The Past’s Future: Looking Back and Forward on the Art of Syd Mead

Time is a curious thing. There is nothing that can be truly re-lived. Those first two sentences can never be re-read for the first time ever again. There is a finality to time, and a bittersweetness to its passing. When we look to the future, we do so knowing that there are high possibilities that our ideas and expectations are wrong. But, nevertheless, it is fascinating to look back and compare what we once thought might be and compare it to what is in the present. The art of visual futurist Syd Mead has a similar effect — we look back on it and see what the future looked like to a voice of the past. There is merit to listening to a voice whose words have already been said, it provides perspective into days we have not lived. 

“If you put Syd Mead back into the context of the sixties and seventies, you realize in a snap that he was out of the ordinary compared to the designers of the time. His genuine design vision was above all trends and fashions, as he was re-inventing forms and functions in ways nobody ever did. He spearheaded visual efforts that are still nowadays the best standards you can find and get inspired by.”

Sparth – Art Director, 343 Industries, “In Memory of Syd Mead: The Grandfather of Concept Design”

Syd Mead is perhaps best known for his work as a concept designer for science fiction films. He had a background in industrial design as well as art. This practical experience is one of the most crucial elements to his art — there is architectural integrity to the images. He is likely best remembered for his work on films like Blade Runner (1982), Star Trek: The Motion Picture (1979) and Tron (1982).  In many ways, his art is more well-known than the artist himself. Many of us know his work, though we do not necessarily know him by name. The work of Syd Mead has left a crater of a footprint on science fiction films, but the influence of his work echoes far beyond.

But why does it matter for someone to look at an old concept of the future? Surely we know that it was not accurate. The concept of retro-futurism is something that has arisen in more recent days. This is perhaps due to a nostalgia; a longing for the past and its seemingly simplistic setting. As someone who enjoys this, I find my own motivation inspired by the hope that seemed to be once found in looking to the future. I enjoy reading Isaac Asimov books, though the future depicted in them and the future that actually was was incredibly different. In “I, Robot,” his vision of the future included robots and space dwelling by the 1990s and not to mention world peace. When, in reality, the 90s were largely just filled with bright colored clothes and some pretty killer Academy Award-winning movies. A war in the desert at the beginning of the decade was a glaring reminder that world peace was not a factor. Although it is easy to look back on these things and chuckle like a parent watching a child talk of big dreams, there is something admirable to be found in the hope and optimism. In days when the future does not seem very bright, it is incredibly refreshing to look back on a time when it was looked forward to rather than dreaded. 

“Syd changed an industry and inspired multiple generations of artists. We were lucky to occupy the same planet as him.” 

- Jennifer Coronado, Senior Manager, Global Art Department, ILM, “In Memory of Syd Mead: The Grandfather of Concept Design”

There is a good portion of Syd Mead’s art that holds an optimistic perspective of the future. He used bright paints of silver and white to create a “clean” perspective. In an introduction to one of Mead’s artbooks by Blade Runner 2049 director Denis Villeneuve, Villeneuve writes: “I suspect that Syd’s universes are fueled by the strength of the optimism of the 50’s, when the world was rising from its ashes, when everything seemed possible, again.” This perspective draws attention to the fact that the worldview he was coming from in this stage of his art is something that was grounded in cynicism, but overcome through optimism. Villeneuve goes on to state: “He used this force to create a future where pure elegance of design and social peace would reign, where humanism and science would win over chaos, where progress and nature would evolve in harmony.” A good example of this bright future is found in a painting he did for the National Geographic Picture Atlas of Our Universe (1980). It is a depiction of hydroponic agriculture in space. The piece is beautiful to look at, but there is a functionality to the architecture that provides an authenticity to his work. At glance, the piece is essentially a futuristic greenhouse. There is a balance between the greenery and the technology. A few people are painted into the scene, two in the foreground working at consoles and a few in the background; painted much smaller to show the vastness of the area. The curvature of the ceiling reinforces that this location is not bound to earth. Although the painting is set in space, Mead chose to use bright lights as if the sunniest of days is being depicted. This warmth is reinforced by the use of greens and blues which grounds the viewer in the home of earth. However, these earth tones are contrasted by shining metals of white and grey. This blending of the natural and the mechanical is a perfect example of an optimistic future. 

