by Hector Ruiz | May 18, 2017 | Questions, slideshow
Elliot discusses the topic of working as a foreign citizen in the concept art industry.
Q My name is Reza and I have a question. As a foreign citizen, do I have the opportunity to become a concept artist and work abroad on a full-time basis? And if so, what do you think are the best ways to get that full-time job as a foreign citizen? I come from a country that does not have concept art as a job profession (Indonesia), so I have a plan to work in a studio that is not from my country (especially US). What do you think about it?
- Find a studio that offers relocation assistance
- Enroll in a US university, find an internship at a game studio, then get hired full-time as a concept artist.
- Find work in another profession that has more demand than concept artist, then, slowly transition to a concept artist career (assuming I get a chance)
I guess this plan is quite messy, but that’s because I didn’t have that much luxury in terms of money to go travel and become an international citizen and live in another country, so this what I can think about for now.
By the way, thank you for all the educational content you provided at bigbadworldofconceptart.com is very helpful in improving my knowledge to become a concept artist.
A Your problem is one that I am familiar with and have had several aspiring artists in a similar positions, contact me for advice. In fact, I just published an article that you should definitely read on the BBWCA website. The short answer is: Yes, you can become a professional concept artist (which is a huge challenge in itself), but since you live outside of the US, things get even more daunting. Unlike artists born in the US, who only have to worry about getting the right education, you will also have to worry about finding sustainable employment once you’ve graduated. Looking ahead, if you return to Indonesia, you will likely need to find international clients and work for them on a freelance basis. So, basically, you are right – you will have to move to another country. The question, though, should be: “where?”
Of the three options you listed, I think your plan to enroll in a US based art university, is your best one, but getting an F1 Student Visa can be a bit difficult these days with the current administration in the U.S. government. Before making any plans to come to the U.S., you should definitely read up on the current immigration laws affecting student entry into the United States. You should also know that in the USA, F1 visa holders cannot accept off-campus employment at anytime during the first year of their studies. Under certain circumstances, the U.S. Citizenship & Immigration Services (USCIS) may grant permission to accept off-campus employment after one year of study. You should check before assuming that you will be able to work while enrolled in school here in America.
As an alternative, I suggest that you seek out concept art schools that are not in the US, but are equally as competitive. (like Syn Studios, Montreal, or FZD, Singapore). You should look for a country that has not only good schools, but several video game studios that can offer potential employment. You’ll have to do a bit of research here, but it can make the world of difference down the road. For a list of international concept art schools, visit the BBWCA website. To see what video game studios are out there, visit the GameDevMap website.
Hopefully this puts things into perspective and gives you a realistic idea of what to expect.
Best of luck
-Eliott
Want to help us grow our resources section? If a resource has helped you greatly please e-mail it to me or any suggestions
to: me@eliottlillyart.com. I will be keeping this list updated as I discover new entries. Thank you--
by Hector Ruiz | May 16, 2017 | Questions, slideshow
Is following a concept art education worth the risk of leaving your home and everything else behind?
Q I live in Columbia and have been studying and drawing art for only a year. Right now, I’m enrolled at CGMA in the foundation and design program, and I feel I have learnt a lot but I’m still ages far from becoming a pro. I also attend a traditional painting class at a local art school with an art master, and I also have a side-job as an English teacher to sustain myself financially.
Thing is; I’ve always dreamed about living in Montreal and working there. I’d love to go through the concept art diploma program at Syn Studio Montreal and have a big big question: Do you recommend I stay in Columbia or migrate to Montreal to learn concept art, under the following circumstances.
If I remain in Colombia I’d have to keep working this side-job as an English teacher and continue living with my parents while studying at CGMA and the traditional art school. If I move to Montreal, I’ll have to take out a loan with a bank and would have to work 20 hours a week to make ends meet. I know I will have to fill out an i864 form, or at least one similar, and I’m not sure if I will be able to financially support myself like the Montreal officials would like me to.
