March 3, 2016 in Hieroglyph
“Imagine a world where the Space Race has not ended. Where space agencies were funded a lot better than military. Where private space companies emerged and accelerated development of space industry. Where people never stopped dreaming big and aiming high.”
-The Space That Never Was
Mac Rebisz is a Polish concept designer and illustrator working in the gaming and film industries for studios all over the world. In 2014 he embarked on a personal project, The Space That Never Was, combining his training as an architectural engineer with his lifelong enthusiasm for space. His work, like the Kronos Project, which envisions a manned trip to outer planets, is a unique alternate history with research-based visions for spacecraft that are both speculative and scientifically grounded. I chatted with Mac about this work, his universe, and the importance of getting the science right.
Note: This interview has been edited for length and clarity.
Bob Beard, Project Hieroglyph: Tell me about your process for creating these images.
Mac Rebisz: First, I always try to capture the scientific data of the project – to get the details technically correct. I visit the NASA archives to get technical documents, and I use astronautix.com for basic information about space hardware. Reading through these sites, I’ll make some initial inferences, and from there I usually correct myself after studying books on the topic – but I do research everywhere I can.
BB: How long do you spend on this part of the work?
MR: For one picture, I spend a week doing research and then a day or two just doing the image. Some of my images are hand painted in Photoshop and some are made in 3D. After doing my research, I’ll make a detailed 3D model, then render it in Photoshop and overpaint the details, establish the mood and background…all of the artistic considerations.
BB: How much of what you do is a careful reproduction of the designs in the NASA archives, and how much is speculative?
MR: It depends on my mood – but when I find an interesting idea from reality, I think of how I’d like to depict it, then I do the study and research. When I had the idea for the Kronos spacecraft, I started reading NASA studies and documents about large, interplanetary expeditions and it just evolved from there.
BB: The Kronos Project is interesting too – because you’ve taken it a step further. This isn’t just another cool looking spaceship on the Internet: it’s designed to house a crew and a laboratory in an alternate history. Do your drawings also fulfill the technical requirements of these imaginary missions?
MR: I first started thinking about Kronos in 2014 as a large interplanetary ship for exploration, conducting science research around Jupiter and Saturn. My first design wasn’t as big as it is now, because it started from the feasibility studies done by NASA back in the 60s and 70s, when they were actively planning missions like this. That’s why it looks like an Apollo spacecraft attached to a habitat module. But since then I’ve plotted what I wanted my spacecraft to do, and have sketched and planned and added for what’s actually possible.
BB: It’s an interesting mash-up of speculation and real science. In your day job working on video games and movies, I imagine you get to take some artistic liberties. How important is it for you to pursue concepts like these and still get the science right?
MR: For this project it’s very important – maybe more so for me than for the audience – because I want to know how things work, and I’m gratified to know that these creations, as I imagine them, could work.
BB: Do you plan to eventually unite these images into a narrative?
MR: Yes, I’d like to make an art book from all the pictures with some background and a narrative throughout. Maybe with technical papers and some incredible cross-sections – to show how the modules would work and how people would live in them.
I’m also in pre-production for a short movie set in the Space That Never Was universe, about a Polish astronaut who goes on a mission to Phobos.
BB: How would you describe your vision for space – both The Space That Never Was as well how you’d like to see humans actually interact with space in the future?
MR: Space has always been very political, but I hope that it will be more humanistic and focused on international collaboration. The Space That Never Was is primarily scientific, of course – but I think it’s also optimistic. I want people to see that space exploration is cool and worthwhile. As an artist though, I just hope that people like my art.