Technology is always a factor when it comes to predicting how human society and history will evolve. In Blade Runner, the character of Rick Deckard refers to an in-universe machine as “...like any machine. They’re either a benefit or a hazard.” In this vision of the future, Mead takes the side of benefit. However, this is far from his only interpretation. From a stylistic perspective, Mead’s work covered many different bases. The informed eye could definitely notice some hallmarks to his work; there are often practical elements to his designs which hint at his architectural background and his use of distinct color seems to make every piece something unique. He fluctuated between very practical looking sketch-designs and paintings of scenery. Syd Mead’s work did not just have a single outlook, however. He presented a balance between both optimism and realism. His work included vast cities of chrome, but he also had pieces of rusty hover cars in dark night skies. There were pieces of an upper class robotic horse race, and then there were also designs for a rusty flying taxi cab. This dichotomy makes his work incredibly diverse in his concepts. 

In contrast to the shining future of a hydroponic farm, Mead’s concepts for Blade Runner present a much darker vision of the future. Perhaps his most influential work, his art for this film helped to invent a genre in and of itself. The genre is known as Cyberpunk, and it has picked up a lot of traction in recent days through T.V. series like Altered Carbon (based off of a book by the same name) or video games like Cyberpunk 2077. In the early ‘80s, due to the economic expansion of that day, there was fear that the capitalism in which that expansion was based would grow rampant and overtake the world. Within this context, two separate entities emerged and unintentionally unified to create a new genre. These were the book Neuromancer by William Gibson and the visual aesthetic of Blade Runner created by Syd Mead. The worlds presented here are neo-capitalistic, with advertisements scattered throughout gloomy streets and an emphasis on the forgotten lower class who dwell in the urban sprawl. The funny thing about this genre’s creation is that Mead was not aware of Gibson and Gibson was not aware of Mead, but rather the collective cultural consciousness led them to a similar conclusion about the future. In earlier days, futurists looked to time’s horizon with hope, but in just a few short years storm clouds had appeared. This storm was personified in the visual art of Syd Mead’s Blade Runner conceptual design. 

“I may be wrong but I think Syd’s traveled in dystopia only once, and it was because of Ridley Scott. Syd’s first drawings of Los Angeles for Blade Runner were pure, bright and peaceful, but Ridley wanted his new world to be more claustrophobic and oppressive. And Syd dived into the darkness.” 

Denis Villeneuve, Director of Blade Runner 2049, “The Movie Art of Syd Mead: Visual Futurist.”

A strong example of this daunting, dark future can be found in his piece entitled “San Angeles,” painted in 1980. The piece has a shadowy atmosphere contrasted by bright lights from within haunting buildings. The buildings are absolutely massive. In an article entitled “Goodbye Syd Mead: A conversation with the artist who illustrated the urban future,” the writer interviewed Syd Mead himself. At one point, the writer comments: “It seems like with the race for super-tall structures today, that vision of the future is looming.” Then, Mead replies by saying: “It's coming. With modern materials, you're not as limited with building height; even something like electromagnetic elevators helps, since you don't need cables, which get too heavy in tall buildings.” In this quote, his understanding of architecture is made apparent. There are limitations and balances to building design. Mead’s understanding of these truths makes his future far more grounded in reality than his peers’ work. In regards to the ‘reality’ presented in his Blade Runner art, there is also an understanding of the negative aspects of human nature. In the piece “San Angeles,” the contrast between classes is shown in the simplest of forms. The piece is a dark cityscape. There are massive buildings illuminating with golden hues from within. In the shadow of these daunting monoliths, there lies a scattering of other buildings beneath. Upon further glance, the observer will see there is a contrast between these two building-types beyond their size: The large buildings have a futuristic aesthetic and the small ones bear the designs of modern (as of the ‘80s) skyscrapers. Like any good piece of art, it tells a story. As the world has progressed, those that can enjoy the future have left those who cannot in the dust. Because this is a series of art, the viewer has the benefit of seeing even more of the artist’s intention. 

