Production Art

Beginnings

Dating all the way back to the year 4000 BC and the tradition of wall painting, advertising art is a form of communication that usually endeavors to persuade consumers to purchase and utilize more of a specific product, brand or service. The Egyptians utilized papyrus to create sales messages and produce wall posters. Messages featuring commercial text and political campaign copy have been discovered in ancient Arabia and the ruins of Pompeii. Centuries old rock and wall paintings featuring advertising messages can still be found today in various parts of Asia, Africa and South America.

The formation of modern advertising came into its own with the emergence of monopolistic capitalism across the globe around the late 1890's to early 1900's. This was part of a desire by emerging corporations' strategies to create, organize, wherever possible control and even dominate markets, especially in the area of mass-produced goods. Advertising became meticulously designed to forge the creation of a "brand image." And as time went by, it's reinvention.

As the 20th century progressed, advertising art became a part of our society's popular consciousness and is actually recalled fondly, often as a measure of time when people in general recall their past.

Motion picture advertising

The roots of motion picture advertising have a rich history in the entertainment industry, going back to its very birth in the early 1900's. Cinematograph's and Nickelodeons promoted short films with small hand-painted signage posters on thick card stock paper. Eventually these grew in size and complexity and combined still photo-images. These became more and more elaborate as the popularity of cinema grew.

As movie theaters grew, the need for mass-printing and uniformity presented itself. As the motion picture studio system became more organized and in turn hired advertising, marketing and promotions experts of the day, the refinement of film marketing and promotion occurred. Movie posters, which featured studio approved "Key Art" became standardized in size and quality and were issued in various sizes (one-sheet, insert, half-sheet, 40" x 30", 40" x 60", and 3 sheet).

Movie posters were often accompanied by printed card-stock "Lobby Cards" which were displayed in theater lobbies and showed scenes from an upcoming or currently playing movie. Newspaper advertisements were rendered in black & white and shipped to movie theater owners & promoters in "press books" featuring the key art often adapted to the black and white format with bold lettering. These were placed in local newspapers by studios, national chains and independent theater owners.

Television advertising

With the advent of television in the 1950's, many professional illustrators dabbled in the world of television advertising, designing graphic logos, sponsor cards and title cards, used between television programming. They also produced original advertising artwork for publications such as TV Guide and local newspapers, etc.

A modern movie poster renaissance

In the 1960's and 1970's, a modern renaissance of one-sheet movie poster artists emerged, including such brilliant talents as the legendary Bob Peak, Robert McCall, John Alvin, Tom Jung, Richard Amsel and Drew Struzan. These modern masters sought to encapsulate an entire film in one movie poster image. Creating a promise of what the audience was to experience when entering a movie theatre or reminding them on the way out what they just witnessed.

In the 1990s, with the advent of computers & digital technology being utilized to create movie poster art, there was a major decline in traditionally illustrated poster art. Many of the artists mentioned above turned their efforts towards the collectible and limited edition art market (please see our Publishing & Merchandising category.)

Today in the 2000's

Like much of what the Production Art Gallery specializes in, with the introduction of digital technology in graphic design in the 1990's, sadly original advertising art has become more and more a "lost art", with every passing year. Entire generations of artists are now being raised who have been trained solely on a computer drawing tablet. With no fine art training in traditional painting whatsoever.

ScreenUsed is proud to present some fine examples of original film advertising art. A rare opportunity to acquire an original piece from one of the true movie poster master illustrators of the 20th century. Please stop by this category for additional selections of investment quality pieces.

Blueprints are technical drawings which document an architectural or engineering design. In general, the term "Blueprint" refers to any kind of detailed plan. Schematics are structural or procedural diagrams, especially of an electrical or mechanical system.

The motion picture & television industry has relied on the use of blueprints since the dawning of the industry, predominately for the construction of film sets. Schematics are often referred for the fabrication of custom vehicles, special make-up effects creatures, sophisticated props and set dressing. Studios and networks historically maintained an internal drafting department which worked closely with production designers, set construction supervisors and art departments, rendering detailed hand-drawn architectural quality drawings, featuring every aspect of a 3-dimensional film set, which had been envisioned by a production designer, constructed by a set construction department and enhanced by an art department.

History

The process of creating a blueprint can be dated back to 1842, when British astronomer and photographer Sir John Herschel developed the "Cynatype" process, where a photosensitive compound consisting of a solution of ferric ammonium citrate and potassium ferricyanide is applied via a thin coating onto paper. Areas of the compound coating on the paper are exposed to strong light which are converted to an insoluble blue ferric ferrocyanide or what is known as "Prussian blue." The soluble chemicals are then washed off with water which leaves a light-stable print.

A variety of base materials have been used for blueprints; the common choice being paper. At times for more durable prints, linen was utilized, but with the passing of time, linen prints would slightly shrink. To prevent this occurrence, blue-printers turned to printing on imitation vellum and eventually Mylar was implemented. For close to 100 years the blueprint process was the primary low-cost process that was available for copying technical drawings (architectural and engineering). Once introduced, no technical improvements were necessary and the process of blueprinting was immediately accepted universally worldwide, most notably in ship building and the manufacture of railroad locomotives.

Modern Times

In the 1940's, Cynatype blueprints began to be supplanted by "white-prints", which feature blue-lines on an all white background, thus these types of drawings are referred to as "Blue-lines" or "Bluelines." Other comparable dye-based printing, such as on all black paper, are known as "Black-lines."

As with most production artwork, the blueprint process has been replaced largely by modern, less expensive printing methodologies and of course digital technology. Blueprint drawings are often rendered these days on computer via sophisticated architectural and engineering software programs. This means that blueprint drawings, like most production art, are fast becoming a "lost art."

ScreenUsed offers ORIGINAL studio & network blueprints and schematic drawings. Hand-illustrated by professional studio and network draftsmen in pencil and ink, not "copies" of blueprints. These originals were the masters utilized by productions to copy and distribute to crew members. Fascinating, scarce and of investment quality, these interesting production artifacts give a rare glimpse behind the scenes of filmmaking.

Concept Art is an illustration to conceptualize the visualization of an idea or design which helps set the tone or mood for a specific film or television project.

Concept artists are often hired very early by the studio or production company when trying to develop a project to envision it, and secure a green-light for production to begin. At times, they may become part of a team and stay on throughout production.

Concept art is usually rendered prior to actually going into production, assisting studios, producers, the director and the production designer in deciding the look and feel of a particular project. Once approved, often after going through various revisions, this artwork is often then referred to by the art department, set dressing department, property master, construction department and various crew craftspeople in order to create three-dimensional representations of the concept art for the productions talent to interact with.

