2300 AD Art Gallery

The following is a group of scanned pictures from the various 2300 AD products.  In my opinion it was the art of Rob along with a few others that really helped to create the feel of the 2300 AD universe.  Permission to use these pictures on this page was granted by the artist.  - Jay Adan.

SUNG

As some of you may have guessed, my design of the Sung head was highly influenced by the Parasaurolophus - though it was subconscious.  Back then, I'd yet to study dinosaurs, in depth.  But the image of the Parasaurolophus' head was lodged in the back of my brain, somewhere.  When I considered the Sung, that head seemed perfect, as it had a "steering fin" of sorts - ideal for directing flight.  - Rob Caswell

ALIEN RACE COMPARISON CHART

I love doing graphics like this - it helps to put diverse gaming elements in perspective.  I hate the human, though.  For some reason, I just COULDN'T draw a human being to save my life, that day.  The human is wearing an Australian Drover's Coat....  mostly because I REALLY wanted one, back then, and thought they were the cat's meow ( I still think they're cool....).  - Rob Caswell

LANDER

This piece actually began life as something completely different.  This was included in my initial portfolio to GDW and was my attempt to portray the Jinxian Lander from Niven's "Ringworld Engineers".  Barbie Pratt ( GDW's art director, at the time) called me and asked to use it in 2300 AD.  Being a true graphic mercenary, I said "sure!".  As it turns out, I got the details of Niven's lander wrong, so it's just as well it found a home and design rationale in the 2300 AD universe.  - Rob Caswell

KLAXUN

This is another image that I'd approach differently, if I were doing it now.  I was tying myself too much to the original illustrations which appreared in Energy Curve.  If I could redo them, I'd build in a much wider array of biological diversity and, overall, make them look less like lumpy apple trees.  I'm not quite sure HOW I'd do that, but I think they just need to carry more of an air of sentience.  - Rob Caswell

XIANG

My wife, Deb Zeigler, initially detailed this race, so my work was based on her rough sketches.  Their biology was conceptually interesting, though I was never quite sure how exciting they'd be in play.  I'd always thought they had the strangest psychology in the game.  - Rob Caswell

TWO WALKERS

Again, this is avisual area of the game I'd love to rework.  Since I designed these walkers, I've seen so many cool mechas, in Japanese creations, that have such elegant design.  I thought these designs were a bit too boxy...  but I'm pleased that they seem to have been generally accepted with some enthusiasm.  I was tring to make the lines of the German walker match the design ethic presented in Bryan Gibson's 2300 AD German Armor illos.  I hit that target with only partial success ( I think).  - Rob Caswell

AIR FRANCE

This one was fun.  I think this may have been my very first 2300 piece.  I was full of enthusiasm and open to all kinds of possibilities.  When I found out the role the French played in the game, I couldn't resist the "Air France" touch.  - Rob Caswell

THE AURORA SPACEPORT

I liked this piece at the time, but if I had to do it over again, I'd make it look more "frontier", and less modern-metropolitan.  I remember taking great care to get the weapon's details correct, since I knew visuals like that would make Frank Chadwick happy.  - Rob Caswell

AURORE WATER SERPENT

The Aurore Sourcebook was by far my favorite 2300 AD project - both to work on and read.  I felt Bill Keith was the first to accurately capture the gritty frontier feel which 2300 AD was founded upon.  And his science was refreshingly rigorous - again, another 2300 AD design ideal that was all too rarely met.  And it was just great fun! I took great pride in adhering the details of my illos to his text, and I supplied all the captions for my art.  The subjects were specific enough that the reader almost needed captions on everything, to keep straight what was what.  And I'd like to think it added to the book, all around.  I was sorry that it didn't become a standard for the line.

Evidentally Barbie Pratt liked my Aurore work as much as I enjoyed doing them.  When she recieved the final work, she said she was so impressed, she wanted me to become >THE< 2300 AD artist, and illustrate the whole product line, from then on.  While that was certainly flattering, I ddin't feel I had the time and patience to tackle such an extended commitment.

Finally, the name on the boat - Lady Tana - is named after Joe Fugate's ( then president of Digest Group Publications) daughter.  - Rob Caswell

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