“The only way to explain it is to say that deep inside, I’ve always dreamed of living and evolving in Syd’s worlds. Their sensuality and stunning beauty offer such a magnificent contrast with the brutality of our reality. I am convinced they exist somewhere in a parallel dimension and I have this strange sensation that I have been there, even strolled through them. I always come away with a sense of longing, like remembering moments from my childhood.”

 -Denis Villenueve, director of Blade Runner 2049, “The Art of Syd Mead: Visual Futurist.”

In most art pieces, the artist has one chance to convey to the viewer what they wish to convey. However, in the example of a concept design portfolio, the artist is tasked with bringing people into a world. There is no better example than Mead’s work on Blade Runner. There is more than just a single perspective, the observer has the freedom to see numerous different angles to a specific vision. For example, in “San Angeles,” the world is seen from the skyline. However, in unnamed art pieces of the city streets, the viewers see what lies beneath those looming architectural giants. 

The city streets of Blade Runner are iconic. As mentioned before, the visual design of them was so strong and memorable that it helped to create a sub-genre in and of itself. The pieces were often painted in gouache, which allowed for vibrant color to be represented. In one in particular, a piece which focuses on a vehicle Mead affectionately called “The Armadillo,” there is a scattering of different colors throughout. There are yellows, greens and purples on advertisements which hover throughout the city streets. This neon coloration is contrasted by the bland dark-blue night sky in the background — barely even seen. It is the neon that draws the attention. However, if looked at from an even more observant eye, it can be seen that the city streets are muddy and there is trash littered throughout. There are patrons painted in this city, but none of them have discernable faces. They all are wearing hoods or hats which give a sense of anonymity. Their heads are down and many of them carry briefcases; this is their normal life. In the distance, painted within that bland shade of blue, a closer look reveals the vast buildings of the previous piece we observed. This piece shows what life looks like in their shadow.

The city streets are a mixture of neon advertisements and muddy streets — a contrast between what this world promises and the truth behind those words. The world of Blade Runner holds a harsher vision of the future, but Mead grounds it in reality and breathes beauty into its disparity. There is something hauntingly gorgeous about the light amidst the dark.

Even in a vision of the dark future, Mead brought something to be admired. In his U.S. Steel series of paintings in 1966, he was tasked with presenting a vision of the future where steel has made life better through vehicles and houses. This optimism would not be presented today. In the article entitled “Goodbye Syd Mead: A conversation with the artist who illustrated the urban future,” the writer asks: “So much of your work has an optimistic view of the future. It seems like not as many people are drawing that anymore. Why do you think that is?” Mead answered thoughtfully, stating: “I think it's cathartic to do that, to design a dark future, sort of a "glad it didn't happen to me" situation. To design a nice future is a lot more difficult.” This is true. Looking at the light is much more difficult than basking in the dark, but it is much more worth the while.

“Is it normal to feel nostalgia when looking at visions of a futurist? That is exactly how I feel when I dive into Syd Mead’s unique word.” 

Denis Villenueve, director of Blade Runner 2049, “The Art of Syd Mead: Visual Futurist.”

The work of Syd Mead is blissfully inescapable. It is nearly impossible to enjoy the subjects of science fiction or futurism without seeing his footprint. There is merit to looking at this art for countless reasons. But the perspective it brings is perhaps one of the strongest among them. Seeing the art of an era gone by is like stepping into a time-machine, we learn more about our past which leads us to a brighter future.