It’s our great pleasure to welcome the Senior Concept Artist for Splash Damage and Osprey Publishing and developer for Firesprite Edouard Groult to Fantha Tracks.
FT: Edouard, many thanks for joining us here on Fantha Tracks to talk Star Wars and art. Could you please share your earliest Star Wars memories with us?
EG: My very first experience was a trip to Star Tours at Euro Disney, which was a blast. My earliest memory watching Star Wars was unfortunately under the worst conditions possible. I was in a primary school bus travelling home with the Sky Club following a day in the French Alps. The club always provided a VHS tape for our entertainment during the journey. On a small screen, at the front of a noisy bus, I watched Star Wars: A New Hope for the first time. After that, the Star Wars theme was looping in my head for the rest of the night.
FT: What’s your favourite Star Wars film?
EG: Absolutely not original to say, but my favourite is The Empire Strikes Back. For me, it is the essence of Star Wars. A brave and desperate conflict, contested by the battle wounded, but terrifyingly enormous Empire war machine, and the small, but audacious rag-tag Rebellion fresh from their success of hit and run victories. Whilst buoyed by their guerrilla style tactics success, the Rebels were acutely aware they would most likely be wiped out should they face off directly against the might of their Imperial foe, at least at this moment in time. Defeat now, would not cost only the lives of many men, women, aliens and droids populating its Rebel ranks, but hope itself. The possibility of recovering troops and firepower alone was a foreboding prospect, however the loss of hope for the rebellions cause would be immeasurable gambit and a risk which could not be afforded. So ensues a galactic game of cat and mouse, with the Rebels survival dependent on their perseverance to outsmart, outrun and frustrate an Empire which is becoming ever increasingly aggressive in their hunt.
FT: Who’s your favourite character?
EG: Among the heroes C-3PO and R2 D2 are my favourites, they are the bubble of comedy in the middle of a fiercely contested galactic war. Another favourite is General Veers, a professional Imperial officer who keeps his cool during an intense battle.
FT: Do you collect anything Star Wars?
EG: As a kid, I assembled a huge collection of Star Wars Micro-Machines, fleets of star ships, fragile TIE Fighters and as many small Stormtroopers as I could gather. I also collected books and the movies on VHS tape of course. Sadly, when I became a young adult, LEGO Star Wars appeared, but I wasn’t collecting things anymore, but my bedroom was ram-packed with lots of other nerd stuff…
FT: Have you enjoyed any of the modern Star Wars films or TV live action?
EG: That, is a big question. I liked Rogue One a lot, it had an Empire Strikes Back spirit within it. A significant victory for the Rebel Alliance, but with much sacrifice, against an industrialised Imperial war machine growing more menacing by the day.
With regards the sequel movie trilogy, The Force Awakens, The Last Jedi and The Rise of Skywalker, well, I think there were a lot of good ideas and good actors but were not implemented or used as well as they should have been.
Another well-loved franchise, JRR Tolkien’s The Lord of the Rings, also followed a trilogy story telling structure, was beautifully interpreted and directed by Peter Jackson. The production value of his work has proved monumental for modern cinema. Denis Villeneuve’s translation of Frank Herbert’s Dune, literature famously considered impossible to adapt from page to screen, has been wonderfully realized. Given source material density, this could possibly follow a similar trilogy format. Both of these franchises demonstrate that modern cinema is still capable of creating refreshingly captivating cinematic experiences remaining loyal to their licensed but complicated source materials.
For me, unfortunately, I believe the Star Wars sequels deserved more seriousness and not what appeared to be conflicted directorial viewpoints. I felt this contributed to confusing the story and the films suffered as a result. The Star Wars sequels drew continuity faithfully from the original trilogy, but a little too far as they replicated the original storyline profile, for example a small fighter group defeating an overwhelming evil power and a lone chosen warrior gifted with mystical powers. I think they missed an opportunity to deliver new Star Wars experiences and truly continue the saga.
FT: As a Star Wars fan and artist, do you enjoy any of the Star Wars animated series?