Concept art is also often distributed to the visual effects supervisor and CGI technicians as reference to construct digital models of the artwork for special-effects sequences.

Most concept artists are extremely skilled artisans with the capabilities of a fine artist. They must be able to be at their most imaginative while working under pressing deadlines and the need for revisions. Some formidable examples of Concept Artists are Ralph McQuarrie, Joe Johnston, Ron Cobb, George Jensen, Bill Stout, Crash McCreery, Steve Burg, John Eaves, and Daren Dochterman.

Hollywood has a long history of using concept art dating all the way back to the silent era. Historically, concept art was rendered using pencil, charcoal, pen & ink, colored marker, acrylic and oil-bases paints. With the advent of digital technology, many concept artists are now using various software packages. Graphics tablets are also increasingly become the norm. Abilities in traditional forms of rendering art only enhance a concept artists use of modern technology if making the transition.

With much of today's concept art being generated digitally, this particular medium is in danger of becoming a vanishing art form. This makes concept art a film &television memorabilia category well worth investing in, keeping an eye on and promoting and celebrating through exhibition.

Costume Design dates back to the very beginning of theatrical entertainment. The early Greeks wore masks during performances in order for audiences to be able to identify specific characters performing on stage and keep along with the story that was unfolding. Later, as characterizations became more complex, costuming became more elaborate.

Since then, costume design techniques and styles may have evolved through the centuries, but the principles of costume design have remained very much the same. Costume design plays a critical role in almost every film & television production to this very day.

Costume designers endeavor to enhance a characters persona for the audience or viewer, in order to help establish the time period and social stature through the wardrobe worn by the performer. Costume designers often work closely with the production's hair and make-up artist to create an overall look for a specific character, within the directors established vision for the production, and establishing a distinct look for each character.

Costume design involves researching, designing and building wardrobe, quite often from the conceptual stage to talent fittings, to dressing the actor for the actual performance. A costume designer must have exceptional creative capabilities, a strong knowledge of pattern-making, draping, fabrics and history. They must be very cognizant at all times of a performers needs in executing their performance while wearing a costume.

Some of Hollywood's most beloved screen heroes and villains are immortalized largely through the work of the costume designer.

A costume designer usually hand-renders designs for a specific production in mixed mediums including pencil, charcoal, ink, watercolor, colored marker, acrylic paint, often indicating intended fabrics to be used through cloth swatches and making detailed notes on the hand-rendered costume design.

Some examples of noted costume designers are Edith Head, Walter Plunket, Bob Mackie, and Bill Thomas. Although these names may be known by many film enthusiasts and even members of the general public, sadly many of today's extraordinarily and talented costume designers are unknown.

Although digital technology has not really threatened costume design as an art form, unfortunately much of these important pieces of original art have been destroyed by studios, networks and production companies at large over many of the past decades going back to the silent era. This makes original costume designs a good prospect as investment quality pieces of art of film and/or television history.

Original costume design production art compliments any exhibit of costumes, props or miniatures. It is affordable, easy to authenticate, inexpensive to matte & frame, simple to preserve and makes for an attractive and interesting art display in your home or office.

Matte Paintings are one of the most elusive, yet legendary forms of original film and television production art.

Matte paintings are painted representations of the image of a set or landscape, which once filmed and integrated with live-action photography, via the use of forced perspective illusion, allow filmmakers to avoid too costly or impossible set construction and the need to travel to far-off locales to secure footage.

Matte paintings are presently produced the majority of the time via the use of sophisticated digital CGI. However the lineage of matte paintings in Hollywood, and their important usage in some of the most classic films of all time, cannot go easily underestimated. From Citizen Kane, The Wizard of Oz and Planet of the Apes, to Star Wars and Close Encounters of the Third Kind.

Most notably, the memorable ending of the popular blockbuster film Raiders of the Lost Ark closes on a matte painting of a massive government warehouse, rendered by artist Michael Pangrazio, while working at Industrial Light & Magic (ILM).

A matte painting has traditionally been hand-rendered on to a large pane of glass (although sheets of wood and even foam-core have been used at times) using acrylics or pastels to create a painted representation of a set or landscape, that would be too costly for filmmakers to build from scratch.

In 1907, the first known matte painting for a motion picture was rendered for the film Norman Dawn. The Wizard of Oz featured numerous memorable matte paintings including the approach to "the Emerald City." The classic film Citizen Kane utilized matte paintings including the establishing shot of Charles Foster Kane's mansion "Xanadu." Star Wars usage of matte paintings including in the "Deathstar" sequences, helped inspire generation after generation to learn more about motion picture special effects.

In 1985, computer graphic programs assisted matte painters in entering into the realm of rendering digital matte paintings. The first known digital matte shot created for the film Young Sherlock Holmes, was created by painter Chris Evans for a sequence in which a stained-glass window depicting a computer graphic rendered knight in armor comes to life, leaping out of the window.

Evans painted the image firstly in acrylics and then scanned the painting into the Lucasfilm's Pixar system to manipulate it digitally. This resulted in the computer animation blending seamlessly with the digital matte, which could not be achieved with a traditional matte painting.

In the 1990's traditional matte painting technique was still being utilized, but this was done in conjunction with digital composting. The first motion picture to use digital compositing to combine traditional glass matte painting technique with live-action photography, which was then scanned into a computer to render a completed sequence, was the Bruce Willis action film Die Hard 2: Die Harder, seen in the final scene in the film which occurred on an airport runway.

By the end of the 1990's the era of hand-painted matte paintings drew to a close, although in James Cameron's block-buster film Titanic, traditional matte paintings were once again used, rendered by the legendary Chris Evans, including sequences depicting the rescue ship "Carpathia."

In the 2000's, paint was predominately superseded by digital imagery, which largely uses photo images, 3-D modeling, and drawing tablets as base-reference. Modern matte painters combine digitally created matte textures within computer-generated 3-D environments, which permit 3-D camera movement. Ever increasing computer processing power continues to expand the potential of digital matte painting technique and technology.

ScreenUsed's website includes a few prime examples of this lost Hollywood art, which we are very proud to share with our customers and visitors to this website.

The entertainment industry has historically relied on set photography as a critical component of film & television marketing and promotion since its earliest years. It was photography that initially lead to the creation of moving images which became motion pictures. A "set photographer" or "unit stills photographer" is the second most important photographer on the set. The other being the production's cinematographer, who shoots the actual production with motion picture or television (film, video or digital) technology.

The photographer is required to create two kinds of images. The first image documents the actual making of the movie and includes close-ups of the actors and crew, wide shots of the crew shooting the action, the set and the equipment. The second kind of image required are more "artistic shots" which feature interesting and dramatic lighting and shadows that might never appear in the actual film or television show. Some images of the set and locations will be used in the credits, on the DVD box packaging, the project's official website, and generally for marketing and promotional materials.

