FACEPOCALYPSE

2011 retrospective

After the 2010 half-year stint in the US, 2011 continued in nomadic fashion, having stayed in 13 different houses/apartments for at least a week during the course of the year.

As far as location goes, here’s a “Where in the world was Simon?” pie chart.

Following 2010’s intense art studies and exposure to the San Francisco scene I wanted to get back to making money as opposed to just spending money. Here are some art-related conquerings for 2011:

• Biggest project to date - hired to define the background art style of an animation pilot, and created ~60 backgrounds in total.
• Tested a working relationship with some great, skilled programmers and a film dude from the UK.
• My favourite interview to date on Design Montage.
• Feel like my art’s “leveled up” having focused on areas of weakness and pushing the polish level on my work.

Career-wise it was a year of film concepts, storyboards, animation backgrounds, and a little architectural visualisation.

As far as pushing polish goes I want to extend this to game development. I’ve documented so many ideas for games and never truly pursued them, but now I’m determined.

I’ve been quietly working on art/animation and game design for a personal project for the past few months and am powering on into the new year with time to devote!

2012 is a year for making games!

Happy New Year!

“What do I study to become a concept artist?”

This question was posed awhile back in the Perth illustrators’ group on facebook and generated a bit of discussion. I thought I’d transfer some of my thoughts into a blog post for all to see!

In context it was referring to courses/education available as a path to getting a job.

I’ll just jump right in with my response; I don’t tell any employers I have a graphic design degree and they don’t ask. It means virtually nothing for an artist in the entertainment industry. It’s definitely an advantage to have complimentary skills (3D especially) but concept art is actually significantly different to graphic design. While there are aspects of each that reinforce the other, being a concept artist is more like art/illustration combined with other forms of design (like industrial or fashion) depending on your specialty.

To work as a concept artist the most important question is “Can you do the job?” which breaks down into a few things:

- Are you technically and creatively competent?

AND ONCE YOU’VE GOT SOME SKILLS:

- Can you meet the deadline?
If you can do the job you don’t need any qualification. In fact, I’m skeptical of most courses for this very reason: If you’re not self-motivated you won’t make it in this industry, and if you ARE self-motivated you don’t need to pay to study!

However, studying with skilled mentors/teachers is a great catalyst for improvement, as is being surrounded by likeminded peers.

If you’re going to pursue a career in entertainment art then study somewhere that has people who take it seriously. Who treat it as a lifestyle! If you’re not drawing or painting EVERY DAY the people who are will be improving faster and eventually getting the jobs. If you’re the best person in your course, your course is probably shit.

You’re not competing with your peers in Perth to get a job in the entertainment industry, you’re competing with your peers globally. As a freelancer I do 95% of my work remotely. Anyone could get that work.

I was also asked how I got into concept art. I’m probably not the best example as I directed my studies in an awkward, semi-blind kind of way. Just an aspiring artist with the internet; I learnt to paint by painting photos and trying to deconstruct other artists’ work. If I liked someone’s technique I’d try adding it to my own. In retrospect a more efficient path is to study from life, but be aware of what’s going on. Hunt down resources like Scott Robertson’s Gnomon DVDs on matte rendering - they’re awesome for value and lighting knowledge. Gurney’s book on Light and Colour is great for… Light and colour. I could’ve really used that knowledge earlier, and instead tried to backwards engineer how to paint with colour without it becoming muddy. I desperately wanted to avoid muddy colours and the visibly airbrushed aesthetic.

If I were to break down my little reverse-engineered ‘rules’ I’d be explaining a style and not the way light and colour actually work. There’s something nice about well-crafted ‘naive’ art, like a charming comic produced with broken or misunderstood perspective, but if your goal is to work in a studio you’re better off learning the rules before breaking them.

Then being mindful of the things you learn, go and observe them in reality. Paint/draw from life, look at how different colours and lighting conditions affect real objects. If you want to focus on one particular area then minimise the variables. eg. To study light and form get a white plaster cast of a head or facial part, light it with a single source and do an accurate drawing/painting of it. Note where bounce light affects surfaces and how the form turns with the value. There are lots of notes on what to observe which you can probably find by searching for a Cast Drawing process.

Ok… Lots of writing. I’ll leave it at that for now. Feel free to ask any questions if you’d like any particular insight.

Swampy ruins enviro sketch

Closeup: