Concept Artist
When i finish University i have a few career ideas that are of interest to me, and have researched in to these areas to find out ways of how to achieve/improve my chances of employability in these designated career paths.
One career path that i have always had an interest in is a Concept artist. Concept artists produce the illustrations that help Production Designers to realise their vision for films or games. They work on big budget Sci-fi, fantasy, or historical films where visual and special effects are required to create design spectacles, or fantastical creatures, or other invented elements. Concept artists may also be involved in the development process, producing a series of illustrations that help to sell the film to potential Financiers and/or Distributors. Concept artists are requested by the Production Designer in the earliest stages of pre-production (up to six months before filming is due to begin to conceptualise the visual content of the film. They work on a freelance basis.
Below are some examples of concept art.
Concept Art for a video Game called Enslaved
for the Xbox 360 and playstation 3.
Final Fantasy Crisis Core Concept Art
Resident Evil 5 Concept Art
Gears of War 3 Concept Art
http://www.creativeskillset.org/film/jobs/productiondesign/article_4680_1.asp
I have changed the colour of the font to blue where i have copied and pasted my research and information from websites so that it is easier to differentiate from my written text and the websites information.
Concept Artist
Concept Artists produce the illustrations that help Production Designers to realise their vision for films. They work on big budget sci-fi, fantasy, or historical films where visual and special effects are required to create design spectacles, or fantastical creatures, or other invented elements. Concept Artists may also be involved in the development process, producing a series of illustrations that help to sell the film to potential Financiers and/or Distributors.
Concept Artists are requested by the Production Designer in the earliest stages of pre-production (up to six months before filming is due to begin), and together they begin to conceptualise the visual content of the film. They work on a freelance basis. The Concept Artists' role is highly specialised, and there is a limited demand for this work.
What is the job?Big studio based films usually employ a number of Concept Artists who each work on a specific element, e.g., a fantastical creature and/or scene. If the screenplay is an adaptation, Concept Artists may analyse the original source material to gather as much descriptive information as possible; they may also work with Specialist Researchers who source and supply supplementary information and materials. Concept Artists work in the Art Department studio alongside the Draughtsmen* and Specialist Researchers, and often produce their drawings on a computer using Painter or Photoshop software.
After approval by the Production Designer, the drawings they produce are presented to the Producer, Director and Visual Effects Co-ordinator for discussion. The challenge for Concept Artists is to produce illustrations that are striking but also accurate and clear. Concept Artists continue to work on illustrations throughout the shoot and may often be required to change and adapt their original ideas as filming progresses.
Typical career routes
There is no typical career route to becoming a Concept Artist. Some may start their careers as Graphic Artists, Illustrators or Graphic Novelists; others have worked in Special or Visual Effects or in Animation, and make the transition to Concept Artist via storyboarding.
Essential knowledge and skillsConcept Artists must have up-to-date knowledge of computer illustration software packages, e.g., Photoshop and/or Painter. They must also be conversant with film imagery and have a good understanding of what Directors, Directors of Photography and Editors require from a scene. Key Skills include:
excellent illustration skills;
effective communication skills;
ability to visualise perspective and 3-dimensional space;
a keen interest in design, architecture and film;
ability to visually interpret other people's ideas;
ability to be flexible and to adapt to change when requested;
ability to work as part of a team;
knowledge of the requirements of the relevant Health and Safety legislation and procedures.
Training and qualificationsAlthough there are no specific training routes or qualifications for Concept Artists, completing Art School courses that emphasise draughting skills, graphics, and how to conceptualise ideas are recommended, e.g., Fine Art, Graphics, Illustration, etc.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film.
Where to go for more informationSkillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. Browse Skillset's website for links to our network of training partners, information about training and access to the comprehensive Skillset/BFI course database. Finally, Skillset Careers is UK's only specialist media careers advice service; for detailed media careers information and advice, visit www.skillset.org/careers.
Concept Artists are requested by the Production Designer in the earliest stages of pre-production (up to six months before filming is due to begin), and together they begin to conceptualise the visual content of the film. They work on a freelance basis. The Concept Artists' role is highly specialised, and there is a limited demand for this work.
What is the job?Big studio based films usually employ a number of Concept Artists who each work on a specific element, e.g., a fantastical creature and/or scene. If the screenplay is an adaptation, Concept Artists may analyse the original source material to gather as much descriptive information as possible; they may also work with Specialist Researchers who source and supply supplementary information and materials. Concept Artists work in the Art Department studio alongside the Draughtsmen* and Specialist Researchers, and often produce their drawings on a computer using Painter or Photoshop software.
After approval by the Production Designer, the drawings they produce are presented to the Producer, Director and Visual Effects Co-ordinator for discussion. The challenge for Concept Artists is to produce illustrations that are striking but also accurate and clear. Concept Artists continue to work on illustrations throughout the shoot and may often be required to change and adapt their original ideas as filming progresses.
Typical career routes
There is no typical career route to becoming a Concept Artist. Some may start their careers as Graphic Artists, Illustrators or Graphic Novelists; others have worked in Special or Visual Effects or in Animation, and make the transition to Concept Artist via storyboarding.
Essential knowledge and skillsConcept Artists must have up-to-date knowledge of computer illustration software packages, e.g., Photoshop and/or Painter. They must also be conversant with film imagery and have a good understanding of what Directors, Directors of Photography and Editors require from a scene. Key Skills include:
Training and qualificationsAlthough there are no specific training routes or qualifications for Concept Artists, completing Art School courses that emphasise draughting skills, graphics, and how to conceptualise ideas are recommended, e.g., Fine Art, Graphics, Illustration, etc.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film.
Where to go for more informationSkillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. Browse Skillset's website for links to our network of training partners, information about training and access to the comprehensive Skillset/BFI course database. Finally, Skillset Careers is UK's only specialist media careers advice service; for detailed media careers information and advice, visit www.skillset.org/careers.
Some may start their careers as Graphic Artists, Illustrators, or Graphic Novelists:others have worked in special or visual effects or in Animation, and make the transition to Concept Artists via storyboarding. Concept Artists must have up-to-date knowledge of computer illustration software packages e.g, Photoshop and/or Painter. They must also be conversant with film imagery and have a good understanding of what Directors, Directors of Photography and Editors require from a scene. From surfing around the net, the best way to get started towards becoming a concept artist is to post examples of work on forums, and advertise my own website with a portfolio of work. I am going to continue using Photoshop and Painter and will make a portfolio online from which i can advertise my work. I will also continue to buy Imagine FX magazines, which is a magazine that teaches tips and tecniques to create concept imagery of all genres. They also have a website http://www.imaginefx.com/ which has workshops, interviews etc.
