SPEED RACER - STYLE GUIDE

SPEED RACER STYLE GUIDE

STYLE GUIDE ARTWORK

I’d like to point out that the illustrations on this page are not all my designs. During the film’s pre-production, I created concept art for some of the vehicles, but others were created by talented artists on the project. For each car that you see, I created a flipped image with and without a driver and motion blur.

The images are very high resolution and contain complicated graphics that wrap around the vehicle’s forms.

To approximate what that would look like in 3D, I created vector paths over my 2D rendering that approximated what a flat graphic would look like when it was wrapped over the form.

Working with Warner Bros Consumer Products was a high point in my career. I interfaced with Consumer Products and Global Brand Management and have to say they were extremely professional and very personable. I thoroughly enjoyed experiencing another dimension of the film making process and look forward to more projects like this in the future.

These images are a more comprehensive assembly of my work on the Speed Racer style guide. Upon wrapping up my involvement with the Speed Racer film’s pre-production, I was approached by Warner Bros. Consumer Products to create highly detailed illustrations of the film’s race cars. My illustrations would be added to other artwork to complete the film’s licensing style guide.

A style guide is a catalogue of artwork and images approved by Warner Bros. for use by licensees of a particular product or property. The licensed products can range from toys to t-shirt prints - literally any and all consumer products.

I was in a unique position because at the time the 3D models for the film’s cars were works in progress, however, licensees were in need of their images ASAP. Since I had contributed to the early concepts and had close contact with the art department, I had a good idea of how the cars would eventually be finished and could very closely match their final designs. Due to the very complex natures of many designs, I often had to revise my work to keep pace with new developments from the film’s production. I would receive rough 3D models of the race cars, and in some cases, 2D renders of the models in various levels of finish as reference for my illustrations.