EG: I love Genndy Tartakovsky’s 2D Star Wars: Clone Wars, and the 3D show Star Wars: The Clone Wars, which has incredible stories and battles, sharing point of views from the heroes, regular Clone Troopers or even separatists’ perspectives. I didn’t watch Star Wars: Rebels, as I don’t like the Stormtrooper design, nor Star Wars: The Bad Batch.
FT: Have any of the Star Wars visual effects, concepts or designs inspired you?
EG: It helps a lot for my work, I know what to avoid in sci-fi designs and paint things to look or not like Star Wars, as this universe has created their own unique style of spaceships and dressing codes.
FT: How did you discover your passion for art?
EG: Since early childhood, I loved to draw. It was not very logical at first, but quickly I learned, and at around 7-9 years old, I was painting pirate ship battles, dinosaurs eating, and battle scenes of WWII or the Napoleonic campaigns. An early bird, early nerd.
FT: Do you have a preference for traditional art materials or digital?
EG: I love both. I always like to keep a sketch book in my bag at all times and will draw anywhere when I have the time or I’m waiting something. Digital of course helps a lot for work, it’s faster to draw with and easier to share via the internet.
FT: Which form of analogue art and materials do you enjoy working with?
EG: Mostly drawing with pens on my sketch book, I’m not a fan of pencils. For digital I use classic tablets from Wacom, and iPad Pro with Procreate. Expensive, but provides a very solid quality.
FT: In the time you have been creating digital content, how does hardware or software compare today with your earlier experiences?
EG: I started my digital painting journey using a simple Photoshop Cs3, that was, for that time, very rustic, but it could deliver what I need from painting software. I`m currently using Photoshop CC, its efficient and full of possibilities, however at the moment I don’t make full use of its potential, I only use what I need. I should delve further into its capability as the world of numeric images is becoming more and more complex every day.
FT: What’s key in digital art, software, hardware or an equilibrium of both?
EG: I would say a solid machine, a computer or screen-tablet, which will allow you to access the best painting software, not only Photoshop. The key is being able to paint fluidly without any lag, bugs or worse of all, crashes. A stable platform which affords fluidity helps the artist apply their unhindered vision by instinct.
FT: What hardware specifications and software tools do you like to work with?
EG: In respect of software, I always work with Photoshop, it`s perhaps not the best software for art but have enjoyed a long working relationship through its various iterations. I understand its interface and happy with its performance. In terms of hardware display, I always work with Wacom tablets or Screens. They are good quality, durable and provide incredible longevity, my previous kit lasted 7 years. With regards the computer, a solid platform which includes a decent amount of RAM and storage capacity is good enough for me.
FT: Do you have any advice for anyone aspiring to produce digital art on a budget?
EG: On a budget, perhaps a regular computer, a laptop or desktop, with an earlier version of Photoshop (which may not have all the bells and whistles of a newer version, but it will provide enough, and will be cheaper to purchase). In addition to the higher cost of a modern version of Photoshop, the newer iterations love RAM and hard drives which will also push costs up. For display, I would recommend trying to source a second-hand Wacom tablet Intuos Pro, a small size, but they are very good, and if you have flexibility in your budget and prefer an unused one, they are not very expensive brand new, so very affordable.
FT: When did you decide to pursue your career in art?
EG: My parents always supported my artistic aspirations while growing up, my father’s side of the family are very artistic. School however was a different story. Art was not considered a serious career option. My teachers and career counsellors were collectively trying to dissuade me from my art and pursue alternative options. My mother said to hell with that, she kept believing in my creativity and that I could make a living from my painting skills.
FT: How did your academic studies prepare you for your career in art?
EG: After my Baccalaureate at 18 years old, I left my family home and moved to Paris to begin two years of art-preparation studies at the Ateliers de Sèvres. There, I learned to stop drawing like a teenager, and really began to develop my own universe and renewing my mentality. Following my time there, I continued my studies attending an illustration school in Belgium for five years.
The most important thing in those schools, was not so much about the classes and lessons, it was mostly meeting other artist, creating with them and making contacts. It`s thanks to those guys in Belgium that I wanted to work as a concept artist for videogames.
