by Eliott Lilly | Apr 25, 2016 | Questions
Question Submitted from Mandee H. Concept art by Kalen Chock
Hi, I am a sophomore in highschool and I was wondering:
What kind of schools should I look at if I am interested in becoming a concept artist for games? What kind of degree should I shoot for? Is getting an online degree a good idea? Should I start off my career as a freelancer or working for a studio? As I said earlier, I’m still in high school so I am not quite sure what to do when I graduate to start off my career.
Thank you for taking the time to read my email.
Hey Mandee, thanks for reaching out. I’m glad you found the blog. My responses are inline.
What kind of schools should I look at if I am interested in becoming a concept artist for games?
- Have you visited the Resources page? There’s an entire section dedicated to Concept art focused schools and even more info can be had in the downloadable .pdf list.
What kind of degree should I shoot for? Is getting an online degree a good idea?
- In this industry since you will be hired based on your merits as an artist (aka. your portoflio) degrees don’t really mater as much. Don’t focus on the degree itself, rather the education you will receive. I wrote “An Insider’s Guide For Student’s” for student’s like yourself who have specific questions about the types of classes you should be taking, colleges to attend, etc. Check out chapter 3 (How to make the most of your education and schooling).
Should I start off my career as a freelancer or working for a studio?
- If you want to work in video games, then I would aim to be an in-house artist before you set off on your own to freelance. This will give you time to familiarize yourself with the process of game development, grow as an artist and develop the communication skills (both vocally and artistically) to deliver successful concepts to clients. Plus the work experience will look good on your resume, and future clients will have confidence in your abilities knowing that you have worked on “big” projects in the past. If you have the time, you may also consider taking an online course from Chatham University or other similar educational institutions. Since knowledge is key to everything you do in the real world, having a degree or two might help you in the future
If you need further insight, I would highly recommend that you pick up your own copy of An Insider’s Guide For Students. I wrote that book as straightforward and honest as I could in hopes to answer your exact questions and more. Check it out and let me know what you think. If you still have questions after reading it, I would be happy to answer them.
-Eliott
by Eliott Lilly | Apr 18, 2016 | Questions
Question submitted by Oliver B.
Hey Eliott, I’m an aspiring concept artist (hobbyist for now, still in high school), I have a important question concerning concept art. After a few months I realized that it takes an incredible amount of work to make it into the industry, I’ve heard some artists who are really amazing worked their asses of for years. Im talking about amazing, high-end professionals such as yourself or even guys like Eytan Zana, John j. Park or Maciej Kuciara. They obviously spend at least 10 hours a day on this stuff for years (probably more?). So Im asking you how it is possible to get this amount of work done each and every day. I’m usually totally exhausted after 5 hours of painting, when the brain runs out of glucose. How should I manage to triple this amount then?
Hey Oliver, that’s a great question. The short answer is: find the motivation to keep going. Your “drive” (willingness to succeed) is your strongest ally. If its really important to you, you will find a way to power through the exhaustion. Take breaks of course- but power through. How do you find the time? Brace yourself… you might not like the answer. The reality is: to get as good as those artists you mentioned, then you will likely need to sacrifice as I am sure they did (I know I had to). Here are some things you can do
Wake up earlier and/or go to sleep later.
If you can gain an extra hour each day, that adds up to an additional 7 hours a week. Going to high-school I averaged 6-8 hours of sleep each night. In college it was 3-5. Right now, in my professional career I get about 6. (but the hard work in college has already pad off. I got the job) It can be exhausting, but if you are able to develop and maintain a routine of discipline you’d be better off for it.
Get your parents involved
Inform your parents of your intentions and plans, so they understand if you need to stay up later and do not volunteer you for after-school activities/ events that you may not even care for. It also helps if the will sign you up for art classes, etc. My dad used to wake me up at 5 am, so we could get to school an hour early and draw.
Draw in your spare time
Every chance you get. Between classes. During lunch. Got five minutes?-Pull out your sketchbook and doodle. You’d be surprised how much you can draw while taking the bus to school or sitting on the toilet.
Reduce the amount of tv watching (And Video games too).
Keep the tv watching/ video game playing down to an hour each day. Seriously. Use the gained time to draw.
Take summer art classes
Even though school is out, you will need to stay sharp on those skills. While everyone else is out playing, you need to be drawing and improving. Sucks, i know, but this is the truth. I took college summer classes 4 years in a row while still attending high school. Good times.