Shooting on a film set does pose some unique challenges for the photographer. The first being the photographer's camera is the least important on any shoot. The best position on set will always be taken by the movie or primary video camera which means a photographer has to work knowing that they are missing the composition that they would prefer, because someone else's camera gear is in the way (which is also larger). Photographers might also miss the best moments during filming as well. Once the director shouts "action", the photographer must stop working, even though this is usually when all of the drama begins. The only exception is unless the photographer is shooting farther off with a zoom lens, so they don't snap away when filming is taking place, which could upset the actors, sound man, the director, or all of the above. There are sound-proof camera cases that assist with this dilemma.

Interestingly, the fact that the photographer does not get to set the light levels, the cinematographer does, and often will desire to utilize as little light as possible. You can see that this kind of photography could be frustrating as a creative artist. The photographer has restrictions as to how to use and apply their talent, but is expected to perform and create dynamic imagery.

The most important knowledge that a photographer on a film set can possess isn't just how to use their own equipment, but understanding what every other crew member is using with theirs. Very similar to a photo-journalist, the photographer has to document the action on a film set without getting in the way of the lighting crew, the grips, or the sound boom; and even more critically, without getting in the shot itself as a sequence is filmed.

Film and television photographs have been a popular category of Hollywood memorabilia collecting for many decades, however the majority of these photographs are 2nd, 3rd, 4th and even 5th generation copies, and are rarely produced directly from original negatives or master transparencies. Examining an original 1st generation photograph is a distinct pleasure and memorable experience.

ScreenUsed is very enthused to be presenting some fine examples of photography for sale here on the website. Many have been acquired directly from the photographer, studios, and/or networks, and developed directly from the original master transparencies and negatives. This is a segment of our inventory we are very excited to showcase and expand.

Film & television production artists often cross over into the area of rendering original artwork for publishing & merchandising. This is often done for personal artistic satisfaction, as a means of ancillary income, and for promotional purposes as a way to assist in an artist's personal branding to promote their name.

Publishing

Historically, film and television production illustrators have often applied their talents to creating original artwork that is published as limited edition prints and lithographs. These pieces are often rendered for fine art galleries and for entertainment companies with art gallery divisions (retail, on-line and mail order catalog), such as the Walt Disney Company and Warner Bros.

Various animation galleries have also been known to publish limited edition prints and lithographs taken from original paintings and illustrations produced by Hollywood concept artists, matte painters, costume designers, visual effects artists, etc. Some of the legends in movie poster advertising art including Bob Peak, John Alvin and Drew Struzan have all created wonderful original artwork which were the basis for limited edition prints, lithographs and event posters.

Publications such as soft and hardcover books have also been enhanced with covers rendered by various film artists.

Merchandising

Changes in movie poster design in the 1990's and 2000's (which became more and more rendered on computers) and the advent of digital technologies in illustration in general, also lead to numerous film artists segueing into rendering artwork for merchandising, including: album covers, toy and product packaging, greeting cards, calendars, etc. These included John Alvin, Drew Struzen, and the famed Star Wars concept artist Ralph McQuarrie.

ScreenUsed is pleased to present some unique and investment quality pieces of original artwork available for sale here on the website which were created for Publishing & Merchandising. This category is a fascinating facet of movie and television related art that has often gone totally under-appreciated and yet has been enjoyed by hundreds, thousands and even millions of fans and collectors when seen en masse as published pieces and as products. However, Screenused offers the hand-rendered, one of a kind originals.

Storyboards are usually quickly drawn illustrations in pencil or ink (rarely colored), which are executed and then presented in a linear sequence to pre-visualize a film or television production.

Storyboards are historically one of Hollywood's most effective tools in attempting to keep productions on-schedule and on-budget, as they assist in the pre-visualization of a production prior to filming. Depicting what the camera's lens will see, often before a single frame of footage has been shot. At times only difficult or special effects driven scenes are drawn.

Storyboards are often considered the backbone of a production by directors who favor their use, such as the legendary Alfred Hitchcock, Steven Spielberg or James Cameron. Cinematographers also rely heavily on the usage of storyboards as reference.

The illustrations can help with planning and problem solving before it occurs. Drawn arrows or noted instructions on the image can indicate specific movements. Film financing can also benefit if a film appears well mapped-out via the storyboard process before shooting commences.

The beginnings of storyboarding can be traced back to Walt Disney's Academy Award winning short Film "Three Little Pigs". Animator Webb Smith created the concept of drawing scenes on to individual prices of drawing paper and then pinning them up onto a bulletin board, to depict the story in sequence for reference. This technique immediately inspired other local filmmakers and the rest is history.

Film classics such as Gone with the Wind and The 10 Commandments were heavily storyboarded as was modern blockbusters such as Star Wars, Aliens and Terminator 2 Judgment Day.

Storyboard illustrators often specialize in the unique art form, but at times move back and forth from other production art forms, such as concept art. Some noted artists in the storyboard field include Mentor Hubner, Joe Johnston, Phil Norwood and Lynn Morganti.

"Storyboarding" a production can be an extremely arduous and challenging process. As the storyboard illustrator must hand-draw hundreds, if not thousands of individual renderings which depict a specific production's sequences to be filmed, often shot by shot.

Interestingly, it is often the unheralded storyboard artist who initially came up with some of cinema's most famous sequences. As these illustrators are often the first to transcribe from the script what the writer envisioned initially into a visual-form, at times with only minor revisions or feedback from the production's director.

Although digital technology has not quite threatened storyboards as an art form, sadly much of these important pieces of original art have historically been discarded by studios and production companies at large. This makes storyboard artwork a good prospect as an investment quality piece of film or television history.

Storyboard art compliments any exhibit of costumes, props or miniatures. It is affordable, easy to authenticate, inexpensive to matte & frame, simple to preserve and makes for an attractive and interesting art display in your home or office.

John Henry Alvin (November 24, 1948 - February 6, 2008) was an award-winning cinematic artist and painter who illustrated some of the world's most recognizable movie posters. Alvin created movie posters, which are also known as key art, for over 135 films over the course of his career, beginning with the poster for Mel Brooks' Blazing Saddles in 1974. John was able to infuse an emotional and etherial quality to his art. This style of art for his posters became known as Alvinesque or Alvinizing by friends and colleagues in the entertainment industry.

In the early 1970's, the Movie Posters was considered to be the preeminent means of advertising new films. The Key Art or poster art was used for worldwide advertising in newspapers, magazines and billboards.