Imagine FX Magazines.jpg)
The following webpage goes on to show advice from a variation of people who are experienced as a concept artist, working on shows like Transformers, The Last Airbender, Avatar and Alice and Wonderland. The following information was found of this webpage..
http://io9.com/5567512/tips-from-professional-artists-on-the-5-things-you-need-in-your-digital-art-toolbox
Concept artists are the people who spend months or even years designing the look and feel of a movie, television show, or videogame before it ever starts being filmed. They are visual scriptwriters, telling a story in images so that special effects designers and prop makers have something to work from in order to make stories come alive. And concept artists are also that most miraculous of creatures: People who get paid to make art.
So what does a concept artist need in order to build an alien city, or design the robots in a Transformers movie? We asked the artists.
Art by Ryan Church1. Wacom tablet
Though concept designers use all kinds of computers and software, they all seem to agree on one thing: the Wacom tablet is the industry standard.
Though concept designers use all kinds of computers and software, they all seem to agree on one thing: the Wacom tablet is the industry standard.
Warren Manser, who worked on Serenity, Speed Racer, and the upcomingTransformers 3, says he still uses a really old Wacom that he's taken everywhere:
I've seen people use antiquated equipment and get great results based on talent and hard work. Less than a year ago, my old G5 was still my back up computer. I even have a really old Wacom tablet that I use in a pinch, once to a newbie's amazement: "What kind of tablet is that dude? How old is that?" It has traveled across the country on location and is held together with one screw, but it still works. Display size is the one area where I find it hard to compromise. I have to see as much of the image as possible while I work, so I run two monitors.
But Dawn Brown, who worked on Transformers and The Last Airbender, says it's important to remember that technique matters more than tools:
Most of us work on Macs with Wacom tablets. I work with a Cintiq . . . [but] the end result of a concept artist's job is an illustration that clearly communicates an idea . . . what separates a concept artist from a pixel monkey is a strong imagination, a creative way of clearly developing and communicating ideas.
Daphne Yap, who worked on Avatar and Alice in Wonderland, says Wacoms are the digital artist's version of paper:
I'm old fashioned, I still use pencil, paper, and its digital cousin Cintiq. As long as you can convey an idea in some manner, I reckon you're alright.
A medium Wacom Intuos tablet sells for $349. Or you can go high-end with a Wacom Cintiq,which range in price from $999 to $1999.
Art by Wayne Barlowe2. Pencil and paper
Yap calls the Wacom the "digital cousin" of pencil and paper, but she and almost every concept artist we talked to said there is nothing more important for the artist than pen and paper. Manser says:
Yap calls the Wacom the "digital cousin" of pencil and paper, but she and almost every concept artist we talked to said there is nothing more important for the artist than pen and paper. Manser says:
Some people, including myself, actually sometimes draw with paper and pencil. Barbaric, I know, but a solid art foundation makes for original digital art that is not propped up by software alone.
Craig Shoji, who is working on the upcoming movies Thor and Men in Black III, says:
To visualize an idea all you need is a pen(cil) and paper. Hell, maybe even soy sauce and napkin (like David Choe does). You can train yourself to generate, and work out some great ideas with just a few key tools. When I'm not on a computer I carry a ballpoint pen, a small sketch pad and a light and medium value marker with me.
And Wayne Barlowe (Harry Potter, Hellboy, and the upcoming Hobbit movie) is emphatic on this point:
The cheapest toolset imaginable is a pad and pencil. Which I use all the time. I am very retro in my methodology, relying on carbon or lead pencils, ballpoints and (gasp) actual paper. Oh, and don't forget the erasers! Sometimes, I import my drawings into Painter on my Mac and work up color treatments. But to me, nailing a good design without color is preferable.
Art by David Meng3. Photoshop and other drawing programs
You don't need anything more fancy than Photoshop to get started with concept art. That is the one piece of software that everyone seems to agree on.
You don't need anything more fancy than Photoshop to get started with concept art. That is the one piece of software that everyone seems to agree on.
David Meng (Chronicles of Narnia, District 9) says the only thing more important than pen and paper is Photoshop:
I don't like to think that any tool kit is needed for concept art beyond a pencil and a pad of paper, but you are definitely at a disadvantage if you don't use some form of digital imaging software. If everyone else is doing full color digital work (and they are), then black and white sketches can be like bringing a sword to a gun fight. At that point, programs such as Photoshop or Painter are the kind of things needed to produce color work fast enough to meet the demands of modern filmmaking.
Manser adds, "Photoshop is the one necessary program for digital concept art. A second hand computer will run it pretty well to get you started."
Miles Teves (Iron Man, the upcoming Pirates of the Carribean) says, "Photoshop is just the most basic tool, many use Painter as well." And Shoji confirms, "From a film production standpoint, Photoshop is a must. It's one of the fastest tools to use in visualizing an idea as well as be able to change that idea on the fly . . . If you're a creature or character guy then I'd recommend ZBrush for digital modeling."
Adobe Photoshop ranges in price from $99 (for Elements) to $999 (for CS5 Extended).Corel Painter 11 is currently $279.
Pixologic Z-Brush 3.5 is $595
Pixologic Z-Brush 3.5 is $595
Art by Warren Manser4. 3D software (this is where it gets expensive)
Manser thinks 3D will eventually become the standard in concept art, but for now "is still comparatively slow for generating multiple concepts quickly." Shoji agrees and says:
Manser thinks 3D will eventually become the standard in concept art, but for now "is still comparatively slow for generating multiple concepts quickly." Shoji agrees and says:
It's also really helpful to learn a 3D package for modeling. If you're going to design a room, for example, it's nice to quickly block in the layout to get your perspective, camera lens, and eye level established. And from there you can paint over it.
Sketchup is good for that sort of thing.
Teves ticks off a few commonly-used software tools:
Maya, Lightwave, Rhino, Sketchup, and Z-Brush seem to be the staples. Though in my opinion all of these tools rob the artist of his or her 'mark' or personal style, the powers that be have become spoiled by them, and always prefer the glossy and photo-realistic look of an image created in one of these mediums, regardless of the quality or originality of the design itself, over an excellent design rendered in a more traditional medium.
Google Sketchup is free
Autodesk Maya is $3,500
NewTek Lightwave is $895Rhino programs range in price from $99 (for Penguin) to $995 (full Rhino), and there are good student discounts.
Autodesk Maya is $3,500
NewTek Lightwave is $895Rhino programs range in price from $99 (for Penguin) to $995 (full Rhino), and there are good student discounts.
