Concept Artist
in the Animation and Film industries
Before any game production can get off the ground, the artistic vision and story must first be relayed successfully from the art director/developers/production designer to the concept artists. The ideas are presented to the concept artists, who then create illustrations based on these ideas, rough sketches, and descriptions that others (like character and environment modellers) work from.
Expectations/Duties
In the pre-production stage of a film/game development, concept artists meet with the production designer to discuss the visuals. Most of a concept artist’s work is freelance and highly specialised (leading to little demand for this job in the workforce); in the interview with Ed von Lee, he stated that he worked at a company called “Crytek” for a short period of time (a few months from late 2004 to early 2005).
The art that is produced by the conceptual artist ranges greatly. Rough sketches all the way to highly detailed painted reference images are required. Depending on the project, few to many concept artists are employed. Each of these artists works on one specific element in the production. For example, one artist may be assigned to work on a lead character while another is assigned to work on a creature. Many types of artistic elements are covered: protagonists, antagonists, creatures, backgrounds, etc. Concept artists often refer to source (reference) material for clear ideas on which to base their work.
After the illustrations are complete, the concept artist will aid in the rest of the production. He or she will ensure that ensuing production does not deviate from the elements illustrated. Some of the pay offs are that the artist gets to see, essentially, their creation become a moving reality, as well as work with some of the best talent in the industry.
Skills
Personal Attributes:
The concept artist will need to be a take-charge, easily-motivated person. He/she will need to be excellent at communicating their ideas as well as taking directions from superiors. Working well in a team is also crucial, as sharing ideas and ideas is necessary to get and receive critical feedback/constructive criticism. Being flexible and able to visualize concepts in 3D are definite requirements, as the concept artist is working under tight deadlines and highly-stressful situations wherein many illustrations are required.
Technical
Attributes:
The major and most obvious technical attribute is the ability to produce excellent illustrations. Knowledge of colour theory, perspective, drafting, lighting, etc is a core attribute. Experience with illustration software like Adobe Photoshop and Corel Painter, is also required.
Working Method
Different concept artists have different methods, but the majority of the artists will open a sketch into Photoshop/Painter and continually add detail. Artists will experiment and find a style they are most comfortable with and continue with that.
For Ed von Lee, both traditional
and digital tools are used to create his images. He starts off by sketching the images, then
showing them to a supervisor. The images
are scanned and modified in Photoshop and 3D programs such as Maya. Effects are added in Photoshop and Painter.
On average, each image takes a few
hours, though they can take longer depending on the amount of detail.
An
illustration of Ed Lee’s.
Education/Experience
While there is “no specific training routes or qualifications for Concept Artists” (SkillSet Film, 2005), education at various art schools is recommended. These schools have courses that “emphasise draughting skills, graphics, and how to conceptualise ideas (Source 1). Many artists (conceptual, promotional, etc) - who have their portfolios on the Internet - have attended, at one point or another, specialised art institutes. Such artists include Julie Dillon (promotional artist for “Akimbo: The Kung Fu Hero” (Iridon Software); character designer for “Final Testament” (USRPG)) and Jo Chen (packaging artist for XBOX’s title “Fable”; illustrator for various magazines (PSM Magazine: “Final Fantasy X”) and comics (DC Comics’ “Robin”)).
What is important to realize is that there is also “no typical career route to becoming a Concept Artist” (SkillSet Film, 2005). Many people get their start in art careers, doing jobs as graphic artists, illustrators, graphic novelists, animators, etc. The aforementioned artist Jo Chen started off as a comic book artist, following a childhood dream of drawing and painting, the “only things [she] does well” (Lo Magazine, 2004) she humbly admits. Still other people work as storyboard artists and eventually transition to becoming conceptual artists.
References
AnbitRecruitment (1999). Senior Chracter Concept Artist. Retrieved October 29,
2006, from
Crysis-Online
(2006). Interview with Ed von Lee, Crysis Concept Artist. Retrieved
Dillon, J. (1998). Frequently Asked Questions.
Retrieved
Lo Magazine (2004). The Amazing Jo Chen. Retrieved
http://www.jo-chen.com/engpage/LoMagInterview/LOMag_Oct04.pdf
Peer1 (2006).
2006, from http://www.techvibes.com/job/job9659.html
SkillSet Film (2005).
Concept Artist. Retieved
http://www.skillset.org/film/jobs/productiondesign/article_4680_1.asp