Don’t worry, those are just a few suggestions- you can still have a social life with friends. I know they sound intensive, but the more you can do, the better off you will be. In my book: “An Insiders Guide For Students” I talk about this very topic and cover in great length, the things you should be doing on your own time, what you should be learning and more. If you haven’t already, you might consider picking up a copy for a more in depth answer.
Hope that helps.
-Eliott
by Eliott Lilly | Apr 11, 2016 | Questions
Question submitted by Jonathan E.
Hey Eliott!
What are the day-to-day operations of a concept artist are like? I am interested to know the sort of artistic executions concept artists are responsible for, and what I can expect to be doing as one (Not the daily routine that a concept artist goes through) Will I be working on finished images or sketches? The artwork I’ve seen on websites like Artstation or Kotaku is always “finished” and “complete”, yet I heard from an ex-Blizzard employee, that the majority of his day was spent in black and white line drawings. I’ve also heard it said “I hope you like drawing people’s faces for 10 hours a day for 4 years”. That of course seems extreme, but the point very much comes across. So which one is it? To that same point, what sort of workloads do concept artists deal with? I’ve heard it said (also from an ex-Blizzard employee) that concept artists don’t endure the same levels of crunch as the “heavy lifting” sits within the post-production / polishing phases. Is this true?
Thanks so much! Check out some of my artwork.
Jonathan
Hey Jason, great questions. I think it all depends on your work situation.
If you are Freelancing:
Mitigating a client’s expectations is crucial since they will be offering you work based on your perceived abilities. If your portfolio showcases work of a high caliber, and you promise the client a similar result, then that is what they will come to expect from you. When I deal with clients, I often explain to them that in the same time it takes me to do a single super polished image, I can produce 6 or 8 simple greyscale studies that further explore ideas. Since it’s their dollar I leave the final choice up to them, but here’s what I’ve learned:
Bigger companies with bigger budgets, don’t really flinch at this, since they usually extend month long contracts (instead of a piece-by-piece basis) and they ask me to do a combination of both. For example, when working on Black Ops 3, I was the “Weapons guy”. Turnaround times were tight, and for efficiency, my daily deliverables were done strictly in line drawings, greyscale images, napkin doodles etc. Once the design was approved I would be given a bit more time to do the final render pass in color. Occasionally I would even have enough time to use 3d/ Keyshot to assist.
And that’s all did for 2 years. Weapons (and the occasional vehicle). I must’ve done 300 weapon concepts to arrive at the 27 that actually made it into the game. That’s the reality. The comment about “drawing people’s faces for 10 hours a day for 4 years” isn’t really that far off.
Working with smaller companies and/ or individuals is a similar experience, but, more emphasis and time is usually given to the final image. Since it will usually be used for both production and marketing. I still might give them a greyscale image or two for speed, but will do far fewer revisions and idea exploration. The subject matter I get to draw also varies greatly, since they may need me to do several things, instead of one thing over and over again.
If you are working in house:
My experience has varied working from job to job a studio. Because the Art Director is in the same building, the feedback process is much quicker and artwork can be reviewed in real time. There was also friendly competition between the other in house concept guys, and we were all trying to out-do each other. As such, I spent most, if not all, of my time painting high quality images in color. (Still not to the level of polish you’d find Art Station though).
Even though the “heavy lifting” is done in the polish phase of game creation, a concept artist work is never really done. Trust me, when everyone else is crunching in the studio, you will be too. Partly cuz you’ll get random tasks from your art director, (that you will likely have absolutely no business doing) but also in part because you will feel guilty about leaving at 6pm, when everyone else is staying till 10. There’s a compromise thereof course, but you get the notion.
Ultimately, the theme that remains consistent between every type of clients is their desire for the highest quality of work in the shortest amount of time, and at the lowest cost to them. It’s up to you to decide what you are comfortable providing them with.
I hope this helps.
-Eliott
by Eliott Lilly | Mar 21, 2016 | Articles
What’s it like to be a professional concept artist and are you cut out for this? The ups and downs of working in the video game industry.
By Eliott Lilly
www.eliottlillyart.com
The primary goal of a concept artist is to create images that flesh out ideas and designs of a particular subject matter that does not exist yet. Every concept artist wants to create the next big video game that becomes the most played game around. For example, when the creators of League of Legend looks at the League of Legends player count graph, they will be happy with the concept they created. All great games start with an idea. Through several rounds of feedback, iteration and elimination, he or she begins to narrow the focus of the subject matter into a singular, coherent vision.