Alvin, who was working at an animation studio at the time, was invited to work on the Blazing Saddles poster by a friend. Alvin took an unusual path when designing the movie poster by creating a serious movie poster, which incorporated unusual, quirky, and funny elements from the film. For example, in the poster, Alvin depicted Mel Brooks, who plays a Yiddish-speaking Native American chief in the film, wearing a headdress inscribed with the phrase, Kosher for Passover. The joke had been suggested by Alvin's wife, Andrea.

The Blazing Saddles poster was such a hit that Alvin became the most south-after illustrator in the business. He went on to create the art for Brooks' Young Frankenstein, Silent Movie, and Spaceballs.

Another of Alvin's most famous cinematic posters was his work for Steven Spielberg's 1982 film, E.T. the Extra-Terrestrial. Alvin designed the film's iconic poster showing E.T.'s finger touching the finger of his human friend, Elliott, finger tip to finger tip. The fingers create a glow where they touch. The idea for the poster was reportedly suggested by Spielberg, and was inspired by Michelangelo's painting, The Creation of Adam. The E.T. poster was personally important to Alvin. He used his own daughter, Farah Alvin, as the human hand model for the poster.

Alvin was commissioned by all the major film studios such as Twentieth Century Fox, Universal, Warner Bors, MGM, New Line Cinema, Disney Studios and Lucasfilm Ltd. Some of the notable film posters he created were, E.T. the Extra-Terrestrial, Blade Runner, Cocoon, The Lost Boys, The Princess Bride, Gremlins, The Goonies, The Lion King, Beauty and the Beast, Batman Returns, Batman Forever, and The Color Purple. Alvin created the Star Wars Concert Poster, the most collectable Star Wars poster of all time and many special projects for the Star Wars franchise. George Lucas is a collector of John's original artwork. John Alvin also created numerous masterpieces for Disney Fine Art, and Limited Editions for Lord of the Rings, which are highly collected and considered extremely valuable.

Alvin, and the images he created for his films, often played a key role in the success of a film. John Sabel, the executive vice president of creative print advertising at Walt Disney Pictures, who often worked with Alvin, told the Los Angeles Times that, "There was a reason why The Lion King did the numbers that it did... There was a reason why 'Hunchback [of Notre Dame]' became a big success. It's because of the images that were produced, and a lot of those were John Alvin's paintings."

Alvin's poster for The Phantom of the Paradise was exhibited in the Smithsonian Museum as one of the best posters of the Twentieth Century.

Alvin began to focus more on cinematic fine art in recent years, as the importance of movie posters has gradually been usurped by newer forms of advertising, such as the Internet marketing of new films. Alvin's fine art portfolio centered on movies artistically, rather than on advertising. His most recent work was as an artistic contributor to the campaign of the Walt Disney Pictures film, Enchanted, which was released in December 2007.

Mauro Borrelli was born in Rovigo, Italy in 1961. He studied art at the Liceo Artistico in Verona and fine art at the Art Academy in Venice, Italy. In 1983 Mauro left venice to work in Rome where he began his career in cinema, working at Cinecitta as a staff art director and conceptual artist. There he met and worked for Terry Gilliam designing sketches and storyboards for the film "The Baron Mauchausen."

Shortly thereafter, Mauro began to work on an advanced process of electronic cinema for Francis Ford Coppola on "Godfather III". He spent one and a half years on the production of the film, designing storyboards and developing electronic storyboard technology. After the film, he moved to California.

In 1993, Mauro won first prize in the Venice Film Festival for directing a short film, "La Donna del Moro".

In 1994, Mauro sold his screenplay for the film adaptation of "Pinocchio" to Zoetrope Studios, for Francis Ford Coppola to direct.

Most recently, Mauro explored his interest in computer animation and visual effects. In that regard, he worked as conceptual artist and art director for DreamWorks Interactive and Activision on a number of projects. These projects included a CD-ROM game, "Zork Nemeisis" which he won the Best Art Direction Awards in 1996.

In 1997, he moved to Hawaii as production designer to set-up an advance art department for SQUARE USA for a computer animation feature film titled "Final Fantasy".

In 1998, relocated to Hollywood. He continues to expand his experience as a film maker by combining his multiple skills in art/visual effects, writing and directing to make powerful, visual films that creates the high standard of the Hollywood film industry.

STORYBOARD & CONCEPT DESIGN CREDITS:

• Pirates of the caribbean (Disney)
• Mask 2
• A Series of Unfortunat Event (Paramount)
• Son of the Mask (Universal)
• The Haunted Mansion (Disney)
• The Hulk (Universal)
• The Planet of the Apes (Fox)
• Bicentennial Men (Disney)
• Geppetto (Disney)
• The Haunting (DreamWorks)
• The Legend of the Sleepy Hollow (Paramount)
• Psico (Universal)
• Supernova (MGM)
• What Dreams May Come (Polygram)
• Godzilla (Sony)
• Batman Forever (WB)
• Love Affair (WB)
• Heaven Prisoners (New Line)
• Last Action Hero (Sony)
• Little Budda (CiBy 2000)
• Dracula (Sony)
• The Godfather (Paramount)
• The Adventure of Baron Munchausen

Born near Chattanooga, Tennessee, living artistic legend David Edward Byrd was raised in Miami Beach, Florida, graduating from Miami Beach High School in 1959. Byrd attended the Boston Museum School and then Carnegie-Mellon University in Pittsburgh, PA, where he received a BFA in Painting & Design in 1964 and an MFA in Painting & Printmaking in 1966. He moved to NYC where he helped establish Fantasy-Ultd., a multi-media collective, in 1967, with art-school roommate Peter Nevard. Through Nevard's entrepreneurship and the collective's many talents they created intricate media presentations for clients such as Clairol, Yardley cosmetics, Bill Blass, Ralph Lauren & Polo, Oscar de la Renta, Bloomingdale's, Dayton's of Minneapolis, Boussac of France, and Tenneco Chemicals among others.

During his tenure at Fantasy-Utld., David created projections, art slides, and glass paintings and ran special effects during the various shows, always accompanied by his dogs Moon & Ophelia. The creative collective, consisting of 3 women and 4 men, lived on a 110 acre farm in Port Jervis, NY, at which they designed and built the various shows they worked on.

In early 1968, at the recommendation of art school chums who were running things for Bill Graham at the new Fillmore East in Manhattan's East Village, David Byrd signed on as the exclusive poster & program designer. Between 1968 & 1973 he created legendary posters for Jimi Hendrix, Jefferson Airplane, the Who & their rock opera Tommy; Traffic, Iron Butterfly, Ravi Shankar, and the Grateful Dead. In 1969 David created the commemorative poster for the legendary Woodstock Festival.

