learning curve of technology, I believe an individual's talent will then be exposed.

Do you have a favorite tool that you work with?
Besides the usual digital tools, Wacom tablet with art pen, large displays, etc, I recently bought a Humanscale monitor arm to float my Apple display and it is fantastic. I can rotate vertical, raise and lower height, and swing the display around for presentations.

Now if I can lose the wires it would be truly free.

How does color influence your design?
Color is a great psychological tool. Color can evoke a mood, an atmosphere, or energy from the viewer and myself.

I created an illustrated book on the Epic of Gilgamesh (Constellation Orion: The Immortal Hunter) and I desaturated the images. I showed a friend and he said "don't be offended, but it reminds me of an old illustrated bible I once saw." I was the opposite of offended, I really was happy to hear it. I was telling the most ancient adventure poem in history and through drawing and color choices I evoked the response I wanted.

Who influences your artistic style the most?
I like a variety of artists including Lawrence Alma-Tadema, Alphonse Mucha, Frank Frazetta, William-Adolphe Bouguereau. And of course DaVinci and Bernini, to name a few. I find it impossible to not be amazed and humbled by the greats.

What's the next movie you'll be working on?
I cannot comment just yet, but I will be more than happy to follow up when the time comes.

Thanks Warren!

Warren Manser's website warrenmanser.com is chock full of great artwork from movies like Daredevil, Speed Racer and other great films! Also, check out Warren Manser's amazing book Constellation Orion: The Immortal Hunter.

Check out more of my interviews with artists here including my interview with Mr. Manser's wife Dawn Brown.
What do you think of Warren Manser's work?  Is the future of art really in 3-D?

Gorgeous Amazons Frolick in Lost NBC 'Wonder Woman' Storyboards

David E. Kelly's controversial Wonder Woman television pilot was never picked up by NBC, but we can look at Cesar Lemus' storyboards of the Amazon's fighting and frolicking through the woods and dream what might have been.

Director Jeffrey Reiner's pilot starred Adrianne Palicki, Cary Elwes and Elizabeth Hurley. Art Direction was by Christopher Brown. Timothy Burgard is listed as illustrator.

"Hollywood Blvd Chase."

"Amazon run thru forest."

Amazon run rough composition

"Arena Race"

"Hollywood Blvd. Chase." Notice she's wearing the original controversial costume.

Cesar has done some great work. Check it out at Phyrhed Work and his IMDb page.

Top Ten 'Transformers: Dark of the Moon' Concept Art

Check out the best concept illustrations for the Michael Bay film Transformers: Dark of the Moon (2011). A lot of artists put in a lot of work, but we can only feature the ones on the Internet.

Because of commercial obligations concept artists can't reveal their work til after a film opens. Now that Transformers: Dark of the Moon has been released the flood gates are open and a ton of cool concept art is being shown. The art is from Joel Chang, Warren Manser and Josh Nizzi.

1. "Megatron in Africa" by Josh Nizzi

Decepticon leader Megatron is a mess in this film, but here we get to see that he still had his dignity.

2. Laserbeak as a Cute Penguin by Warren Manser

I'm still not sure if this was in the movie, but Warren Manser has a design of a cute toy penguin transforming into the assassin bird "Laserbeak." Hilarious.


3. "Breakdown v4a" by Josh Nizzi

To keep people from guessing the evil Soundwave was in the movie they named him "Breakdown." He has Laserbeak on his arm and sports an awesome speaker system. If you look close you can see a major spoiler from the film.

4. "Blitzwing, Colossus" by Joel Chang

Here Shockwave (Blitzwing) is riding another renamed Decepticon named Driller (aka Colossus).

5. Driller attacks a skyscraper by Joel Chang

We never see all of Driller in the film because he's huge! Here we see Driller attacking the N.E.S.T. team in a skyscraper. Notice they're wearing full armor battlesuits. This was in the script, but never made it to the screen.

6. "Flying Optimus" by Warren Manser

In the new film heroic Autobot leader Optimus Prime pulls a trailer with an arsenal of weapons including a flying suit. Here he brings death from the above.


7. Laserbeak Attacks by Warren Manser / B. Procter

Laserbeak takes on a much more fearsome and important role in this film. Here we see him swooping into an attack. Love the stormy background. Very dramatic.

8. Ark Wreckage on the Dark Side of the Moon by Joel Chan

Here's a real dramatic shot of the wreckage of the Autobot "Ark" crash site by Joel Chan. Notice the two astronauts coming up on the right. In 1969, the crew of Apollo 11 lands on the Moon to explore the craft. The colors and looming shadow of the Earth in the background is stunning.

8. "Flash with Dog" by Josh Nizzi

Here we see Leadfoot (aka Flash) one of the "Wreckers," a commando unit that transforms into heavily armed NASCAR Sprint Cup Series Chevrolet Impala stock cars. I really like the idea of him having a robot junkyard dog. He's great.

9. "N.E.S.T. Soldier" by Josh Nizzi

Here we see more of the armor used by the government strike team known as N.E.S.T. It never made it into the film except for a glove and mine. It would have been awesome and made a lot of sense. How do humans fight robots? A robot suit of course.

10. Bumble Bee by Warren Manser

I love the insane amount of detail in these concept drawings. I heard Michael Bay wanted to know what each part did too, so it had to be right.

What do you think of the illustrations? Let me know!

Related Posts

• Warren Manser Talks About Creating 'Transformers: Dark of the Moon's' Laserbeak and Other Things That Don't Exist
• Robert McKinnon Shares the Secrets of Rampaging Terminators and the Secret Ending of TRANSFORMERS III
• Exclusive: Tim Flattery Talks About His Organic Concept Art And The Batmobile That Almost Was

Via Transformers Live