Our studio is engaged in large orders for the production of a virtual environment for mobile and computer games. Our work schedule depends on the workload of the studio, and you must be prepared for tough deadlines.
Due to the current difficult situation, all of our artists are working remotely.
Here are some of the main objectives of concept art.
1. The process is an investment in ideation and exploration, resulting in your first looks at what the product could be.
2. It is also used by the production team to create the final asset. Each department, stage of development or industry type has different needs. Some need to create something from ground up; others are trying to fit new assets to existing styles. Assets may require callouts, technical drawings, Turn around sheets, color boards, material breakdowns, etc., which all qualify as concept art.
3. Finally, it can help predict and identify a wide array of potential design and technical problems early on.
The end result isn't necessarily a beautiful illustration but more something that assists in the production.
1. The process is an investment in ideation and exploration, resulting in your first looks at what the product could be.
2. It is also used by the production team to create the final asset. Each department, stage of development or industry type has different needs. Some need to create something from ground up; others are trying to fit new assets to existing styles. Assets may require callouts, technical drawings, Turn around sheets, color boards, material breakdowns, etc., which all qualify as concept art.
3. Finally, it can help predict and identify a wide array of potential design and technical problems early on.
The end result isn't necessarily a beautiful illustration but more something that assists in the production.
The problem is that most people focus on quickly acquiring as many different skills as possible and end up not having enough experience in each of the skills to get a job. I would recommend mastering one area and then expanding into other areas over time to learn more
Sometimes you feel less creative, and that's okay; creativity comes in waves. This is only a problem if creativity is your job. One solution is to know what boosts your creativity and what tools/techniques you can use to help you get the job done, no matter how boring you feel.
Develop the ability to identify the elements that are needed to work and prioritize. Once they are in place, you can move on to less important aspects. Not only does this mean you'll start with a solid foundation, it means you're more likely to have a functional asset if the timeline changes and you have to move on to other tasks, or if the requested changes use up the time you would have spent on part improvement. Sometimes you have to be willing to let things die in order to move on.
If there's something you really like about one of your sketches or one of your concepts that hasn't been used, save it somewhere in a folder. Then when you run into trouble designing for something else, you can scroll through that folder to see if something sparks your creativity and might provide you with a new foundation.
Learning new software or techniques is beneficial in many ways. It's good for your brain, both psychologically and physiologically. You are likely to find something that speeds up your workflow, improves your skills, or expands your knowledge. Perhaps most importantly, you will feel more comfortable adjusting to new environments when changes occur and you cannot avoid them.
The detail pass is not a necessity in my opinion. But it is something very satisfying to look at, when it is well applied.
You can use it to help give extra information about the subject of your art, and to direct the viewer's eyes.
The detail pass should often be used to strengthen the basic shapes. So it should rarely fight against it, and most of the time preserve the flow of the basic shapes.
You can use it to help give extra information about the subject of your art, and to direct the viewer's eyes.
The detail pass should often be used to strengthen the basic shapes. So it should rarely fight against it, and most of the time preserve the flow of the basic shapes.
A It is important to balance the details and areas of visual rest. You do this to direct the viewer's attention without distracting their gaze. If there are details everywhere, the eyes don't know where to go and your art becomes visually unreadable.
This helps to check if the basic shapes and silhouette work from afar. This is because you need to make sure that game elements are recognizable from different angles and distances in different lighting conditions. When you apply details, it's natural to zoom in close to the element. Zoom out frequently to see if the detailed pass fits well with the overall shape. The goal is for the overall design to appear consistent.
You can look at perfection and speed as two opposites, neither of which is functional on its own. If you try too hard to be perfect, you will waste your time making small adjustments that add little to your work and will frustrate you as it is almost impossible to get something perfect. On the other hand, if you try too hard to be fast, you will be forced to skip or miss important steps, which will weaken your work and prevent it from reaching its goal. To be a better artist, balance these two opposing goals.
It trains your muscles and mind to fully express your ideas. The more you practice, the more often you will run into problems and the more solutions you will discover that you can use when you run into the same problems in future projects. Practice will help you feel comfortable creating and increase your confidence even if you fail because you will learn and therefore become a better artist.