Byrd went on to paint in the entertainment arts, branching out into film & television, where his extraordinary talents created numerous memorable and acclaimed piece of art. These include a rendering of what is considered a one-sheet movie poster masterpiece for the motion picture The Day of The Locust. Numerous covers for TV Guide magazine exposed Byrd's capabilities to mainstream public including those for Battlestar Galactica, Cagney and Lacey, Baa Baa Black Sheep, Family Ties, Mary Hartman Mary Hartman and Murder She Wrote.

For 11 years Byrd was the internal Creative Director at Warner Bros. Studios where he oversaw a variety of important projects including creating the initial 3-dimensional look and master style guide for the Harry Potter franchise, working one-on-one with creator J.K. Rowling. This outstanding work became the visual cornerstone of all of the Harry Potter films.

In a diverse and impressive career in the motion picture industry, spanning over 14 years, Matt Codd is one of the most respected artists in his field. With a diverse range of creative capabilities encompassing a variety of areas in film production art. From concept artist and production illustrator to matte painter and art director.

You've seen the visionary design work of Codd in such classic films as Saving Private Ryan, acclaimed movies including Twelve Monkeys and Apocalypto and such popular cult movies such as: Serenity, The Chronicles of Narnia, Terminator 3: Rise of the Machines, Evan Almighty, Men in Black, The Lost World: Jurassic Park, Batman Forever and Judge Dredd. Most recently Matt contributed to G.I. Joe: The Rise of Cobra and Terminator Salvation.

While establishing himself as a production artist, Matt simultaneously began his career as a director of television films and has established himself in this field as a talent to look out for.

Ron Croci is more than just an accomplished multi-media artist with 30 years of commercial and fine art experience. He continuously searches for new and different ways of expressing his love for the ocean. As a water sports enthusiast, surfer and diver, his paintings and prints depict joyful scenes of women in water sports, ocean landscapes and beach scapes. Ron's artistic history began in the 1970's with a unique surrealistic style reflecting the tumultuous events of current society.

As time progressed and after numerous showings in prominent galleries and museums throughout the United States, his artistic themes evolved into more brilliant landscapes and expressive figurative art. Throughout the 1980's and 1990's, Ron's passion for bringing life to a canvas took on new and different forms, as he became a well-known illustrative artist in feature films, commercials, corporate and public murals and print illustrations.

In 1980, while living in Hawaii, he formed his own company, now known as Aqua Sapien Arts. At heart, Ron is first and foremost a fine artist, continuously perfecting his nationally-recognized vibrant figurative art and beachscapes themes. He currently resides in Torrance, California where he dedicates his full creative time producing luscious beachscapes and figurative art, as well as working on design teams for feature films of major motion picture studios. Ron's love for the ocean, vitality and water sports is clearly seen in all his rich and beautiful designs.

Feature Films

• Equilibrium - Concept Design
• Bad Santa - Storyboards
• Planet of the Apes - Props Concept Design
• The Breakup Handbook (in production) - Storyboards
• Vertical Limit - Concept Design
• CharlieÕs Angels - Concept Design (First Team)
• Flinstones II - Props Concept Design
• Face Off - Concept Design
• Star Trek - Concept Design
• Con-Air - Action Storyboards
• Mortal Kombat II - Storyboards
• Out to Sea - Concept Design, Storyboards
• Junior - Concept Design
• Farewell to the King - Concept Design, Storyboards
• Destiny - Storyboards
• Ghostbusters I - Concept Design
• Blues Brothers - Concept Design
• Risky Business - Storyboards
• Yes Giorgio - Concept Design
• Gremlins - Props
• Another 48 Hours - Concept Design

Television

• Fast Lane - Storyboards
• She Spies - Storyboards
• The Dorothy Dandridge Story - Concept Design, Storyboards
• Magnum P.I. - Concept Design, Scenic Art
• Cherokee Kid - Storyboards
• Brooklyn South - Storyboards
• Cinderella - Concept Design
• The Agency - Storyboards

In a landmark and unique career that has spanned over two decades, Tim Flattery is a modern day renaissance man in film & television production art. From concept artist, costume & creature designer, to futurist & visual effects art director, to overseeing the design and in some cases the full-size construction of custom vehicles for films, including the memorable futuristic craft for Back to The Future II, A.I. Artificial Intelligence and the dynamic Batmobile for Batman Forever.

Since 1988, Flattery has raised the creative bar with his acclaimed design work on such classic, cult and blockbuster films as:

• Batman Returns
• Unbreakable
• Back to the Future II
• Total Recall
• My Stepmother is an Alien
• Mom And Dad save the World
• Child's Play III
• Men in Black
• Bicentennial Man
• X-Men
• Spiderman II
• The Chronicles of Riddick
• Lemony Snicket: A series of unfortunate events
• Serenity
• Wild Wild West
• Power Rangers
• The X-Files
• Jingle All the Way
• Men in Black I & II
• Mission to Mars
• Contact
• Stealth
• The Time Machine
• Daredevil
• The Incredible Hulk
• Transformers
• Fantastic Four: Rise of the Silver Surfer
• The Pirates of the Caribbean: Dead Mans Chest
• Terminator Salvation
• GI: Joe Rise of Cobra

Although Flattery has firmly established himself in the pantheon of production artists who specialize in Science Fiction / Fantasy and Superhero themed projects, his visionary talents have also played a role in such motion pictures as:

• Saving Private Ryan
• The Client
• Mission Impossible II
• Falling Down
• Fastlane
• Flightplan

Flattery continues to enhance his already stellar career with the upcoming and highly anticipated genre films:

• The Green Lantern
• Creature from the Black Lagoon

James Goodridge began his illustration career in the UK in 1983 at the age of 18. Being self taught, therefore not having had the benefits of industry contacts which collage can provide, he taught himself to paint during the summer and produced a portfolio of would-be movie posters. His first stop was the pre-eminent London movie poster studio, FEREF. His intention was simply to get the opinions of these veteran designers whose list of credits was legendary. They were impressed enough that he was hired on the spot by Eddie Paul and Fred Atkins. James's first project was the Steve Martin comedy, All Of Me. The US poster was a "disaster" and one of James sketches was chosen for the European market. It was to be illustrated by Brian Bysouth who, as with his colleagues had been creating wonderful imagery throughout the 60s and 70s and early 80s. For the next year James was fortunate enough to not only work on a wide variety of projects both for theatrical and (in those days) VHS release but to learn from the best in the business.

In 1987 James travelled to Los Angeles where he met with, among others, David Reneric, the softly spoken creative director whose understanding of illustration had led to extraordinary catalogue of work. David's encouragement left James in no doubt where he needed to be. Unfortunately his visa disagreed and he returned to the UK where, while keeping in touch with contacts in Los Angeles, he continued his career but now primarily illustrating book covers.