According to my current state, what would you recommend? Staying or migrating?
Best regards,
Sebastián Posada Álvarez
A Good question, but the answer is tricky. I can’t advise you as to what you should do, I can only advise you as to what I would do, If I were in your position and honestly, it all comes down to: How badly do you want it, and what are you willing to sacrifice to get it?”.
You have talent and potential, but attending a school that is dedicated to your career choice, has resources that aren’t currently available to you and, most importantly, has professional teachers who can give you immediate feedback, sounds IMMENSELY ADVANTAGEOUS to me. Whatever I would have to sacrifice to get there, would be worth it for me, because it puts me closer to fulfilling my dream.
But, that’s just me. In your instance, you’d have to give several things deep consideration; like: what exactly would you be giving up?…
Well, you’d be leaving your job (that pays the bills) to take on student debt. Syn studio isn’t cheap, and neither is Montreal. You’re going to be in debt- and that’s stressful, especially since there’s no guarantee that you’ll find work once you’ve graduated. Yes, it is possible that you might be framing your degree in a good diploma frame and keep it like that for a long time until you get a job. In fact, there is a high likelihood that you may still need further training after graduation. It’s going to cost a lot of money, are you sure you want to take on that responsibility? Due to the cost, many people never achieve their dreams of a concept art career. As the cost is high, many people will probably have to take out some loans to afford this career. However, that’s not the end of the world, especially when there are companies, like CreditAssociates (see here to find their contact details), that know how to help people deal with debt. By getting in contact with debt-relief companies, people can manage their finances and pay off this debt. Finances shouldn’t stop you from following your dreams.
Speaking of finances, in the USA, F1 visa holders cannot accept off-campus employment at any time during the first year of their studies. Under certain circumstances, the U.S. Citizenship & Immigration Services (USCIS) may grant permission to accept off-campus employment after one year of study. You should check before assuming that you will be able to work while enrolled in school in Montreal.
You’d also be leaving behind your friends, family, and support system. Being separated in a foreign country, without knowing anyone may be very difficult to overcome- especially if you have serious relationships at home. (Got a girlfriend in Columbia? Well, you won’t in Canada – least not right away).
Lastly, you’d be taking a huge gamble!!! Hopefully, your family will support you through this endeavor, but if you come back after graduation, empty-handed, they may never let you live it down. This can be soul-crushingly painful.
If you’ve read thus far, and your gut reaction is: “no problem, I can do it!”, then there may be hope for you yet. If, however, you get an uneasy feeling in your stomach, then maybe you should stay in Columbia and seek alternative solutions. Here are a few ideas: Continue to take additional online courses. (as many as you can, and as frequently as you can).
Reach out to any concept artist you can find who grew up in Columbia, and ask them what schools they went to, to learn concept art.
Find a mentor who can guide you one-on-one to get you to where you want to be.
If you need help with any of these, visit the BBWCA website to find out your options.
I hope this has been helpful. Best of luck.
-Eliott
Want to help us grow our resources section? If a resource has helped you greatly please e-mail it to me or any suggestions
to: me@eliottlillyart.com. I will be keeping this list updated as I discover new entries. Thank you--
by Hector Ruiz | May 11, 2017 | Portfolio Advice, Questions, slideshow
Eliott Lilly discusses how to make your concept art portfolio more appealing to prospective employers in the industry.
Q My name is Josh Matamoros. I am an amateur concept artist with the goal of entering the video game industry in the future. I humbly come to ask for feedback to improve my portfolio: http://www.artstation.com/artist/joshmatts
What would my portfolio need to be considered for the industry?