Art by James Clyne
5. An education
James Clyne, who has worked on movies from JJ Abrams' Star Trek to Minority Report, says getting an education is the most important tool you can have:
James Clyne, who has worked on movies from JJ Abrams' Star Trek to Minority Report, says getting an education is the most important tool you can have:
I can't emphasize enough the importance of knowing the foundations of design, ie. composition, lighting, color theory, and industrial design basics. All you need to get started is a pencil and paper and an open imagination. Anyone can purchase a Wacom tablet and start scribbling, but what's important is the knowledge behind the brush. Just knowing technique will get you in trouble.
This webpage again, has an interview with an experienced concept artist, and asks different questions like hows the best way to becoming a concept artist etc. It is from here that i decided to make an online portfolio as mentioned above.
http://www.animationarena.com/concept-art.html
Tell us about yourself Aaron; where are you from and when and how did you get started drawing concept art?
Do you ever animate any of your concept drawings? If so what software do you use?>
No, I don't animate any of my artwork. I do, however, try to make my designs feasible for animation, whether it's 2D or 3D. Since I have experience with both forms of animation, it helps me to figure out what will work and what won't when I'm designing.
Do you think that artists with a formal education in Illustration have an advantage over self-taught artists?
I think that's true to some degree. Formal education is definitely helpful, as I found out with life drawing. Figure studies and practicing drawing the human form really taught me to loosen up, and was probably the biggest aid towards helping my skills improve. Teachers often have a lot of helpful insight. On the other hand, a lot of my own knowledge is based off self-taught observation of other artwork and designs, as well as nature and other things such as architecture and such.
It's good to teach yourself as much as possible, but definitely important to learn the technical side of art.
What Programs and Hardware do currently work with? And why do you choose to work with these software packages?
I work with natural media (paper, pencils, pens) for all my drawing, and Adobe Photoshop 7 for my coloring. I've used other programs, but Photoshop is definitely the best suited to my style. I've been teaching myself how to paint with Photoshop for the past 3 years, and have grown really familiar with the program. This is good, since I like to work quickly and it saves me a lot of time if I know exactly what I'm doing.
What artists influenced your work and whom do you admire?
Most of the artists who inspire me are fellow designers in the entertainment industry. People such as Mark McCreery, Sam Liu, Mike Yamada, and Feng Zhu create wonderful art which really motivates me to improve. I've had the chance to interact with a few of these people, which is definitely an insightful experience when it comes to learning about how they work.
Where do you get the inspiration for your art?
I find inspiration in a lot of things when I'm designing. The biggest inspiration, though, is definitely movies. Every time I come out of just seeing a big blockbuster film with a lot of cool imagery and design, I get really pumped up about creating some of my own. Other inspirations can be found in other places, such as nature, or even interesting buildings in the city. I've come up with a few fun ideas after watching wildlife shows on television.
Could you take us through your creative process when starting a new project.
Basically I start off with the goal to create something original. Originality is definitely the key word. Even if the basic idea behind the concept isn't very fresh, say, a mech with guns or a barbarian with a sword, I'll try to add some sort of stylistic twist to it, to give it that edge which will set it apart. Often I look into other designs related to what I'm working on, to research what has been done, what works, what doesn't, etc. After that, I'll draw a bunch of rough sketches to practice fleshing out the idea I have in my head. Once I settle on the look of the design, it's just a matter of putting it on paper and getting it done.
How often do you draw?
I try draw almost every day, whether it's a just 5 minute thumbnail doodle, or a completed design.
What artistic media do you prefer to work in and there any that you don't like to use?
I definitely prefer pencils and paper over any other medium. It's really a lot more hands-on than working with a computer, and I find it really captures the artist's style. That's always a good thing. I've never been a big fan of painting with a brush on paper or canvas, but I do plan on venturing into that direction somewhere down the road. I'm sure I'll have a lot of fun learning new techniques and such.
What's the most technically challenging aspect of your drawing style?
I try to create a level of realism in my designs which will make people think that it really can exist and function in the real world. This is definitely the most challenging part of coming up with a design, since people are so accustomed to knowing what looks right or what looks wrong. Even if the design is outrageously strange, I'll try hard to make it based in some sort of working reality.
What three pieces of your artwork are you most proud of and why?
I'm pretty picky about my own art, so it's difficult to pick any favourites. If I had to name a top three, they would be Bunchies, Godo, and the Scythemaw. Bunchies was just a quick character design I had done at 4am which eventually became insanely popular. It eventually spread all over the internet and I still get mail about it. Godo is a character design I had done for a contest on CGTalk.com, which won me 1st place. I'm still pretty happy with it. Lastly, the Scythemaw is a creature design where I drew out various parts of the life cycle. I like how it turned out, and I think I came up with a pretty cohesive and scary design.
On average how long does it take you to complete a concept?
This can definitely vary. Sometimes I'll spend 2-3 days re-drawing an idea and finding technical problems that take a lot of time to solve. Other times, I'll start a new concept and be finished within 2 hours. It can be a good learning experience when you struggle with a design, but it's definitely satisfying when you can get a lot of good work done quickly. Thankfully, I'm getting quicker everyday.
Is there anything you'd like to work on if you had the chance?
I'd love to work on any big budget action movie, especially one featuring cool monsters. It would be very, very cool to get the chance to work with someone like Stan Winston or Phil Tippett on a project someday. Hopefully I'll get the chance soon.
What's next for Aaron St. Goddard? Are there any new projects on the horizon?
At the moment I'm trying to lean towards getting full-time employment instead of freelance work. Freelance is fun, but I'd definitely like to work with a team of people on a cool project.
Do you have any advice for the aspiring artist out there?
>There's a few important things to know. One of the most important things is to get your name out there. Make contacts. If you want people to know who you are, post your work on forums and advertise your website/portfolio if you have one. Also, be open to critique. The best way to improve is to find out what you may be doing wrong, and fixing it. Other artists can help you out a great deal. Lastly, draw as often as you can, and focus on making a diverse portfolio. It'll pay off in the end.
Thanks to Aaron St. Goddard (http://www.wildpixels.com/brasshorse/) for agreeing to answer the questions we had for him.
To get feedback i will post some of my work on websites like the one above, http://www.animationarena.com/ and http://www.newgrounds.com/.
After more research, i found this information on a website from someone who again, is experienced as a concept artist.
http://omu.kuiki.net/bbs/index.php?topic=14868.0;wap2
have some experience working as a concept artist on various mods and as a 2D artist on some 'real world' projects and this is just a summation of my expereinces and does not reflect the enteriety of reality of the entertainment industry.
1. Concept artists can be hired either by the studio as a member of the company, or in a freelance capacity. It depends on scope, team size and alot of other factors. Concept art can be done by any artist. Its about ideas.
