Experiments to create a believable extraterrestrial lifeform, for 2001: A SPACE ODYSSEY (1968).
As makeup artist Stuart Freeborn told Cinefex:
Stanley came up to me one day, and he said: “I’ve got an idea. What if we do a kind of optical illusion?” He had seen a dotted pattern somewhere, in front of a dotted-pattern background - and the result was something that was virtually invisible, yet somewhat visible just because it was on a different plane than the background. It was an intriguing idea, and Stanley asked me to begin working on something along those lines. So we got a performer, and I made a white bald cap that fit him nice and tight; then I put black round spots evenly all over it. I did the same thing on a pair of tights that covered the rest of his body. We got the largest paper hole-puncher we could locate, and stamped out perfect rounds of black paper, which we glued all over his white form. We covered him completely - right over his feet, all down his legs, everywhere. Then we stood him against a white background with the same-size black dots all over it. The effect was stunning. Standing still, he would disappear into the backing; but when he moved, you could just make out a shape. It was an amazingly weird effect - quite extraordinary - but I don’t think it really fit in the movie. I could never see how Stanley was going to use it - and, of course, he never did.
(Images from Italian 2001 site, 2001italia.)
Italian artist, Dino Buzzati (1906-1972). 1963.
Concept art for Jurassic Park (1993) by Craig Mullins (images 1 and 3), and David J Negron (2 and 4).
Everybody was talking about Jurassic Park at the time. It was that kind of film (everything is much more fragmented these days). The T-Rex was like the T-1000, an obvious breakthrough, a new Eighth Wonder. Audiences hadn’t seen that before: a walking, breathing dinosaur. It was as if dinosaurs roamed the Earth again.
Sony Walkman ad, circa 1980. So high tech.
I had a 1989 Sony Walkman. I remember playing the Twin Peaks Soundtrack cassette on it forever; the batteries would always run out so that everything sounded like a syrupy nightmare.
Anyway, art by Dennis Magdich.
BLADE RUNNER (1982) concept art by Syd Mead.
Follow the rabbit… UNTITLED, BOULDER, COLORADO. Photo by Francesca Woodman, 1972-5.
Alphonse Marie de Neuville (1835–1885) - “Witches and Wolves”
illustration for Berlioz’ ‘La Damnation de Faust’
watercolour on paper
New York in 1976-8. Photos by Manel Armengol.
“Punk, acupuncture, and sci-fi”: Blondie’s Debbie Harry wearing an airbrushed, form-fitting bodysuit painted by HR Giger, who also directed two of her solo videos and designed the album art for her album, KOOKOO (1981).
THE TEXAS CHAINSAW MASSACRE by Berni Wrightson. 1975.
BLADE RUNNER (1982) concept art by Syd Mead.