A Hey Josh, your work looks great – it has lots of character, style and personality and you clearly have drawing chops! I have some comments that might help:
Your portfolio: Right now, you have far more sketches and illustrations in your portfolio than you do concept art -I counted one, maybe two pieces of art that explore a singular idea aka: concept art. So, my first piece of advice is: If you want to be a concept artist, than you need to showcase concept art! On Artstation, I would create several project folders and keep the sketches, concepts and illustrations separate. This will give any client who is viewing your work, a better understanding on what they can expect from you.(It will also cut down on the number of images that they are presented with at once – its overwhelming). It will also help you discuss terminology with them. For example, if they ask you: “What does a sketch look like, and how does it differ from your concepts?”, then you can point them to the respective folders and say: “Here’s what my sketches look like, and here’s how I work when designing concepts…”.
Your art: The “Gunsligner” is a good example of a concept art piece, where you start diving into variations and iteration on a singular idea. I would encourage you to go further, beyond just changing the face, but consider alternate chest and leg pieces, without a cape. etc. Really try to create different silhouette changes with each revision. Feng Zhu talks about the importance of this in one of his tutorials: http://youtu.be/4yKxY0KKrak?t=1m53s The goal being to really dive deep into who the character is. (She has a robotic face… why? what else is robotic.. why? what happened to her?… Can you show me that in your image? etc.).
The gunslinger also represents a very polished level of execution. The refined fabrics, materials and textures provide vital information to other artists who will have to model your designs down the production line. Employers look for artists who can convey such details, since it is crucial to establishing good characters. If you want to be an attractive candidate, you may need to do more images that showcase such variety and polish. (that’s not to say that every image needs to be up to this level of refinement, but showing that you can deliver this quality consistently doesn’t hurt).
So, to conclude, if you want to be an attractive candidate for a video game studio, you would need to do the following:
1. Clearly, you are a character artist – focus your portfolio on that.
2. Show examples of iteration on a singular idea (different style and design changes of the same figure). Do this for at least 5 different characters.
3. Display a high level of technical ability and polish (material changes, advanced lighting, dynamic poses, etc.).
4. Remove old, outdated images that don’t currently reflect your skill set (toss anything that is older than two years – especially if you have better stuff currently).
Bets of Luck
– Eliott
Want to help us grow our resources section? If a resource has helped you greatly please e-mail it to me or any suggestions
to: me@eliottlillyart.com. I will be keeping this list updated as I discover new entries. Thank you--
by Hector Ruiz | May 9, 2017 | slideshow
Senior concept artist, Jama Juarabaev, shows you how to create a 360 panorama painting.
Jama Juarabaev is a senior concept artist at Industrial Light and Magic, located in London. His extensive use of 360 panorama paintings along with his Gumroad tutorials, have made him an authority on the subject using 2D and 3D techniques.
With the popularity of 360 paintings, ArtStation caught up with Jama and created a way to upload these paintings into an artist’s personal gallery. ArtStation also teamed up with Jama in order to create this short tutorial on how to create and upload a 360 panoramic painting. Don’t forget to also look at Jama’s Gumroad page for more tutorials on 360 panoramic painting. Check it out by clicking on the link below. Enjoy!
360 Pano Painting Tutorial with Jama Jurabaev
Want to help us grow our resources section? If a resource has helped you greatly please e-mail it to me or any suggestions
to: me@eliottlillyart.com. I will be keeping this list updated as I discover new entries. Thank you--
by Hector Ruiz | May 4, 2017 | Articles, slideshow
We learn the first part of storyboarding basics from a film script on Feng Zhu’s Design Cinema.
Today, we switch pace from answering student questions in order to learn a little bit about storyboarding for film. In this video, Feng Zhu takes a script from John William Corrington’s I Am Legend and William Hjortsberg’s Legend before taking it into a storyboard process. Later, he goes through a quick animatic from the storyboards. Click on the link below to watch. Enjoy!
Design Cinema – Storyboarding Part 1
Want to help us grow our resources section? If a resource has helped you greatly please e-mail it to me or any suggestions
to: me@eliottlillyart.com. I will be keeping this list updated as I discover new entries. Thank you--