FT: Had you planned for a career in video game art?
EG: As a kid I always collected films and games art books. I enjoyed exploring and researching character designs or environments, with my favourites being the Jurassic Park books. Later, it was the District 9 art book that was my absolute grimoire for concept art.
While studying at the illustration school in Belgium, I met the French concept artist, Igor-Alban Chevalier aka Black Frog, while he was running a small workshop. The next day I spoke to my parents to let them know this was what I wanted to do. I purchased a Wacom graphic tablet and launched myself into digital painting. It was hard…
FT: Which video games have you created conceptual art for?
EG: I worked with Rebellion Software, in Oxford UK, for 9 years. During my time there I worked on the Sniper Elite series, from Sniper Elite v2 through to Sniper Elite 5. I also worked on Sniper Elite: Nazi Zombie Army and Strange Brigade amongst many other titles.
I’m now working with Firesprite in Liverpool. They are a first party PlayStation development studio. With regards their games I’m currently working on, shhh is the word.
FT: If you could pick a favourite amongst the video games you’ve worked on, which one would it be?
EG: The last Sniper Elite I worked on before leaving Rebellion. I put my heart and soul into the art of this game. The game’s theatre is set during WWII in Normandy, and being a WWII nerd since childhood, this game was a favourite. I painted the concept arts of course, and a tons of false propaganda posters, commercials on walls, small 1940`s style cartoons, and much more…
FT: Are you currently working on any video game projects?
EG: I could tell you, but……
FT: Do you enjoy playing video games?
EG: I try to find some time to play videogames, but like a chef not eating his own food, I enjoy the break from them. I always have lots of work to do, painting for videogames but also for history books, science magazines, personal art and a little R&R. That being said, I did take some time out between projects to play Ghost of Tsushima, and Witcher 3. Because… they are awesome.
FT: Could you give any advice to anyone interested in pursuing a career in video game art?
EG: Be creative. Embrace the joy of creating stories, have the confidence to follow your instincts, put pen on paper. Take inspiration from talented artists, learn from your own and others mistakes. Be passionate about your artistic journey. A strong vision is good, however when working alone or within a team for an intellectual property, remember the brief, share your ideas but be flexible in making concessions and accepting contradictions.
Your idea might be great and just what the project needs to make it better, but so could another’s idea. So, encourage a positive working environment by communicating and listening with an open mind. When all ideas have been shared, consider their merits, and as appropriate, confidently defend your idea, or accept another’s, perhaps even a hybrid of both, but in all cases undertake these communications humbly.
FT: Whilst your profession, do you enjoy creating art as a pastime?
EG: Too much, but I`m workaholic. I spent 3 years of my free time, working on a 24-minute long 2D animation just for fun, doing my own drawing, animation and sound designs. Not for a contest, or festival, just for personal pleasure and for my friends.
FT: From the claustrophobic sensation of an Imperial Trooper column funnelling into a foreboding corridor peppered with spiked helmets, heavy machinery traversing untamed watery battlefields, freshly conceived Medical Corp Troopers administering battlefield Bacta treatments, rarely witnessed enlisted aliens bolstering Imperial ranks, the seldom seen downtime tediousness of troop transport logistics between missions and tense battlefield exchanges with Stormtroopers taking advantage of cover rather than often employed tactics of their reliance upon plastoid plated armour. Blending the familiar with fresh concepts, your Star Wars concept fan art is not just eye-catching, these momentary images evoke impactful sensation but further encourage the viewer’s imagination, so what inspired you to create your Star Wars fan concept art series?
EG: I`ve always being fascinated by the Empire as a kid. I enjoyed the small scene from A New Hope, when two Stormtroopers are chatting while the Death Star was on alert and Obi-Wan is powering down the tractor beams. The troopers are wondering what the hell is going on, and one of them thinks it must just be some kind of drill. That is enough to imagine the finer interactions within a galactic war machine. This inspired me to explore imagery that we might never experience on official Star Wars content.