2. After the design process concept artists generally move into other areas of production. Alot of misconceptions about concept artists is that its all they do. Draw cool pictures. Yes and no, all the pros I have met have expressed that one of the most important aspects is that their skill set is adaptable. They can do textures for a 3D game, or animate 2D, or rig or do matte paintings for backgrounds/skies. Concept art is not a huge part of small projects, but still vital. If you dont get hired by the big studios, and your portoflio isn't mind blowingly awesome it is highly unlikely that concept art will be your only job. Even at blizzard they hire 2D artists to continue doing concept art, but they are also expected to be able to do alot of other jobs for the huge projects that the company does.
From the webpage above it also mentions a website called http://www.thegnomonworkshop.com/
I checked the website and have found it a very useful website that i will probably use when i finish uni. On the website you can buy books, view tutorials, and get professional advice from people who have worked in the industry and ask them questions etc.
The Gnomon Workshop seeks out the most highly-regarded traditional and digital artists and technicians currently working in the entertainment and design industries. Our instructors have shared their practices working at such top studios as Pixar, ILM, Blizzard, and many more.
After looking in to what is required, tips, advice, software materials recommendations, websites to post work, i was curious to see how much a concept artist gets paid.
http://www.conceptart.org/forums/showthread.php?t=224806
'i worked on a videogame where a well known concept artist was paid 10k per image. He did six images for the project. He easily could have done them in a day or two. 100% digital'
http://www.conceptart.org/forums/showthread.php?t=134312
'i think the range is maybe from $40,000 to $80,000 a year'
http://forums.gametrailers.com/thread/whats-the-salary-of-a-concept-/915719
Depends if you're a freelancer or an employee of a company. And of course, it varies with your skill.
As to regards as to how much a concept artist gets paid, from looking at various webpages, there is no set amount of hourly or weekly pay rate. It depends on how good they think you are as a concept artist, how much the industry is willing to pay out, or sometimes you have to negotiate your own pay rate with them.
So to start off researching 2d animation, i thought id best start researching to exactly what a 2d animator does and what is expected off them.
According to this website, this is what is required of being a 2d animator.
http://degreedirectory.org/articles/What_are_the_Job_Duties_of_a_2D_Animator.html
2D Animators focus on creating characters, backgrounds and scene transitions, bringing creative ideas and concepts to life. Job duties of 2D Animators revolve around designing and producing images. According to The Career Project,www.thecareerproject.org, job duties of 2D Animators include:
Red Kite Animation- http://www.redkite-animation.com/
King Rollo Films-http://www.kingrollofilms.co.uk/
Travellers Tales-http://www.ttgames.com/
th1ing- http://www.th1ng.com/
Astley Baker Davies-http://www.astleybakerdavies.com/
For some of these companies i will produce a book similiar to the Futures project of the first semester outlining my series idea, a script for one full episode and a neat animatic for a full episode as well. Tony Collingwood and Miles Bullough, both of which are sucessful animators that have recently come to the university to do a presentation on their work, have given this advice. I think this is a good idea as the company will see my art style and skills, and will be able to see if i am suitable or not for the style of their company. Every one of these companies has an area of 2D animating which i would be happy to work in, I am interested in learning different programs such as Maya, ToonBoom, and CelAction2D to increase my variation of digital skills, therefore making me more eligible to be employable in to one of these companies.
Upon looking in to King Rollo's website, theres is a training course held at there studio for a duration of one week with weeks starting 26th of March and 13th of August.
http://www.kingrollofilms.co.uk/training.html
CELACTION 2D ANIMATION TRAINING
As mentioned above,the course costs £810 and is designed to give an overview of the animation software. During the weeklong course King Rollo Films, animation director will go through the main features of the software with specific focus on analysing a character for use in a 2D series and the tools and functions needed to animate. The skills learnt will enhance both the CV and employability of the candidate, and they will earn a certificate upon completion of the course. I am really interested in doing this course, as it is something that interests me, and will improve my chances of employability as a 2D animator. I am also going to produce my own, short series and post them on the web on websites like Newsground where by i can collect feedback from viewers, so i can recieve critical/or positive suggestions to improve my work. My idea is to produce short films like Adam Philip, a freelance animator who used to work as a tweener for Disney. His work can be seen at http://bitey.com/. The website also runs short courses, some of which are free and you can continue with for however long you want. The courses cover a variety of 2D animating software such as Flash, FX Animation and ToonBoom varying from easy to advanced skills. Again, this is another course which i am thinking about doing to add experience and show my interest for 2D animation that will help me better my chances of employability in the career path.
Concept Art
Tell us about yourself Aaron; where are you from and when and how did you get started drawing concept art?
I'm from Vancouver, British Columbia, Canada. I decided I wanted to do concept art in high school around grade 9 or 10. Basically I watched a lot of movies, such as Jurassic Park, and Aliens. Those films really made me want to design my own characters and creatures so one day I could see them on the big screen.
How serious are you about concept art? Is it a career for you or is it just a hobby?
I'm very serious about concept art as my career choice. I can't think of anything I'd rather do more, so it's a bonus that I can actually make a living off of it.
How serious are you about concept art? Is it a career for you or is it just a hobby?
I'm very serious about concept art as my career choice. I can't think of anything I'd rather do more, so it's a bonus that I can actually make a living off of it.
No, I don't animate any of my artwork. I do, however, try to make my designs feasible for animation, whether it's 2D or 3D. Since I have experience with both forms of animation, it helps me to figure out what will work and what won't when I'm designing.
Do you think that artists with a formal education in Illustration have an advantage over self-taught artists?
I think that's true to some degree. Formal education is definitely helpful, as I found out with life drawing. Figure studies and practicing drawing the human form really taught me to loosen up, and was probably the biggest aid towards helping my skills improve. Teachers often have a lot of helpful insight. On the other hand, a lot of my own knowledge is based off self-taught observation of other artwork and designs, as well as nature and other things such as architecture and such.
It's good to teach yourself as much as possible, but definitely important to learn the technical side of art.
What Programs and Hardware do currently work with? And why do you choose to work with these software packages?
I work with natural media (paper, pencils, pens) for all my drawing, and Adobe Photoshop 7 for my coloring. I've used other programs, but Photoshop is definitely the best suited to my style. I've been teaching myself how to paint with Photoshop for the past 3 years, and have grown really familiar with the program. This is good, since I like to work quickly and it saves me a lot of time if I know exactly what I'm doing.
What artists influenced your work and whom do you admire?
Most of the artists who inspire me are fellow designers in the entertainment industry. People such as Mark McCreery, Sam Liu, Mike Yamada, and Feng Zhu create wonderful art which really motivates me to improve. I've had the chance to interact with a few of these people, which is definitely an insightful experience when it comes to learning about how they work.
Where do you get the inspiration for your art?