Eventually James returned to Los Angeles. John and Andrea Alvin were kind enough to welcome James into their home as they had come to know each other and worked together some years earlier. John had once said to James in the early nineties that illustrators were Hollywood's best kept secret. It was true then and probably even truer now. James continues to work in the movie poster industry and in recent years his list of credits, like those of those he most admired in his earlier years, reads like a catalogue of some of the best loved and most successful movies and HBO productions of recent years. Highlights have been Band of Brothers, Lord of the Rings trilogy, King Kong, 300, Defiance, Wall-E, Terminators 3 & 4, The Harry Potter series, and recently Clash of the Titans, Inglourious Basterds and Zack Snyder's upcoming Sucker Punch. The work is challenging but ultimately satisfying in many ways. Most of the work he does is with the expectation that it will lead to a photoshoot and at that point James' involvement ends. Often James is asked to come up with concepts as with Inglourious Basterds (the piece which has brought James's work to wider recognition) but most of the work is to create sketches of other people's ideas. Variety is the spice of life so it is fun to change gear from fantasy to comedy to intimate drama to WW2 epic. That shift in gears can be within as little as a few minutes but it is important not to become associated with just one genre both in terms of not being type cast but also for an artists creativity, there's always fun and challenge to be found no matter what the project.

James draws or paints everyday.

Edith Head (October 28, 1897 – October 24, 1981) was an American costume designer who had a long career in Hollywood that garnered eight Academy Awards—more than any other woman in history.

During her long career she was nominated for 35 Academy Awards, including every year from 1948 through 1966, and won eight times – more Oscars than any other woman. She was responsible for some of the best-known Hollywood fashion images of her day, with her costumes being worn by the most glamorous and famous actresses in films. Head's influence on world fashion was far reaching, especially in the 1950s when she began appearing on Art Linkletter's television program and writing books on fashion.

Although Head was featured in studio publicity from the mid-1920s onward, she was originally over-shadowed by Paramount's Head Designer, first Howard Greer then Travis Banton. It was only after Banton's resignation in 1938 that she achieved fame as a designer in her own right. Her association with the "sarong" dress designed for Dorothy Lamour in The Hurricane made her well known among the general public, albeit as a more restrained designer than either Banton or Adrian. In 1944 she gained public attention for the top mink-lined gown she was credited with designing for Ginger Rogers in Lady in the Dark, which gained notoriety as it was counter to the mood of wartime austerity. The institution of an Academy Award for Costume Designer in 1949 further boosted her career as it began her record breaking run of Award nominations and awards, beginning with her nomination for The Emperor Waltz.

Head was known for her low-key working style, and unlike many of her male contemporaries usually consulted extensively with the female stars she worked with. As a result she was a favourite designer for several of the leading female stars of the 1940s and 1950's; Ginger Rogers, Bette Davis, Barbara Stanwyck, Shirley Maclaine and Anne Baxter, and was frequently 'loaned' out by Paramount to other studios at the request of their female stars. She was also known for her restrained designs, and during the 1950s was dubbed the "queen of the shirtwaisters" by her detractors. However, it should be noted that this approach to costume design was in line with studio policy which did not want films (especially late release or re-released films) to become instantly dated through the use of short-lived costume fads. Despite this, or even because of this trait, she has been cited as one of Alfred Hitchcock's favourite custome designers and had a long association with Hal Wallis among others. Head had also been famous for her work with Audrey Hepburn in Roman Holiday.

During her long career Head was occasionally criticized for her working methods. Early in her career she opposed the creation of a union to represent studio based costume designers and outfitters, and she was accused of being "anti-union" on several occasions. Her design trademark of restraint also on occasion brought her into conflict with the wishes of film stars or directors. Claudette Colbert apparently being one star who preferred not to work with her, while her relationship with flamboyant film director Mitchell Leisen was by all accounts quite tense. Despite her own design accomplishments, she also had a reputation for taking credit for others' work. However, this practice only became controversial in the latter part of her career, since in the era of studio-dominated film production, a department head commonly claimed credit for design work created in his or her department. Privately, she was a warm and loving hostess, hosting fabulous soirées at her and her husband's Benedict Canyon home.

In 1967, she left Paramount Pictures, and joined Universal Pictures, where she remained until her death in 1981. As studio-based feature film production declined, and many of her favoured stars retired, Head became more active as a television costume designer, often designing costumes for film actresses, like Olivia De Havilland, who were now involved in television series or film work. In 1974, Edith Head enjoyed a final Oscar win for her work on The Sting. This film, which starred Paul Newman and Robert Redford, was notable for its nostalgic recreation of American life in the 1930s.

During the late 1970s, Edith Head was asked to design a woman's uniform for the United States Coast Guard because of the increasing number of women in the Coast Guard. Head called the assignment a "highlight" in her career. Also, during this period, her designs for a TV mini-series based on the novel Little Women were notable. Her last film project was the black and white comedy Dead Men Don't Wear Plaid, starring Steve Martin and Carl Reiner, in which she accurately re-created fashions of the 1940s, matching the extensive use of film clips from classic film noir motion pictures. It was released shortly after her death and dedicated to her memory.

Michael Hobson has created art for every major film studio in Hollywood. Starting each project with often no more than a brief story synopsis, his unique ability to visualize and draw scenes, characters, and settings has kept him in demand in the industry.

He has enjoyed a close association with Walt Disney Studios, and has contributed to every animated film released by them since the late 1980's. Other clients who have used his work include Warner Brothers, Sony (MGM), Universal, 20th Century Fox, Paramount film studios, HBO and other cable television networks.

Hobson's most important role in the film industry is as a designer and comp/sketch artist. Many final campaigns and posters have been based on his initial concepts and artwork.

Hobson produced final poster art for films such as Disney's Mulan, and for musicals such as Beauty and the Beast. His Mulan poster, which was characterized as more fine art than animation, was awarded the Mobius Award. His graphic design of Disney's Beast holding a red rose is recognized internationally and has illuminated Times Square for over twenty years.

Michael Hobson was born in New York, but growing up as a Navy "brat" moved many times with his family. He served as an officer in the U.S. Navy during the Vietnam era. Hobson is a graduate of the Art Center College of Design, Los Angeles, California.

In 1979, Chris Hopkins graduated with Honors and a Bachelor of Art degree from the Arts Center College of Design in Pasadena, California. By the time he established the Chris Hopkins Illustration Studio in 1984, he had already distinguished himself with numerous awards and honors from the art and entertainment communities. The acknowledgments have come from the AIGA, the Society of Illustrators (Gold and Silver Medals) and many others, including nominations for a Grammy Award for Album Package Design, and finalist for the prestigious Cleo award. In 2003, he was honored with the Vargas Achievement Award.