I did not want to glorify the Empire; they are not represented as a winner. They’re still individuals, with their own hopes and fears, dutifully serving the ranks of massive Imperial army deployed across a huge Galactic theatre. I see the Galactic Empire as being similar to ancient Rome. An old Republic replaced by an Empire, ruling a huge area with the Mediterranean Sea representing Star Wars galaxy. Populated by many different peoples, ethnicities, interests, and policed by a huge armies. Roman Army’s Legionaries and the Empire’s Stormtrooper Legions each supported by the logistics and firepower of their respective Navies. Both military behemoths ruling with iron fists and prepared to mercilessly obliterate their enemies as in the cases of Alderaan and Carthage.
Much as Rome commissioned volunteers across the Empire’s colonies to bolster the might of their Roman armies, I would imagine the Galactic Empire would do so also. Whilst Star Wars may have a larger human population than here on our own Earth, I don’t think it’s realistic that restricting the Empire’s ranks exclusively to human, would not provide sufficient numbers within their ranks to police populations across the many planetary systems of an entire galaxy. Additionally, native species might prove more relatable and familiar with local customs and topographies.
I understand that much of Star Wars canon represented humans as the ruling species with what appeared a xenophobic view of other species sentience. Given my aforementioned logic and belief that xenophobia has no place in our world or Star Wars, this is why I wanted to paint non-human species as Stormtroopers.
FT: Your Star Wars fan concept art series has been well received within art and Star Wars fan communities. The images depicting your vision of Battlefield Medical Corp Troopers inspired some to fans to consider using this model as a base for their future cosplay. In response, you kindly drafted and freely shared the anatomical model for reference. A fantastic gesture, which I hope realises its cosplay potential, however the model detail also lends itself towards action figure form. Would you please update us if anyone creates a cosplay or action figure version of your concept?
EG: Well, I was completely surprised when I learned that a 3D Printed model of my Medic-Trooper was on Etsy. Also, that a cosplaying group on Facebook have embraced the same Medic-Trooper concept and are actively creating awesome suits. It’s already happening.
FT: Has the reception of your Star Wars concept fan art and its inspiration to others for creation surprised you?
EG: I was completely surprised. I was imagined I might get a couple of likes and that would be that. Instead, beyond my wildest expectations, I received hundreds of messages and comments, thousands of likes on Facebook. I also received a message from an old army medic, he was thanking me for my artwork representing his role in the Corp via my Medic-Trooper piece. This opened my mind regards the huge diversity amongst the Star Wars community, and heart-warming to see so many different people united in their passion for this universe.
FT: How long does one of your Star Wars concept fan art pieces take to create?
EG: It really depends on the subject, the busier the picture, the longer it will take to create. On average one would take me around 6 to 7 hours to complete.
FT: Do you have a favourite amongst your Star Wars concept fan art pieces?
EG: The sleeping Stormtrooper inside the transport, or the diner one.
FT: Are you currently working on a new Star Wars concept fan art pieces?
EG: Sadly not, I took May and June of my free time to paint them, but now I must focus on my personal projects. I Love working on Star Wars fan arts, but I have so many projects to work on. However, I hope to do some more Star Wars fan arts future.
FT: Do you like to create art on other subjects or fandoms?
EG: I’ve dabbled a little with Warhammer 40,000, but that’s it. I prefer to be inspired by others but not necessarily creating art based on their concepts. The Star Wars concept fan art is just the kid in me drawing.
FT: Do you have plans for any future art projects?
EG: Beside my professional work, yes, although I have nothing planned or in progress at the moment. The recent experience of sharing my concept fan art made me realise that not only is my art appreciated, many people asked where they could purchase my artwork. I hope to open an online page in the future as a place for people to visit and possibly purchase my artwork.
FT: Where can we explore and enjoy more of your artwork online?
EG: Feel free to explore my Instagram or my art station.
FT: Edouard, it has been a great pleasure meeting with you to talk Star Wars and art. Many thanks for sharing your Star Wars concept fan art and experiences with us here on Fantha Tracks. We wish you the very best in your future artistic adventures and look forward to experiencing them.
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