: "At this stage in production, we in concept start with a very loose idea
: that has trickled down from the writers or studio creative director and
: begin chipping away at the problem as if trying to reveal a sculpture from
: marble." - Sparth, p. 26, in reference to very loose concept sketches

: "The overall art direction of the Infinity falls in line with
: contemporary UNSC design languages. The artistic objective of the massive
: ship is to offer the viewer a narrative 'home base' for the level of
: advancement the human race has achieved while simultaneously showcasing
: sophisticated sci-fi visuals that we as artists (and fans) yearn to see
: and share with the world." - Dorren Bacon, p. 46

: "If there's no plausible story behind something, it shouldn't be there.
: For example, in the image below, we originally wanted a fountain. Through
: multiple discussions, we decided that maybe a fountain isn't the best fit
: for a mining town. So we have a tree instead. We felt there is no better
: symbol for nature than a tree. You have this very bleak landscape with all
: these industrial buildings around, but then there's this fake tree in the
: middle of it. It's almost comedic, but it's also logical-if you're forced
: to live in a barren landscape but have the technology to simulate nature,
: it's logical to do so." - Kory Lynn Hubbell, p.67, referencing a
: concept for Meridian with a large, holographic tree

: "This is the first time that we go to the Elite home world, so we wanted
: to explore some of their indigenous culture-what their culture would have
: been like before the Covenant came to extend their influence over it. So
: we had a lot of influences emerging from ancient, unconventional, martial
: cultures in human history." - Glenn Israel, pg. 72

: "In designing an environment, you take what you know about the
: civilization and work outward from there. Glenn Israel, who has done a lot
: of work on Sanghelios, starts with really specific things when he begins
: designing a new world. For example, he'll ask himself what the hands of
: the indigenous species looks like. Then he builds out from there. Once you
: know what the hand looks like, then you know what their writing might look
: like and that informs the architecture, which informs everything
: else." - Dorren Bacon, p. 78

: "From an aesthetic standpoint, we don't normally see the Spartan's
: faces. Most of the time, we're going to see them with their helmets one,
: in badass mode. This is what we focus one. We want them to be badass.
: That's the important thing." - Sparth, p. 111

: "Locke is probably the most super badass guy in Fireteam Osiris. He's
: also secretive, with a spy-like attitude. His goal is to search out and
: find Master Chief, so he reflects that visually. The design of his armor
: is very nonintrusive. He doesn't have any bright tones. He's gray and dark
: to amplify the very nondisruptive nature of his armor." -Sparth, p.
: 115

: "Physically, Vale is very sturdy, but she's also extremely agile. This
: is reflected not only in her armor but also in her form, which is quite
: slick. The magenta color of her armor is also significant, as it implies
: nervousness and aggression." - Sparth, p. 117

: "As for males and females, I think we did a good job of trying not to
: identify a gender based on the way the armor is shaped, which makes sense
: from a military perspective, where uniforms aren't gendered. Vale is
: discernably female, but Kelly and Linda aren't noticeably female, which
: was a goal of ours." -Justin Oaksford, p. 124

: "Throughout Halo, scale is very important. Verticality is a key word we
: use very often when we want to create a scenario where the player is
: forced to look up. The Forerunner Guardian is part of that. The Guardian
: is very imposing-something you want to reach but is so much bigger than
: you are." - Sparth, p. 141

: "The Guardian is a brand new thing. There were many early
: versions--bipeds with tentacles, bird-like iterations. Building something
: like this for the game is very, very challenging. The Guardian is massive,
: and we have to detail it and give it a complexity to match its size."
: - Kolby Jukes, p. 143

: "The new Scorpion is a complete redesign, but we needed to keep a lot of
: the features, especially when it came to the way the turret is places. It
: needed to be pretty high--if you put the turret too low and there's a
: character riding on the tank, the cannon is going to collide with them--so
: we needed to work around that. Even though we had to work within
: constraints, we still managed to have a great-looking vehicle."
: -Sparth, p. 166

This will fill out an art section quite nicely. Many thanks!