Stålenhag’s Extraordinary Visual Storytelling

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With a long-standing interest in future visualizations at the bivouac, the style and substance of Simon Stålenhag’s illustrations have left quite the impression. Stålenhag’s masterful illustrative technique is remarkable in and of itself. Still, his unique ability to seamlessly blend the world we know today with new and unfamiliar future technologies makes his work genuinely distinct.

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Stålenhag’s command of visualizations portrays powerful story arcs without needing the written word. He is exceptionally skilled at capturing a sense of expansive scale. He does this by placing huge, futuristic objects into what would otherwise be commonplace landscapes. This juxtaposition, accompanied by a remarkable lighting command and a clarity of focus applied to some regions of the composition, further enhances a dramatic sense of expansiveness.

Another device Stålenhag uses is placing human beings in vulnerable situations with new forms of technology. Children or parents with children are seen navigating a landscape strewn with disused “old future” technologies or avoiding those who seem to be searching for them. Placing today’s emergent technology in such matter-of-fact settings and often applying an aged patina to technologies we have yet to know is powerful. Work like this can help encourage us to ask important questions about the technology we are bringing into the world at an increasing pace and why we might want to think more carefully about doing so.

To view more of Stålenhag’s work, visit: https://www.simonstalenhag.se/

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Sci-Fi Illustrator Visionary Peter Elson

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At its best, science fiction provides design inspiration and a powerful means of looking ahead toward possible futures. The term "science faction" refers to things once represented in science fiction that have actually come into existence. I gave a TEDx Talk a while back exploring how the phenomenon of "science faction" can inspire us as we design for the future of education.

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My first encounter with science fiction was during Christmas of 1979. I was twelve and still reeling from seeing "Star Wars" two years earlier. That Christmas, I received "Great Space Battles" by Stewart Cowley and Charles Herridge. Written with the authority and detail of a history textbook, the richly illustrated stories of future space exploration and conflicts captured my imagination. 

For hours, I studied and tried to replicate the exquisite details of Peter Elson’s work and others in my work. Through attempting to replicate their masterpieces, I learned about light sources, shadow play, proportions, shading, perspective, implied materiality, and aspects of physics. Last but certainly not least, I learned about the art of applying" greebles,” or intricate details that make surfaces more exciting and enhance a sense of the scale of objects.

I was honored by a local hero artist named David Morris (who went on to work at Industrial Light and Magic) when he noted how well I applied greebles. That early praise of my drawings, along with supportive parents and an excellent elementary school Art teacher named Ms. Tilson, helped build my creative confidence. Through studying Peter Elson’s work, I learned the power of imagination to take us to new places.

Below are a few early inspirations from Peter Elson. To take a closer look at Elson's work, visit: www.peterelson.co.uk

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Operation Ares by Peter Elson

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Seiko and Final Fantasy

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Seiko has produced a limited edition of watches similar in appearance to the one Dr. Aki Ross wore in the film "Final Fantasy: The Spirits Within." While it does not appear to have a holographic interface or the ability to detect and analyze spirits within, kudos to Seiko for pushing the edge on this and getting something unique in the market.

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A less exclusive version of the watch based on the film is also available.

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