Subject to Reinterpretation

fallen_angelHaving been an illustrator and concept artist for enough years now that I forget how many unless I stop to do the math, I’ve had the opportunity to see my illustrations and concept designs turned into a variety of different objects and expressions beyond the original image. Often this involves one or more additional artists in the process, such as the miniatures I have designed for Privateer Press. But I’ve also had my work turned into a few life-size statues with Wizards of the Coast and Privateer, video game models with WhiteMoon Dreams, more tattoos than I can count, costumes and prosthetics for a couple of my short films, and I even had one painting of a psychotic, roid-raging bunny turned into a puppet for a Magic: the Gathering television commercial (check it out if you haven’t seen it!) many years ago. Some of the coolest expressions of my work that I’ve seen are the cosplay reinterpretations of the characters I have created, and seeing these show up at the conventions I attend is always in immense treat. It’s also why I enjoy the film making and video game production so much. There’s something incredible about seeing a character that started as an image in your head go from some scratches on a piece of paper to a living, breathing being walking around in front of you.

Some time last year, I received an email from a model named Vanessa Alexandra who wished to do a live reinterpretation of a painting I had done for Magic: the Gathering called Fallen Angel (above). Naturally, I responded with an enthusiastic, “Yes please,” but I could hardly have expected the amazing image that would show up a few months later. After six months of preparation and meticulous work in recreating the costume for the character, Vanessa produced a photo shoot and worked with another pair of talented people (photographer Rick Lujan and SFX artist William Price) to create the work of art you see below.

Model: Vanessa Alexandra Photo by Rick Lujan SFX by William Price Makeup and Costume: Vanessa Alexandra

Model: Vanessa Alexandra
Photo by Rick Lujan
SFX by William Price
Makeup and Costume: Vanessa Alexandra

Vanessa’s own character shines through and she has added her own vision to the work, which is part of the great experience of seeing another artist evolve one’s idea. But at the same time, this photo, very much alive in ways that the original image is not, captures all the mood and feeling and character of the painting.

It’s a rare treat to see such an amazing reinterpretation of one of my paintings, and I have to thank Vanessa and her collaborators for the honor and pleasure.

You can find out more about Vanessa through her Facebook page at:
www.facebook.com/therealvanessaalexandra

Vanessa was also kind enough to share a behind-the-scenes shot of her work in progress, showing just how glamorous the life of an artist can be!

The glamorous life of an artist at work!

The glamorous life of an artist at work!

 

 

 

 

Where in the world is Matthew D. Wilson?

A couple nights ago I had the great opportunity to drop in and say hi to my old friend Tony DiTerlizzi* during his whiz-bang, breakneck A Hero for Wondla book tour. While there, I had the great fortune of running into another friend I hadn’t seen in several years, the fantastically talented Therese Nielsen**. I realized after a few moments that she didn’t know that I didn’t live in the North West anymore. And how could she? I hadn’t really told anyone.

Fifteen years ago I moved from southern California to Seattle to work for Wizards of the Coast as the art director for MAGIC: THE GATHERING. A few years later, I founded Privateer Press with two other partners and spent the next decade primarily focused on creating great gaming products and growing the company. As the company became a stable, self-sufficient entity, I found myself with a little spare time so I filled that time by returning to writing and exploring one of my great passions, filmmaking.

My very first ever Magic: the Gathering painting

In 2010, I completed my first short film, WOLFSBANE. We also optioned MONSTERPOCLAYPSE to Dreamworks that year, so doors started opening and I started spending a lot of time back in Los Angeles. By the end of that year, I was commuting at least twice a month from Seattle to LA, and my wife Sherry (who also runs Privateer) delivered our first child, Gryffin.

Suddenly, we had a lot of reasons to relocate, not the least of which were two Grandmothers who would be essential in maintaining our sanity as Sherry and I plunged into the very frightening, alien realm of parenthood.

In March of 2011, we entrusted the stewardship of the company to our very excellent management team and the talented staff of Privateer, then packed the baby, two dogs and two cats into a pair of trucks and headed for California.

Both Sherry and I are still intricately involved with Privateer as much as we ever have been, but we operate remotely through the magic of email and Skype. Every couple months, I bounce back to Privateer for marathon meeting days and some heavy development work.  In many ways, I think I’m even more involved with Privateer now because I’ve managed to cut down on a lot of travel time, and with the frequent video calls, I often forget I’m not actually present in the office.

About six months after our great migration south, I realized that more than ever, I wanted to find a way to merge these two disparate worlds I was occupying. I had thought that game designer Matt and filmmaker Matt were two different identities that had to be managed separately (apologies for breaking my promise about referring to myself in the third person, it’s such a filthy habit). But what I found myself doing more and more was trying to find a way to make these two paths intersect. With the MONSTERPOCALYPSE option things were already heading in that direction, but being in tune with my control-freakiness, I quickly realized I wanted more. I wanted to control both sides, the horizontal and the vertical, and realize the things in my head in the two mediums I was most passionate about: games and film.

On the set of WELCOME TO LEVEL 7

Cosmic forces willing, I’m within a few weeks of completing my second short film, [WELCOME TO] LEVEL 7***. This will be my first attempt in the grand experiment to see if I can pull off this intersection of disciplines and worlds. Hopefully it’s a well met intersection, and not an apocalyptic collision, but no matter what, it’s been an amazing ride getting to this point and I’m as excited to unveil the film project as I am to release the upcoming LEVEL 7 [ESCAPE] board game that the amazing design team at Privateer has worked so hard to bring to life. It’s going to be one hell of a summer.

So where am I now? Still in LA, bouncing back and forth to Seattle, and up to my ears in my next attempt to create a fantastic intersection between these two mediums I love so much.

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* If you don’t know Tony DiTerlizzi, then either a) you aren’t a gamer or b) you’ve been living under a rock for the past twenty years. The dude defined a generation of Dungeons & Dragons art with his artwork for PLANESCAPE and now he’s inspiring a new generation of kids with his incredible picture books and novels. Hit the link to check out his blog.

** Therese Nielsen is one of the most famous and incredible MAGIC: THE GATHERING artists that ever lived. If you don’t know her art, do yourself a favor and check it out!

*** Totally slipped my own little world-wide announcement into this post. Boo-yah! Stay on your toes, folks, there’s more to come!