I find inspiration in a lot of things when I'm designing. The biggest inspiration, though, is definitely movies. Every time I come out of just seeing a big blockbuster film with a lot of cool imagery and design, I get really pumped up about creating some of my own. Other inspirations can be found in other places, such as nature, or even interesting buildings in the city. I've come up with a few fun ideas after watching wildlife shows on television.
Could you take us through your creative process when starting a new project.
Basically I start off with the goal to create something original. Originality is definitely the key word. Even if the basic idea behind the concept isn't very fresh, say, a mech with guns or a barbarian with a sword, I'll try to add some sort of stylistic twist to it, to give it that edge which will set it apart. Often I look into other designs related to what I'm working on, to research what has been done, what works, what doesn't, etc. After that, I'll draw a bunch of rough sketches to practice fleshing out the idea I have in my head. Once I settle on the look of the design, it's just a matter of putting it on paper and getting it done.
How often do you draw?
I try draw almost every day, whether it's a just 5 minute thumbnail doodle, or a completed design.
I definitely prefer pencils and paper over any other medium. It's really a lot more hands-on than working with a computer, and I find it really captures the artist's style. That's always a good thing. I've never been a big fan of painting with a brush on paper or canvas, but I do plan on venturing into that direction somewhere down the road. I'm sure I'll have a lot of fun learning new techniques and such.
What's the most technically challenging aspect of your drawing style?
I try to create a level of realism in my designs which will make people think that it really can exist and function in the real world. This is definitely the most challenging part of coming up with a design, since people are so accustomed to knowing what looks right or what looks wrong. Even if the design is outrageously strange, I'll try hard to make it based in some sort of working reality.
What three pieces of your artwork are you most proud of and why?
I'm pretty picky about my own art, so it's difficult to pick any favourites. If I had to name a top three, they would be Bunchies, Godo, and the Scythemaw. Bunchies was just a quick character design I had done at 4am which eventually became insanely popular. It eventually spread all over the internet and I still get mail about it. Godo is a character design I had done for a contest on CGTalk.com, which won me 1st place. I'm still pretty happy with it. Lastly, the Scythemaw is a creature design where I drew out various parts of the life cycle. I like how it turned out, and I think I came up with a pretty cohesive and scary design.
On average how long does it take you to complete a concept?
This can definitely vary. Sometimes I'll spend 2-3 days re-drawing an idea and finding technical problems that take a lot of time to solve. Other times, I'll start a new concept and be finished within 2 hours. It can be a good learning experience when you struggle with a design, but it's definitely satisfying when you can get a lot of good work done quickly. Thankfully, I'm getting quicker everyday.
I'd love to work on any big budget action movie, especially one featuring cool monsters. It would be very, very cool to get the chance to work with someone like Stan Winston or Phil Tippett on a project someday. Hopefully I'll get the chance soon.
What's next for Aaron St. Goddard? Are there any new projects on the horizon?
At the moment I'm trying to lean towards getting full-time employment instead of freelance work. Freelance is fun, but I'd definitely like to work with a team of people on a cool project.
Do you have any advice for the aspiring artist out there?
>There's a few important things to know. One of the most important things is to get your name out there. Make contacts. If you want people to know who you are, post your work on forums and advertise your website/portfolio if you have one. Also, be open to critique. The best way to improve is to find out what you may be doing wrong, and fixing it. Other artists can help you out a great deal. Lastly, draw as often as you can, and focus on making a diverse portfolio. It'll pay off in the end.
Thanks to Aaron St. Goddard (http://www.wildpixels.com/brasshorse/) for agreeing to answer the questions we had for him.
To get feedback i will post some of my work on websites like the one above, http://www.animationarena.com/ and http://www.newgrounds.com/.
After more research, i found this information on a website from someone who again, is experienced as a concept artist.
http://omu.kuiki.net/bbs/index.php?topic=14868.0;wap2
have some experience working as a concept artist on various mods and as a 2D artist on some 'real world' projects and this is just a summation of my expereinces and does not reflect the enteriety of reality of the entertainment industry.
1. Concept artists can be hired either by the studio as a member of the company, or in a freelance capacity. It depends on scope, team size and alot of other factors. Concept art can be done by any artist. Its about ideas.
2. After the design process concept artists generally move into other areas of production. Alot of misconceptions about concept artists is that its all they do. Draw cool pictures. Yes and no, all the pros I have met have expressed that one of the most important aspects is that their skill set is adaptable. They can do textures for a 3D game, or animate 2D, or rig or do matte paintings for backgrounds/skies. Concept art is not a huge part of small projects, but still vital. If you dont get hired by the big studios, and your portoflio isn't mind blowingly awesome it is highly unlikely that concept art will be your only job. Even at blizzard they hire 2D artists to continue doing concept art, but they are also expected to be able to do alot of other jobs for the huge projects that the company does.
From the webpage above it also mentions a website called http://www.thegnomonworkshop.com/
I checked the website and have found it a very useful website that i will probably use when i finish uni. On the website you can buy books, view tutorials, and get professional advice from people who have worked in the industry and ask them questions etc.
The Gnomon Workshop seeks out the most highly-regarded traditional and digital artists and technicians currently working in the entertainment and design industries. Our instructors have shared their practices working at such top studios as Pixar, ILM, Blizzard, and many more.
After looking in to what is required, tips, advice, software materials recommendations, websites to post work, i was curious to see how much a concept artist gets paid.
http://www.conceptart.org/forums/showthread.php?t=224806
'i worked on a videogame where a well known concept artist was paid 10k per image. He did six images for the project. He easily could have done them in a day or two. 100% digital'
http://www.conceptart.org/forums/showthread.php?t=134312
'i think the range is maybe from $40,000 to $80,000 a year'
http://forums.gametrailers.com/thread/whats-the-salary-of-a-concept-/915719
Depends if you're a freelancer or an employee of a company. And of course, it varies with your skill.
As to regards as to how much a concept artist gets paid, from looking at various webpages, there is no set amount of hourly or weekly pay rate. It depends on how good they think you are as a concept artist, how much the industry is willing to pay out, or sometimes you have to negotiate your own pay rate with them.
2D Animation
So to start off researching 2d animation, i thought id best start researching to exactly what a 2d animator does and what is expected off them.
According to this website, this is what is required of being a 2d animator.
http://degreedirectory.org/articles/What_are_the_Job_Duties_of_a_2D_Animator.html
2D Animators create characters, storyboards and backgrounds for animation in a two-dimensional space. 2D Animators may have titles such as Animator, Character Designer or Storyboard Artist. Schools offering 2d animation degrees can also be found in these popular choices.