If you like a good challenge, then being a professional concept artist will keep you on your toes! In this field, you may find yourself drawing everything from characters and creatures to envisioning exotic worlds that do not exist- That’s the cool part of the job. Then sometimes you get those tasks that seem mind-numbing to you, but the image must still be made. That’s the unfortunate part of the job.
Like any other industry, working in video games has its ups and downs, whether it’s playing games for a living, becoming a game tester or testing ways to improve ranking and skills using a dota mmr boost, or designing a game. A lot of your experience will be determined by the people you work with, the work pipeline you will be a part of, and the contract you sign when you join a studio. Here are a few considerations to be made aware of when deciding to pursue a career as a concept artist.
Upsides:
Culture:
Each studio has its own culture, but in general, studios will foster a very cool working environment for their employees. You may find yourself surrounded by video game posters on the walls, life-size statues of game characters, and video game consoles that can be used in the break room, for instance. When we get together in the break room to indulge in some gaming, we also have worthwhile conversations that cover a range of topics including the emerging trends in video games and esports. Staying up to date on these things can sometimes prove to be helpful in designing new games. Moreover, interesting discussions that happen about online gambling on esports make it quite fun to work here.
Camaraderie
People who work with you likely share your passion for video games. They may like a different type of game than you, but striking up a conversation with your fellow coworkers is as easy asking, “So, what good games have you played recently?” Just the other day I was talking to a colleague about retro games of our youth; they mentioned that they still play them, but use sites such as Gamulator as opposed to keeping multiple consoles around the house. These are the types of conversations you wouldn’t get in a “normal” work place!
A free copy + Bragging rights
Yes, you’ve earned it. At the end of the video game cycle you will receive a free copy of the game that you have worked on for the past few years. You’ve also earned the right to say that you worked on that game. If the game does well, you can even brag a little. If it flops, well, you may want to keep your involvement a secret.
Salary
There is no fixed number, nor any guarantee, but entry salaries range from 35- 60k (depending on studio location, your role within the company, how desperately they want you, etc.) As you get more years of experience and shipped titles under your belt, your value as an artist goes up. According to Gamasutras salary Survey of 2014, an artist working in the industry over 6 years earns over $82,000/ year. That’s good money!
Downsides:
Crunch Time
With a great deal of work remaining to be done within a short period of time, your studio will often ask you to work longer hours during the day and even come into work on weekends to meet the fast approaching deadline. Because of the high amount of stress this generates, tempers flare, emotions run rampant, and morale tends to drop. This can be a grueling experience for some, and if not kept in check, can snuff the creativity out of the most talented individuals.
Frequent layoff s and studio closures
You hear about it all the time on video game news sites. This company lays off this many people, and so does that other company. There is the potential threat of layoffs after your game ships or if it is cancelled. Even if you do everything right, poor management or lack of unit sales can sink a game and a company.
Gender bias
There are few female concept artists working in this male-dominated industry.
If you have read this far and are already put off, then a career in video game concept art may not be for you. That’s okay. There are other art-related jobs in the video game industry that are still viable and may be of interest to you. Make sure that concept art is your passion first before investing time and money into it. Going to art school and studying to become an artist is like learning any other trade. It is all that you are being trained to do, so you need to be committed. Sink or swim.
For a more in-depth look at these issues and more, be sure to check out The Big Bad World Of Concept Art For Video Games: An Insiders Guide for Students“. It covers in great detail what the job of a concept artist really entails, how to choose the right education, what you should be studying and practicing in school, how to properly build your portfolio to land the job you want, and much, much more.
by Eliott Lilly | Mar 14, 2016 | Interviews
Neil Blevins is a veteran concept artist and illustrator with 17 years of experience working in the video game and entertainment industry.
Check out his Portfolio
Be on the lookout for Neil’s upcoming book: “The Story Of Inc” coming out this summer, http://thestoryofinc.blogspot.com/ http://www.facebook.com/thestoryofinc
Neils Blevins’s current portfolio examples:
In this first part of the interview, we asked Neil Blevins specific questions about what it’s like to be a concept artist in the entertainment industry, discuss some of the one-the-job challenges, as well as his educational background. Here’s what he had to say:
HOW OLD WERE YOU WHEN YOU DECIDED TO COMMIT TO BEING AN ARTIST? WHAT WERE YOUR MOTIVATIONS/ INSPIRATIONS?