Much of Chris' early recognition was in response to his dramatic atmospheric paintings with acrylic airbrush techniques. His corporate clients have included Nike, Boeing, and the Coca Cola Company. Since transitioning his focus to more traditional oil paintings in 1988, he has often chosen projects that explore human potential in its' diverse forms. In the complex modern society of today, the paintings of artist, Chris Hopkins, are known for their ability to reflect as well as influence the world around him.

Hopkins is well known as one of Hollywood's "secret weapons", working diligently behind the scenes on countless, one-sheet movie poster conceptual design campaigns, with some of the industry's most respected advertising agencies, on such beloved and popular films as A Christmas Story, The Abyss and Local Hero.

In 1984, Chris rendered the final key art for one of the most respected modern movie posters of all time - the advance "Trust Him" one-sheet for Indiana Jones and The Temple of Doom, which the Production Art Gallery is proud to show publicly for the first time since it was painted 25 years ago.

Chris works from his private studio in the Puget Sound region of the Pacific Northwest, where he resides with his wife Jan, who is a natural materials artist. He is the proud father of Melanie, Jill, Justin, and Mariko, and the grandfather of Niaylah.

Jean Louis (born Jean Louis Berthauldt) (October 5, 1907- April 20, 1997) was a French-born, Hollywood costume designer and an Academy Award winner for Costume Design. Louis worked as head designer for Columbia Pictures from 1944 to 1960. His most famous works include Rita Hayworth's black satin strapless dress from Gilda (1946), Marlene Dietrich's celebrated beaded souffle stagewear for her cabaret world tours, as well as the sheer, sparkling gown Marilyn Monroe wore when she sang "Happy Birthday, Mr. President" to John F. Kennedy in 1962.

In 1993, six years after the death of his first wife, Louis married former client Loretta Young.

Academy Award Nominations

• 1950 - Film: Born Yesterday
• 1952 - Film: Affair in Trinidad
• 1953 - Film: From Here to Eternity
• 1954 - Film: It Should Happen To You
• 1954 - Film: A Star Is Born
• 1956 - Film: The Solid Gold Cadillac; Won
• 1955 - Film: Queen Bee
• 1957 - Film: Pal Joey
• 1958 - Film: Bell, Book and Candle
• 1961 - Film: Judgment at Nuremberg
• 1961 - Film: Back Street
• 1965 - Film: Ship of Fools
• 1966 - Film: Gambit
• 1967 - Film: Thoroughly Modern Millie

Moss Mabry (July 5, 1918 - January 25, 2006) was a famed Costume Designer that started off designing costumes for his high school plays, but actually studied mechanical engineering at the University of Florida. He later went to Hollywood to attend art school, eventually signing a contract with Warner Bros.. Some of the films he worked on included Dial M for Murder and Them! (both 1954), The Manchurian Candidate and Mutiny on the Bounty (both 1962), The Detective (1968), Bob & Carol & Ted & Alice (1969), The Shootist and King Kong (both 1976).

Mabry received four Academy Award nominations throughout his career: for Giant in 1956, What a Way to Go! in 1964, spy thriller Morituri in 1965 and The Way We Were in 1973 .

One of his most iconic designs was the red jacket sported by James Dean in Rebel Without a Cause (1955). Mabry declared that his most difficult filmic assignment was the multiple costume changes required for Elizabeth Taylor in "Giant" (1956), which called for 42 changes of clothing.

Born in Brooklyn, New York, Tom Nikosey graduated with a BFA in Communication Design from Pratt Institute, New York with a Minor in Illustration and so set out to work in the Entertainment Industry in the 1970's.

Nikosey's work in film includes conceptualizing logo designs for such films as Conan The Barbarian, Labyrinth, Teenage Mutuant Ninja Turtles, Supergirl, and Flash Gordon.

Tom's work in music includes logo and album cover design for the Commodores, Doobie Brothers, Kenny Rogers, and many others.

Three decades later, he is still hard at work creating brand identities, poster images, and logo designs for a varied client base. Always true to form, Tom has been committed to creating lasting, original and time-tested images for those who seek out his talent.

A recipient of many design and illustration awards that span his vibrant career, Tom forever feels grateful when hired to solve a design problem. His "Holiday Deer 33 cent" stamp has been deemed one of the most popular and highest selling stamps in history of The United States Postal Service.

Both of Tom's early promotional books are part of the Permanent Collection of The Library of Congress, Washington, D.C. His original letterforms are engraved in the rim of The 1984 Olympic Torch. With 4 Super Bowl logos and numerous highly visible designs to his credit, Tom always looks forward to the next challenge.

Tom resides in Bell Canyon, California with his wife Kristen, his partner Designer / Illustrator in Nikosey Design, Inc.

Lawrence Alan Noble is a 57 year old artist/sculptor, born in Tampa, Florida. He was raised and educated in Houston, Texas and has resided in Crestline, California for the last seventeen years. He is owner of Noble Studio, a 32 year old company that specializes in design and sculpture.

His many achievements include American Artist Magazine (Cover and feature article, March, '83), designer of many motion picture advertising campaigns including "Time After Time"; "Flash Gordon"; "Sharky's Machine"; "The Empire Strikes Back" (10th Anniversary Poster) and more recently, he produced sculptures for "Searching for Bobby Fischer" and "The Rock". In 1972, Noble illustrated a poster for the George McGovern Presidential Campaign and in 1977 was commissioned by Time Magazine to produce a portrait of Presidential candidate, Hubert H. Humphrey. He designed an Olympic Gold Medal for the 1984 Los Angeles Olympics. In 1997, he sculpted the prestigious "Daytona 500" trophy. He is listed in the Millenium Edition of "Who's Who in the West" as well as Dunn and Bradstreet.

His company designed and produced the Star Wars Chess Set for The Danbury Mint as well as designs coins and medallions for the Franklin Mint. Noble Studio was commissioned to produce four drawings of Armand Assante and Jacqueline Bisset for on-air promotion of the 1988 ABC TV mini-series, "Napoleon and Josephine". His work is in the collection of many celebrities and motion picture directors and producers.

His first bronze sculpture, a life size equestrian monument to Civil War General, Philip H. Sheridan was unveiled in Chicago in June of 1990. He also sculpted the 7' bronze statue of Jack Benny which is located at the Epicenter, home of the Rancho Cucamonga Quakes Minor League Baseball Team.

He was commissioned to produce a bronze bust of Gene Roddenberry; creator of "Star Trek" as well as a life-size bronze statue of stage actress Lillian Russell and a half-size bronze of Diamond Jim Brady. Noble Studio produced the "Car of the Year" award for Playboy Magazine from 1990 - 1995 and is a regular contributor to the magazine, including the Millenium Issue (January, 2000).