2D Animators focus on creating characters, backgrounds and scene transitions, bringing creative ideas and concepts to life. Job duties of 2D Animators revolve around designing and producing images. According to The Career Project,www.thecareerproject.org, job duties of 2D Animators include:
- Producing special effects and action graphics
- Creating frames and characters
- Designing advertisements and websites
- Inking
- Coloring
Skills
2D Animators begin their designs with a pencil and paper and use the latest technology to create their final designs. 2D Animators must have a thorough understanding of computer programs including:
- Adobe Photoshop
- Adobe Flash
- Adobe Illustrator
- Adobe FreeHand
In addition, most 2D Animators work with art directors, artists, editors and producers to create their final designs so interpersonal skills are required. 2D Animators work closely with their co-workers and clients to ensure they deliver a great final product.
Job Titles and Work Environment
2D Animators help create websites, video games, advertisements and videos. 2D Animators' job titles may include:
- Assistant Animator
- Character Designer
- Storyboard Artist
I then looked in to research of people's opinions, experiences of getting in to the animating industry. I found some information on this website.
http://www.rediff.com/getahead/2004/oct/07ga-cart.htm
So, how do you become an animator?
What are the courses you can take to help you make it?
Are there certain skills you must possess if you want to become an animator?
Where do you go from there?
Animation isn't for everyone!
First of all, animation isn't for everyone. You have to love the art form.
More important, those who are artistic, creative and innovative stand a better chance of shining in the field.
After all, it isn't just about making mice run across a screen. Today, an animator in India can find himself or herself doing anything from cartoon films and video games to promos for television serials.
Ask Vanitha Rangaraju-Ramanan. This woman went from Trichy in Tamil Nadu to the team that won an Oscar for 2002's animated film Shrek.
Vanitha works as a Lighting Technical Director, and was part of the team responsible for bringing the components of a shot together in Shrek.
So, is there a market?
You bet. All we had a few months ago was Cartoon Network. Now, almost all channels devote at least a couple of hours to animated content alone.
Consider this as well: Going by the amount of outsourcing currently coming our way, India needs over 20,000 animators. We have less than 4,000!
2D ink and paint, or 3D models?
Absolute newbies in animation will find themselves facing options like 3D and 2D. Then there is computer-generated animation, animation for films, animation for television and multimedia animation.
2D relies on an animator's artistic abilities with ink and paint. It is the kind of work thought of and delivered on paper or cells (like the frames you see in a cartoon strip). Mickey Mouse and Donald Duck, for instance.
3D is a whole other ball of wax. This is a creation delivered with the help of models and sets. Remember the film Chicken Run? Or Toy Story? It also depends on an animator's artistic abilities in modelling.
While 2D involves the placing of each cell before an animation camera and then filming it, 3D animation calls for models to be placed on a set, with body postures manipulated shot by shot. The result is a sequence of movements that is realistic.
Before you join an institute
While joining an institute that offers courses in animation would be an obvious beginning, here are some things you should consider:
1. Do your homework. Do not, for even a minute, assume all courses offered are of the same calibre.
2. You might want to contact these institutes, sit down with faculty and understand their individual strengths before signing off an amount of money to them.
3. Ask questions. Meet people in the industry.
4. Consider the going employment rate after the completion of a particular programme.
5. See if the institute has tie-ups with professionals outside.
6. Check if practical experience is being offered.
7. Find out if they can help you find a job once you have finished the course.
"When I decided to dabble in animation, I did ask a number of institutes about the kind of courses they were offering," says Jasbir Bolar, who relies on animation to support his ventures into advertising online.
"I was surprised by the number of institutes in Mumbai alone, which made picking a course difficult. I opted for software like 'Director' and 'Premier' for my work on 2D animation, moving on to '3D Max' for everything on 3D. Eventually, I picked a course by matching the content offered with my personal requirements. That, I think, is the best way to do it.
What skills do you need to become an animator?
Artistic ability is obviously the most important.
There are other skills that always help though, such as self-motivation, a tremendous amount of patience -- ever tried moving a character centimetre by centimetre to build a sequence that lasts for a minute? -- as well as an ability to communicate easily and work as a team.
Also, mastering the basics of script writing, stop-motion photography and editing would be a definite plus.
Remember, animators often work completely in isolation. They do everything from writing a script and creating a storyboard, to directing, producing and editing their work.
The right age?
There is simply no right age to begin.
You could start now, if you liked, with something simple like a flick book -- pieces of paper with characters moving page by page, creating the illusion of movement when the pages are flipped.
You could also think of possible storylines or try your hand at creating characters with clay modelling.
One more thing
The skills you develop as an animator don't belong to cartoon films alone.
They can be used in a whole lot of other ways. When it comes to making an animated film, an animator is just a cog in the wheel.
There are assistant animators, background and layout artists, visual development artists, animators working on effects alone, storyboard artists, graphic designers -- the list can be pretty exhausting.
Are there certain skills you must possess if you want to become an animator?
Where do you go from there?
Animation isn't for everyone!
First of all, animation isn't for everyone. You have to love the art form.
More important, those who are artistic, creative and innovative stand a better chance of shining in the field.
After all, it isn't just about making mice run across a screen. Today, an animator in India can find himself or herself doing anything from cartoon films and video games to promos for television serials.
Ask Vanitha Rangaraju-Ramanan. This woman went from Trichy in Tamil Nadu to the team that won an Oscar for 2002's animated film Shrek.
Vanitha works as a Lighting Technical Director, and was part of the team responsible for bringing the components of a shot together in Shrek.
So, is there a market?
You bet. All we had a few months ago was Cartoon Network. Now, almost all channels devote at least a couple of hours to animated content alone.
Consider this as well: Going by the amount of outsourcing currently coming our way, India needs over 20,000 animators. We have less than 4,000!
2D ink and paint, or 3D models?
Absolute newbies in animation will find themselves facing options like 3D and 2D. Then there is computer-generated animation, animation for films, animation for television and multimedia animation.
2D relies on an animator's artistic abilities with ink and paint. It is the kind of work thought of and delivered on paper or cells (like the frames you see in a cartoon strip). Mickey Mouse and Donald Duck, for instance.
3D is a whole other ball of wax. This is a creation delivered with the help of models and sets. Remember the film Chicken Run? Or Toy Story? It also depends on an animator's artistic abilities in modelling.
While 2D involves the placing of each cell before an animation camera and then filming it, 3D animation calls for models to be placed on a set, with body postures manipulated shot by shot. The result is a sequence of movements that is realistic.
Before you join an institute
While joining an institute that offers courses in animation would be an obvious beginning, here are some things you should consider:
1. Do your homework. Do not, for even a minute, assume all courses offered are of the same calibre.
2. You might want to contact these institutes, sit down with faculty and understand their individual strengths before signing off an amount of money to them.