When I was 4 years old, I grabbed a screwdriver, hammer, and piece of scarp wood, and on my own carved a detailed ATAT from The Empire Strikes Back, including all the pipes on the side etc. I think after that incident, it was sort of inevitable I’d become an artist. However, it was a tough sell to the family since art isn’t exactly known as a stable or lucrative career. Thankfully, my art interests were a little more commercial in nature (film, videogames, etc), so I didn’t do the starving artist painting portraits type of thing, I wanted to make spaceship and aliens. I guess I got serious when I switched from Computer science to fine arts in college. Thankfully, not long after I got my first art related job offer, so my switch worked out.
WHAT ARE THE BIGGEST CHALLENGES ABOUT YOUR JOB AS A CONCEPT ARTIST?
In general, the biggest challenge for me (and probably many artists) is figuring out the mind of the client, figuring out what they want to see, and then provide them that.
One misconception I see a lot is that you get to draw/paint/create whatever you want in this industry. This is a job, and your role is to make the artwork that the clients want to see. Your goal is to produce someone else’s vision.
Even the greatest artists or directors have to answer to whomever is paying for the project. Sure, you get to inject as much of your own vision as you’re able, but your first goal is to make the client happy. Which is one reason I really recommend finding some way to do your own personal artwork on the side, so you have at least a little area where you are your own client, and you can focus on something that’s 100% yours.
CAN YOU SHARE A PERSONAL STORY, ABOUT A HARD LESSON THAT YOU LEARNED, THAT COULD HAVE BEEN AVOIDED, HAD YOU BEEN BETTER INFORMED?
Health is probably one of the biggest. As you get older, stuff like stress, late nights, being worried about the project you’re on, this all takes a toll on you. And that can lead to very serious health problems. Like life and death issues. No project, no role, nothing the entertainment industry can provide is worth crippling yourself over. So work hard, but remember that you are not a machine, and take care of yourself. I have found Yoga and meditation for example to be excellent ways of reducing stress and doing something away from the computer.
DID YOU STUDY OR TAKE ADDITIONAL CLASSES, OUTSIDE OF SCHOOL? IF SO, HOW FREQUENTLY? ARE THERE ANY CLASSES YOU TOOK WHICH SURPRISINGLY HELPED YOU IN THE LONG RUN MORE THAN YOU THOUGHT THEY WOULD?
I found it important to try out a lot of different sorts of art. I did etching, I did screen printing, I did sculpture, art history.
Don’t just limit yourself to one technique or subject when you’re learning, try anything and everything that involves producing an image, all of those ideas and styles can help you find your own unique voice.
As for surprising classes, I did find a little computer science to be helpful, it helps me talk to people developing the tools that I use to make my art more effectively.
IN THIS DAY AND AGE OF INEXPENSIVE AND EASILY ACCESSIBLE ONLINE TRAINING MATERIALS, HOW VALUABLE IS GETTING AN EDUCATION FROM A UNIVERSITY OR COLLEGE?
A formal education still has several advantages. One many people don’t think about is work visas. If you are not working in your own country (which is often), you will need a work visa, and despite what you may think, not every company will be able to easily get you one. If you have a degree in your field, a lot of work visas become easier to get. I have seen before companies not hire someone because their work visa situation is too complicated. Help reduce that complication as much as possible. Another big advantage of a school is that you are in a class with other people who want to do the same thing you want to do. You will learn a lot from these people, possibly more than you’ll learn from even the teacher. They will teach you, inspire you and push you in an immersive way that online teaching really can’t. And these other students will be excellent contacts who may help you land a job later on. So while you can be self taught at home, a school can still be very helpful.
DID YOU HAVE ANY OUTSIDE HELP PUSHING YOU ALONG WITH YOUR TRAINING? FROM A MENTOR, PASSIONATE TEACHER? FAMILY? FELLOW STUDENT?
I am in general a very self motivated person, no one pushed me towards art, it was something that I’m just super obsessed about. But I certainly had help along the way.
For example, I attended a semi-private art class since age 6, the teacher, Canadian wildlife painter Renate Heidersdorf, was integral in teaching me a lot about art. And once I got into the industry I have learned so much from the people I have worked with.
This concludes Part 1 of our interview with Neil Blevins. In Part two, we discuss with Neil his Dos and DONTs of portfolio building, how he branded and marketed himself in the beginning, and much more. All images used with permission by the artist. ©Neil Blevins