More progress

These are the front and side views of my Mudbox sculpt. I am pretty happy with how they are progressing, although from taking a screenshot I can see some minor tweaks needed to make it look better.

Drawings to help with my Mudbox Sculpt

To help get the areas of the face correct in my sculpt I decided to do some drawings of both the anatomy of the face as well as David. This will help me when sculpting his facial features and getting them to look realistic and like him.

This drawing shows the muscles in the face, and the location and placement of all the facial features.

This is my study of David, drawn from one of my reference images.

Media Industries Research

Concept Artist Research

CONCEPT ARTIST

The Role

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.

TWO COMPARISON COMPANIES

VALVE

What they look for

We’re looking for versatile, self-directed artists who have experience in 2D character and world design and enjoy working in a fast-paced, collaborative environment. Your folio should, above all, demonstrate originality, an ability to iterate, and an understanding of color and form. It should also reflect a solid understanding of anatomy and painting, and contain examples that show your awareness and appreciation of Valve’s various Intellectual Properties.

Duties:

• Integrate into a multi-disciplinary team (6-8 people) and continually produce useful concept design based on the group’s collective conversations and decisions.
• Iterate quickly and submit work that solves problems rather than creates them.
• Self-manage and also be aware of the needs and requirements of those around you.
• Generate ideas and use 2D/3D work to communicate those ideas to the team.

Requirements:

• Working knowledge of 3D packages such as ZBrush, Mudbox, SketchUp, etc.
• Communication skills that allow you to describe your process maturely and succinctly
• Ability to change gears quickly when needed

FRONTIER

What they look for

Concept art is a key part of our development pipeline. We are looking for concept artists with superb traditional skills who are able to define and communicate a vision for our games and elements within them. We strive to maximise the creative input from our art team, and we currently have projects encompassing a range of genres.
Traditional art skills and extensive experience with Photoshop are essential.
Industry experience is important but not essential, as long as you have examples of high quality work that you have done. These do not need to relate to a game, but should show off your talent.

COMPARISON

Both look for:

• Traditional art techniques, painting.
• A knowledge of anatomy
• Ability to communicate a vision
• A talent in Art

Differences:

• Valve want industry experience, Frontier ask only for high quality work.
• Frontier want people with extensive Photoshop experience.
• Valve stress the need for a candidate to be fast working and be able to work in a team

Walk, Run and Jump cycle research

This is what I looked at for the walk cycle, I looked at how the legs and arms moved together, and studied a few images as well.

These are what I researched for the run cycle, a basic animation conveying the arm and leg movements, and also a step by step image on the movement.

This is what I looked at for the jump cycle. I decided to do a jump on the spot, and these two references helped with leg movement and timing.

Anatomical Drawings

After looking at the brief set for the Animation project I got to work on studying Anatomy in drawing, attending the life drawing sessions as well as studying a book. These are my drawings so far, in order of when they were produced, as you can tell that there is an improvement.

First ever life drawing session:

This session got us looking at the light bouncing off the body, using chalk on a dark piece of paper.

This session had us looking at the face, showing the light and the shadows.

In this session, we began looking at the hands, and then moved onto a perspective drawing.

This is the perspective drawing, I found this very hard, but I am quite happy how this came out in the end.

After this session I decided to do my own studies of hands, and found myself finding them easier to draw each time.

First Mudbox attempt

After getting a whole new computer, I am now able to do Mudbox at home with no problems. Which is helpful to say the least. This is my first attempts at sculpting David's head and face, just trying to gain a rough look of the shape of his head and where his eyes, nose, mouth, ears and hair lay. I feel this is quite successful so far, although there is still much work that needs doing on the face as well as detail needed, everywhere.

Reference Images for Mudbox Sculpt

For the Mudbox sculpt I decided to create a 3D model of my boyfriend Davids head. These are the reference images I took. I tried to get as many angles as possible to help with sculpting the face.

I will also be drawing a few of these images as to get the feel of how the face looks and how to sculpt it.