3. Ask questions. Meet people in the industry.
4. Consider the going employment rate after the completion of a particular programme.
5. See if the institute has tie-ups with professionals outside.
6. Check if practical experience is being offered.
7. Find out if they can help you find a job once you have finished the course.
"When I decided to dabble in animation, I did ask a number of institutes about the kind of courses they were offering," says Jasbir Bolar, who relies on animation to support his ventures into advertising online.
"I was surprised by the number of institutes in Mumbai alone, which made picking a course difficult. I opted for software like 'Director' and 'Premier' for my work on 2D animation, moving on to '3D Max' for everything on 3D. Eventually, I picked a course by matching the content offered with my personal requirements. That, I think, is the best way to do it.
What skills do you need to become an animator?
Artistic ability is obviously the most important.
There are other skills that always help though, such as self-motivation, a tremendous amount of patience -- ever tried moving a character centimetre by centimetre to build a sequence that lasts for a minute? -- as well as an ability to communicate easily and work as a team.
Also, mastering the basics of script writing, stop-motion photography and editing would be a definite plus.
Remember, animators often work completely in isolation. They do everything from writing a script and creating a storyboard, to directing, producing and editing their work.
The right age?
There is simply no right age to begin.
You could start now, if you liked, with something simple like a flick book -- pieces of paper with characters moving page by page, creating the illusion of movement when the pages are flipped.
You could also think of possible storylines or try your hand at creating characters with clay modelling.
One more thing
The skills you develop as an animator don't belong to cartoon films alone.
They can be used in a whole lot of other ways. When it comes to making an animated film, an animator is just a cog in the wheel.
There are assistant animators, background and layout artists, visual development artists, animators working on effects alone, storyboard artists, graphic designers -- the list can be pretty exhausting.
I would be happy to do either 2D drawn or 2D digital animation in programs such as Flash. Upon thinking about which area of 2D animation i would like to start off with, i think i would like to start off with childrens TV work for companies such as the BBC, as i would get a lot of experience and would be able to carry on learning as i work.
Also, upon looking at Uclan's elearn website, http://elearn.uclan.ac.uk, i am also interested in the companies...
Red Kite Animation- http://www.redkite-animation.com/
King Rollo Films-http://www.kingrollofilms.co.uk/
Travellers Tales-http://www.ttgames.com/
th1ing- http://www.th1ng.com/
Astley Baker Davies-http://www.astleybakerdavies.com/
For some of these companies i will produce a book similiar to the Futures project of the first semester outlining my series idea, a script for one full episode and a neat animatic for a full episode as well. Tony Collingwood and Miles Bullough, both of which are sucessful animators that have recently come to the university to do a presentation on their work, have given this advice. I think this is a good idea as the company will see my art style and skills, and will be able to see if i am suitable or not for the style of their company. Every one of these companies has an area of 2D animating which i would be happy to work in, I am interested in learning different programs such as Maya, ToonBoom, and CelAction2D to increase my variation of digital skills, therefore making me more eligible to be employable in to one of these companies.
Dennis and Gnasher- 2D animation
Example of 2D Animation
My own examples of 2D animation
Upon looking in to King Rollo's website, theres is a training course held at there studio for a duration of one week with weeks starting 26th of March and 13th of August.
http://www.kingrollofilms.co.uk/training.html
CELACTION 2D ANIMATION TRAINING
Duration: 1 week
Practical %: 100
Entry Requirements:Animation professionals with an undergraduate degree or relevant work experience. Non-graduates with relevant work experience.
Targeting: Professionals/Graduates
Cost (incl.VAT): £810
Crèche: No
Access for Disabled: No
Date: Weeks starting 26th March and 13th August 2012
Description of course:
The course is designed to give an overview of the animation software CelAction2D. During the week long course King Rollo Films' animation director will be taking you through the main features of the software with specific focus on analysing a character for construction, building a character for use in a 2D series and the tools and functions needed to animate.
This is a chance to learn valuable skills that will enhance both your CV and employability.This course is endorsed by CelAction and a certificate will be awarded to each candidate on completion of the course as well as the option to purchase the CelAction2D Professional Editon at a 50% discount rate (normal price £599).
Bitey of Brackenwood
In regards to how much an animator gets paid, i tried researching to find answers.
http://wiki.answers.com/Q/How_much_money_does_an_animator_earn
An animator makes about $700-$800 a week when first starting. Animators who have 1-3 years of experience make about $2000-$4000 a week.
It mostly depends on who you're working for but most animators can make from $30,000 to $50,000 to even $100,000 a year.
http://answers.yahoo.com/question/index?qid=20090821095548AA94hSe
As for income...that's the kind of thing you can Google pretty easily. It varies quite a bit, but I'd say most starting salaries are $30,000-$40,000. I've known a few people that have started at a lot more, but I've also known A LOT of people that have started at quite a bit less
Like a concept artist, it looks as though your salary will depend on who you work for and what company. However, from looking at those websites it seems as though the average wage is about 30,000 a year and will most likely increase the longer you work in that company, or depending if your promoted to a higher job or not.
Illustrator
Another career that i am interested in is an illustrator. So to begin with, i researched in to exactly what an illustrator is and does.
http://creativepool.co.uk/articles/?slug=illustrator-job-description&parent=jobdescriptions/
llustrators combine art, design and creative skills to develop ideas and produce original visual images for a wide range of products.
Most illustrators specialise in a particular style. There are various different stages in their work, including:
- discussing client needs and identifying a target audience for the work
- agreeing the brief and contract with the client
- developing visual ideas that suit the brief
- seeking client approval for ideas with rough visuals - this stage may involve going back to the drawing board several times to rework sketches
- using drawing, sketching, painting and photographic skills to produce illustrations.
Illustrators in employment usually work from 9am to 5pm, Monday to Friday. The working hours of freelance illustrators vary depending on deadlines and quantity of work. Most illustrators work at home or in a studio. They usually work at a drawing board and computer workstation.
Salaries for employed illustrators working full time may range from around £14,000 to £40,000 a year. Self-employed illustrators are paid for each project or illustration.
An illustrator needs:
- excellent drawing and IT skills
- to be able to work to a brief, solve problems creatively and adapt their style
- creativity and imagination
- to enjoy creative work.
Illustrators work throughout the UK. Most are self-employed and work freelance. They often have other paid jobs while they try to build up their business. It is a competitive area of work. A few illustrators are employed by design and advertising agencies, and publishers.
There are no set entry requirements to become an illustrator. It is important to have a high level of illustration ability, an extensive portfolio of quality work and self-promotional skills to obtain work. Most illustrators have an HND, Foundation degree or degree in an art and design subject such as illustration, graphic design or fine art.
Illustrators can take a number of specialist courses to develop their skills in areas such as technical, book and sequential illustration, and animation. The Association of Illustrators offer practical support to illustrators and a range of classes for freelancers.