He has recently been named Designer and is one of two sculptors selected by the California Fire Foundation to produce a bronze memorial and monument to California Firefighters who have lost their lives in the line of duty. The Memorial, unveiled in April of 2002 is located in historic Capitol Park in Sacramento, California. Noble Studio was also commissioned to design and sculpt the San Bernardino County Peace Officers' Memorial, a ten foot tall bronze monument to Peace Officers killed in the line of duty. It was unveiled in May, 1999.

His wife, Elizabeth works with him at Noble Studio and they have two children, Casey Josephine, age 19 and John Marlay, age 15.

Sheila O'Brien (October 9, 1902 - January 26, 1983) was an American costume designer.

O'Brien began her career as a seamstress for Paramount Pictures but transferred to the costume department of MGM, where she worked as a costume department dresser on The Wizard of Oz in 1939, coming into her own as a Hollywood costume designer in the 50s. She was a favourite of Joan Crawford's, dressing her in Sudden Fear (1952, for which O'Brien received an Oscar nomination), Johnny Guitar (1954) and Female on the Beach (1955). O'Brien died of cancer in 1983.

When Robert Tanenbaum entered Washington University in St. Louis, he had no prior art training. As a freshman he was awarded first place in the all college portrait competition. Tanenbaum is a signature member of the National Watercolor Society; one of 22 members out of 1300 members to be nationally certified by The American Portrait Society; one of only 350 that has been elected as an artist member of the California Art Club and an artist member of the National Society of Painters in Casein and Acrylics.

A partial list of his corporate portraits include the previous three CEOs of United Parcel Service (UPS), two for Texaco Oil, nine for Southern California Edison; six of which were posthumous, also a life-size full length posthumous painting of Howard Hughes for Hughes Aircraft, Wout van Bavel of Holland, Gary Jordan on his horse "Socks" in front of Pikes Peak, Colorado, Don Raich with his 1963 Rolls Royce, F. Katiyama, past president of Nissan Motors USA, Frederick R. Weisman for the Frederick R. Weisman Art Foundation and authors Will and Ariel Durant.

The computer magazine Reseller News commissioned Tanenbaum to paint portraits for articles of the top 25 Internet executives. The John Wayne family and The Franklin Mint commissioned Tanenbaum to paint 24 portraits of John Wayne's life. He has also painted many portraits of women, children and other clients with their horses.

Tanenbaum has executed numerous Key Art paintings for the movie industry including such classics as A Christmas Story, Battlestar Galactica, A Boy and his Dog, Cross of Iron, Outrageous Fortune, Meet the Fockers, and Ruthless People.

Robert has been commissioned to do over 200 paintings of famous sports figures in Nascar, baseball, basketball, football, hockey and horse racing.

In the spring of 2001 American Artists Water Color magazine had an article depicting 16 of his casein paintings. In 2002 International Artist Magazine had a ten page article on his color sketches and oil paintings. One of Tanenbaum's paintings was used as an example in Shiva Casein magazine ads and another for their color chart cover. Another of his oil paintings was used in Jack Richeson's and Company ad for his Yarka canvas.

Paul Zastupnevich (December 24, 1921 - May 9, 1997) was an Academy and Emmy Award-nominated American costume designer and assistant to movie producer and director Irwin Allen.

Born in Homestead, Pennsylvania, his education included a degree in fashion design. Zastupnevich's early career was spent acting in stage productions and designing costumes for many of them. In addition to costume design in Irwin Allen's productions, Zastupnevich appeared in a number of Allen's movies and television series such as Voyage to the Bottom of the Sea and Lost in Space.

Zastupnevich ran his own boutique "The House of Z" in Palm Desert with his sister Olga, and he designed clothes for actresses. In 1994, he was the special guest of honor at a convention in England. He gave several talks at the convention, covering his work with Irwin Allen. The same year he became honorary president of the Irwin Allen News Network which is dedicated to all of Allen's works.

Academy Award Nominations for Best Costume Design

• When Time Ran Out...
• The Swarm
• The Poseidon Adventure

Movies

• When Time Ran Out...
• Beyond the Poseidon Adventure
• The Swarm
• Viva Knievel!
• The Towering Inferno
• The Poseidon Adventure
• Five Weeks in a Balloon
• Voyage to the Bottom of the Sea
• The Lost World
• The Big Circus

Television

• Outrage! (TV movie)
• Alice in Wonderland (TV movie)
• The Memory of Eva Ryker (TV movie)
• The Return of Captain Nemo (TV movie)
• Fire! (TV movie)
• Flood! (TV movie)
• Time Travelers (TV movie)
• Adventures of the Queen (TV movie)
• City Beneath the Sea (TV movie)
• Land of the Giants (TV series) - Assistant To Producer (51 episodes, 1968-1970), Costume Designer (3 episodes, 1968-1969)
• Lost in Space (TV series) - Costume Designer (51 episodes, 1966-1968), Assistant To Producer (34 episodes, 1965-1967), Bearded Foreign Correspondent / Computer Brain (3 episodes, 1965-1967)
• Voyage to the Bottom of the Sea (TV series) - Assistant To Producer (93 episodes, 1964-1967), Aleksei / Giorgio / Survivor / Technician / Villager (5 episodes, 1964-1965), Production Assistant (1 episode, 1964)
• The Time Tunnel (TV series) - Assistant To Producer (28 episodes, 1966-1967), Assistant To Producers (1 episode, 1967)

Brian Zick was born in 1949 in Hollywood and graduated from Whittier College, moving on to the Art Center College of Design. In 1973 his award winning animated film was screened at L.A. Filmex in Grauman's Chinese Theatre.

In 1973 he graduated from Art Center College of Design, and began his career as a freelancer, primarily doing album cover art and advertising illustration for record companies, working with Roland Young at A&M, Roy Kohara at Capitol, George Osaki at MCA, and Denny Cordell at Shelter Records.

In 1975 he joined Dave Willardson at Star Studios, then in 1977 he met Brad Benedict and became prominently involved in the launch of Paper Moon Graphics. Throughout the late 1970's through 1990 he created many pieces of art for many different organizations including several movie titles.

In 1989-1990 his unique video works were placed in the permanent collection at the Long Beach Museum of Art. And in 2001 Brian was presented with the Vargas Award by Air Brush Action Magazine, for lifetime achievement in illustration.

During 2005 Brian was contacted by a historian at the Musee du Louvre in Paris, and delivered a portrait to the museum's painting department. In 2008 he developed "video painting" and showed several pieces in a number of Los Angeles galleries and exhibitions.