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Marvel Studios Andy Park on Shang Chi Costume Design

The hit Marvel movie Legend of Xiangqi and Tenring Now available in 4K, Blu-ray, DVD There are many bonus features.

Marvel Studios’ first Asian superhero-led film is directed by Destin Daniel Cretton. Canadian actor Simu Liu (Kim’s convenience) As Xiangqi. The film also features Marvel Cinematic Universe rookie Awkwafina as Katie, Tony Leung as Wenwoo / Mandarin, Meng’er Zhang as Shearing, Fara Chen as Jean Lee, Ronny Chieng and Florian Munteanu. Starring as a laser fist.

Related: Interview: Florian Munteanu about playing Razor Fist in Shang-Chi

Coming Soon Editor-in-Chief Tyler Treese talked to Andy Park at Marvel Studios about Shang-Chi’s costume design, his past work on video games, and more.

Tyler Treese: When you were a kid, was there a particular artist or comic series that inspired you to follow this career path into comics, concept art, video games, and movies?

Andy Park: I grew up reading comics in the 80’s, just before the image comics exploded. I originally fell in love with Marvel Comics.Mark Bright and Bob Rayton Iron man That was the first character I fell in love with, especially Iron Man Silver Centurion, and John Burn. Then I started discovering other artists, and when I finally discovered a man named Jim Lee, it changed my world because his art was everything. Alan Davies is another person, but when he was in high school there was a shrine dedicated to all of Jim Lee’s artwork. Eventually, Image Comics happened and I was hired by another man. They were the inspiration for my early comic books. I finally drew cartoons for 10 years and then switched to concept art for video games. God of War series. And I’ve been at Marvel Studios for the last 11 and a half years.

When you are creative in the first place, you imitate what you like. How was the process of actually finding your style as an artist and not only trying to impersonate Jim Lee to the best, but also doing the best work and showing yourself through art?

At that time, you can learn by just copying. All artists learn by copying. But I didn’t want to be a clone. I didn’t want to draw like John Burn, Jim Lee, Alan Davies, but I’ll copy and learn. Eventually it seems that I just go to art school, learn how to draw, make a master copy, see John Singer Sargent, make a Rembrandt, make a master copy and learn. I’m not trying to learn how to draw like or how to draw like them. So I always had the idea that I didn’t want to be a clone. Another reason is that at that time, especially in the early days of imagery, you could see certain artists and see who their influence was, and most people cloned them like. I think it was because I had come to the point of calling.

But whenever you say that, they weren’t as good as that person. So, even if I try to draw like Lee, can I draw better than him? No, I could only draw until equality, but it still seems impossible. So I always try to be unique, or at least speak out. So I did the same when I was drawing manga.I was mainly known for my top Marc Silvestri series tomb Raider.. But I didn’t necessarily draw like Marc Silvestri or Jim Lee. I tried to find my voice, which still applies to concept art today.I’ve definitely been influential for decades, but I want to have my own voice as an artist

You have shown some great concept art on your social media. What is your biggest contribution to Xiangqi?

I am honored to lead the visual development team. We welcomed such wonderful artists to the team, guided them, talked with Destin Daniel Cretton, Kevin Feige, and producer Jonathan Schwartz, and tried to understand the world. Whenever I came up with a new corner of the Marvel Cinematic Universe, it was always exciting. And it was definitely exciting to be able to dive into the first Asian superhero on the MCU. So, influenced by the East, Chinese, Asian, and martial arts films I loved, all of them blend into the languages ​​people are familiar with on the MCU, but there’s something fresh. .. It was an honor and excitement.

Specifically, I designed the hero costume of Xiangqi. So it was really fun to take Simu Liu and try to understand what this costume is. Because it’s not just a visual, it’s a story in every costume we do. So, as the story evolved, I came up with the idea of ​​incorporating an endless knot, a symbol that is very popular in Chinese and other cultures. It is very symbolic and has many implications, not just the dragon scales and dragon skins found on his jacket. We saw everything down to his shoes. That was the idea because my mother gave me the entire costume.

He is basically all the product of his entire history, from his mom to his dad, who is his overall outfit. After all, at the end of the movie, when Dad essentially let go of the ring and complete the hero’s costume, it was his shoes that I wanted to add to him. It was his time in America. 10 years he spent in America. It is that he is himself and is trying to find his own independence as to who he is. That’s why I wanted to have one element of where he puts his shoes on. It’s very western. So you have all three things that cover this whole look.

You have been working on so many Marvel movies at this point. I feel that the variety of landscapes and genres has not been fully evaluated. Will it help you keep refreshing? Even though I’m staying at Marvel, I’m flying around doing something completely different.

Yes, that’s right. As artists, we are so temperamental that you nailed your head. I’m bored. We need to continue to be inspired.Let’s say i was God of War Video game. I did it for 5 years and it was an amazing 5 years.But after doing the same for 5 years God of War, They are different games, but it has always been in that Greek mythology. As an artist, I started getting angry because I wanted to do something other than Greek toga and the same kind of Greek mythological animals. However, I have been at Marvel Studios for 11 and a half years.

Even though all of our movies are included in the MCU, each has its own genre, unique flavor, and different tones, so the days, months, and years that make me bored and angry are There was no. In addition to visuals, we’ll add directors like Taika Waititi, Peyton Reed, James Gunn and Destin Daniel Cretton. All of these directors have different voices and different flavors. So how can you get bored? It’s as if you’re working for a whole new company or a completely different company, but there’s always a tie weave that puts it all together, which is exciting. You can’t get bored here.

You mentioned the God of War. I’m working on those games, what’s the biggest difference between the two media? And when doing God of War concept art, those games have very beautiful artwork and the scenes are amazing. Can you tell us how it helped you prepare for this series of tasks?

God of War It was wonderful. I was hired by Charlie Wen, Sony’s visual development director at the time. I have been working with such a wonderful artist for 5 years. You’ve learned more than an art school because you’re surrounded by great talent and real-world design, concept art challenges, and trying to get design approval. According to the director.And video games, especially God of War, Completely fantastic. And we’re doing like these crazy creatures with these crazy power sets with these crazy visuals. In video games, it’s kind of unbanned, so it’s even more unfounded like MCUs and movies.

I am designing a character that will be a 3D asset to be played in the game. So, no matter how you design your costume, you can be wild and break many rules. You can be crazy. But the biggest difference when working in a movie is trying to make it look real, at least in live action. You have to make it look like it can actually happen when you’re out of the house or out of the door. Can exist like this world. These characters can wear these costumes. The creature can actually exist. And you will believe it as an audience. When it comes to video games, you don’t have to stop that belief because everything is 3D.

That is the biggest challenge in making a movie. Because you always have to make it look real and reliable. It’s not always easy. So, in many cases, you can perfectly represent a comic, but you’re in a world where “Oh, now it looks cheap and it’s not real anymore.” So there is that delicate balance and that line that you have to step on. How much can you push here? How much can you push it into it and be accurate and respectful of the comics? But while doing that, make it completely believable and make people like “Oh, that reminds me of cartoons, and I completely believe it.” And it can be something like “Oh, it looks like a cartoon, but it looks cheap” if you go too far somewhere.

Marvel Studios Andy Park on Shang Chi Costume Design

https://www.comingsoon.net/movies/features/1203073-andy-park-interview-shang-chi-costume Marvel Studios Andy Park on Shang Chi Costume Design

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