Bridging the gap between traditional art disciplines and the high tech digital realm, Daren Ross Dochterman has honed his Conceptual Art and Illustration skills in the volatile Hollywood Motion Picture Industry for almost 20 years.

Born July 2, 1967, raised in suburban New York City, then spending his teenage years in the Chicago area, Daren always had a love and aptitude for drawing, but a characteristic dislike of structured classroom instruction. "Art Classes in grade school were tedious for me. Mostly out of the fact that I just wanted to draw and the rest of the class were busy cutting construction paper or slathering papier mache to make another useless napkin holder." As such, much of his early art training took place in other classes, as one could see by examining the margins of his Algebra notebook. He also explored his talents in other arts, as an accomplished Clarinetist and student actor. At an early age, Daren realized the nexus of these skills and interests could be found in the movie industry, and he was determined to become part of it.

By the late 70s, Daren was enthralled by the fantastic conceptual art of Ron Cobb, Syd Mead, Ralph McQuarrie and Joe Johnston. Soon, he discovered a love for so-called Space Art and the works of Chesley Bonestell, John Berkey, Robert McCall, and Adolph Schaller. He also developed a love for movie poster art, and continues to draw inspiration from the works of Tom Jung, Bob Peak, and Drew Struzan. Deeper research also revealed his love for the deft atmospheric graphite work of veteran designers and illustrators Mentor Huebner and George Jensen.

The first time Daren visited the west coast was the day he arrived on the campus of the University of Southern California as a freshman in 1985. He had already applied twice to the prestigious USC School of Cinema-Television, and been rejected once. He began enrolling in all the Film classes he could, subsidizing immense student loans with freelance titles and graphics work he did for student films. Becoming a fixture at the School, he helped run the Post Production Department in his Sophomore year, all the while turned down time and again by the admissions office. After two years of maintaining an undeclared status at the university, and six rejection letters from the Cinema School, Daren chose to look for work and set out on his own.

A year of working as a model builder, prop maker, graphic artist and gofer followed giving him much needed professional experience, and a welcome ability to be able to pay rent. Then, a friendship with a fellow USC student led him to working for director James Cameron to help restore full size props and models from the film Aliens. This then led to Daren's entry into the world of movie production with a job as the Assistant to the Art department for Cameron’s ground-breaking film, The Abyss. This baptism gave him the crash course for filmmaking and conceptual artistry as he took on the various roles of sculptor, model builder, draughtsman, graphic artist, and illustrator as the needs arose. He delved into painting, colored pencil, marker illustration, and expanded his love for doing graphite illustrations. Working along-side the great Ron Cobb and forging friendships with artists Steve Burg and Phill Norwood, Daren began his apprenticeship and commenced a journey that would continue 18 years later and through over 50 feature films.

Wishing to expand his pallete into the burgeoning world of digital art, Daren began learning Photoshop with the earliest versions of the software. In 1990, he added a large, unwieldy computer system to his art kit and began exploring ways of using his traditional art skills in this new medium. Work with Adobe Photoshop expanded to rudimentary 3d renderings and then to fully realized computer modeling and rendering. Daren now eagerly integrates sketching, painting, and 3D into a confident realism in his work, while not losing the eye for dramatic composition and rich textures of more traditional art.

Daren's work has been featured (though many times uncredited) in countless making of books and DVDs and three films he has contributed his work to have been nominated for Academy Awards(c) for Art Direction: The Abyss(1989), Dr. Seuss' How the Grinch Stole Christmas (2000), and Master and Commander: The Far Side of the World(2003) where he got to work with one of his early inspirations, George Jensen.

In 2001, he was honored with a Video Premiere Award for his work Supervising the Visual Effects for Robert Wise's Director’s Edition of Star Trek: The Motion Picture. His digital illustrations have been featured in the last 2 "Star Trek: Ships of the Line" calendars published by Pocket Books, and he was one of the early proponents of updating the original Star Trek series with new visual effects.

Recently, Daren has worked as a Production Illustrator on Chronicles of Riddick, Charlie and the Chocolate Factory, Monster House, X-Men 3, Get Smart, and the upcoming remakes of The Day the Earth Stood Still, Creature from the Black Lagoon, and G.I. Joe.

Visit his official site at http://www.betafive.com.