Most freelance illustrators remain self-employed. Success depends upon building a strong reputation and securing a steady flow of work. Some illustrators broaden their business by developing skills in related areas such as graphic design, animation and cartoons. There may be opportunities for illustrators in employment to become art directors, design managers or heads of departments.
What is the work like?
Illustrators combine art, design and creative skills to develop ideas and produce original visual images for a wide range of products. These include:
- books and book jackets
- educational, training and reference materials
- instruction manuals, leaflets and sales brochures
- greetings cards, giftware and packaging
- advertising materials, posters and catalogues
- magazines and newspapers
- television and film animations and storyboards
- computer games, websites and mobile phone visuals.
Most illustrators specialise in a particular style. There are various different stages in their work, including:
- discussing client needs and identifying the target audience for the work
- agreeing the brief and contract, including payment and deadlines, with the client
- developing visual ideas that suit the brief
- seeking client approval for ideas with rough visuals - this stage may involve going back to the drawing board several times to rework sketches
- using drawing, sketching, painting and photographic skills to produce illustrations
- increasingly, using computer packages to scan in their own visual images, and then refine and develop the ideas on screen
- continuing to work with the client, seeking approval at all stages of development and making any changes as required, right up to completion of the job.
There are specialist areas of illustration, including fashion, medical, scientific and technical illustration. For more information, see Medical Illustrator and Technical Illustrator.
Self-employed illustrators need to be proactive in finding work. This includes promoting themselves to employers and keeping their portfolio up to date. Some illustrators use agents to do this work. They also need to keep their own records and accounts.
A new entrant working full time may earn between £14,000 and £19,000 a year.
Hours and environment
Illustrators in employment usually work from 9am to 5pm, Monday to Friday. The working hours of freelance illustrators vary depending on deadlines and quantity of work.
Most illustrators work at home or in a studio. They usually work at a drawing board and computer workstation.
Salary and other benefits
These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.
- A new entrant working full time may earn between £14,000 and £19,000 a year.
- An experienced illustrator may earn from £20,000 to £30,000 a year.
- Well established illustrators may earn up to £40,000 a year. A few may earn more than this.
Full-time work can be hard to obtain. Most illustrators are self-employed and are paid an agreed fee for each project or illustration. The Association of Illustrators (AOI) has information regarding fees on its website, www.theaoi.com.
Skills and personal qualities
Illustrators need:
- excellent drawing and IT skills
- to be able to work to a brief, solve problems creatively and adapt their style if needed
- creativity and imagination
- an eye for detail and design
- self-promotional skills
- self-motivation and the ability to work to deadlines
- to be good at communicating and negotiating with clients and colleagues
- a good understanding of medicine, science or technology (to be a medical, scientific or technical illustrator).
Interests
It is important for an illustrator to:
- enjoy creative work
- have a wide interest in the visual arts.
Getting in
Illustrators work throughout the UK. Most illustrators are self-employed and work freelance. They often have other paid jobs while they try to build up their business. It is a competitive area of work.
A few illustrators are employed, although graphic design or animation skills may be needed in addition to illustration skills. There may be opportunities with:
- design or advertising agencies
- publishers
- multimedia and web publishers.
I researched and took a look in to some websites to get advice and tips on how to become an illustrator. I found this website pretty useful as again, it has advise from someone who is experienced in the illustration career. Like a concept artist, making a portfolio or creating your own website is advised to get your art out there and begin to make a name for yourself.
http://www.n8w.com/wp/552
How to start your illustration career
People often ask me how I got started as an illustrator and if there is any advice I can give them in becoming a professional illustrator. I think having a successful illustration career comes down to the following: Unique Consistent Style, Technical Skills, Marketing, Tracking Work and Attitude. Hopefully, you will find something useful in this article.
Unique Consistent StyleI think having a unique consistent style is probably one of the most important keys to having a successful illustration career.
- Read this article: Does an illustrator need a “style”?
- Read this book: The 22 Immutable Laws of Branding by Al Ries and Laura Ries
It’s hard to execute a good idea if you don’t have the technical skills to do it. Having great technical skills not only allows you to realize your ideas .. but also will save you a ton of time in the long run because you will be much more efficient/responsive when clients have feedback.
You can search for tutorial videos on Youtube and Vimeo , but in order to save you to time I highly recommend Lynda.com’s video tutorial. You pay a monthly subscription fee which gives you access to all the videos you can watch on all the major programs (photoshop, illustrator, aftereffect, and tons more)
Marketing your illustrationsAll your marketing efforts should point back to your web site. Your web site is a place where you can centralize information and understand the success of specific marketing tactics via Google Analytics and/or Statscounter. YOUR WEBSITE IS YOUR MOST VALUABLE MARKETING TACTIC!
What makes a “GOOD WEB SITE”?Domain Name – First you need a web site with your own domain name.
(example: www.yournamegoeshere.com). Art directors won’t take you seriously if you are pointing to another domain (flickr, tumblr, etc) So if you don’t already have your own domain address you can register you domain name here:
(example: www.yournamegoeshere.com). Art directors won’t take you seriously if you are pointing to another domain (flickr, tumblr, etc) So if you don’t already have your own domain address you can register you domain name here:
Note: All you need is the domain name, don’t buy any extra services, it’s not necessary.
Portfolio Hosting Sites vs. Creating Your Own Web Site
Next, you can use a portfolio hosting service or create your own web site. I recommend using portfolio hosting service, because they have already take care a lot of the advice I mention below for creating your own web site (Search Engine Optimization, Usability, Permalinks, Technical Setup, etc)
Recommend Portfolio Hosting Sites
- http://www.squarespace.com (*I think this one is the best!)
- http://cargocollective.com/
- http://www.viewbook.com/
- http://carbonmade.com/
Creating Your Own Web Site
If you decide not to use a portfolio hosting company and want to create your own site I recommend hosting it at www.site5.com. I have used them for years and I am really happy with their service. I host this site and my other sites there illustrationmundo.com,letterplayground.com, proconist.com, www.alexanderblue.com
If you decide not to use a portfolio hosting company and want to create your own site I recommend hosting it at www.site5.com. I have used them for years and I am really happy with their service. I host this site and my other sites there illustrationmundo.com,letterplayground.com, proconist.com, www.alexanderblue.com
Similiar to becoming a concept artist, self-premotion is becoming the easiest and most popular way of going about getting a job as an illustrator. Because of this, like the route to becoming a concept artist, i an going to make some original ideas and premote my work in an omline portfolio, available for the public to see and open to negative/positive feedback to improve my work. Again, i will continue to carry on practicing with programs such as Photoshop so i can improve my skills for digital and drawn artwork.
Images by Paul Kidby-illustrator for the Terry Pratchett books
