Concept Art is one of the few interests I have, and in this
session Concept Artist Steven Cooper was a guest lecture to talk about some of
his client works (Doctor Who, Paddington, Silent Hill: Origins) personal works,
life as a concept artist, as well as responding to general questions regarding
about the subject.
This session was very, very useful and interesting as I get
to have a small insight into how a concept artist work, dealing with exposure
and client work, including to know Stephen’s personal opinions, influences and
advice.
After his presentation that consists a body of client works
as well as some personal projects, I personally sat down with him and discussed
about my interest in concept art and to share my experiences of learning in the
past in my previous university, where I had studied Game Art Design in De
Montfort University.
I discussed my experiences where I find it difficult, as a
whole, to study Concept Art, where you need the skills of both 3D Game
Production and Visual Design. I asked this whether it is necessary that,
despite being a 2D illustrator, you need the skills as a 3D modeller to get
into concept art, considering I myself is not keen in 3D modelling and it is
too technical for me. Stephen explained that it is not that necessary, however
it would give you an advantage over some who doesn’t know much of 3D modelling,
and told me that gaining those skills is a plus to your employability within
the industry of concept art. He told me that you can still get into Concept art
without knowing 3D modelling, though basic knowledge is required just in case
you would ever need to use one, which he explained earlier in his presentation,
that he needs to self-teach on using 3D modelling software he needs to use,
such as Maya and ZBrush to produce some client work. His opinion makes it all
clear to me and that it is not a necessary requirement to get into concept art,
though this makes me more wary that some, if not most companies are on the
lookout for those who has both 3D and 2D skills, which can put those in an
advantage over those who don’t have both, like me.
After the discussion I made it relate to one of questions
that I want to ask, and that is:
Would
you consider Concept Art the hardest subject within the field of Illustration?
Stephen agrees that concept art is, in some way, hard in
comparison to other subjects in art and design, primarily because you would
need to stay at top in being creative and motivated all the time, regardless
whether the project you are doing is enjoyable or not. He said the design
element is what keeps things challenging and you would need to think and
produce new designs, which can be difficult especially if there is a strict
time constraint on the project’s idea phase. You would need to know how to draw
anything and don’t expect to draw your favourite things all the time, since the
brief from the client could be of anything. If you can’t then maybe concept art
is not the right choice, and would prefer to go to a more general digital
illustration pathway, if creating illustrations is your thing.
Taking into account of what he said in response, which
leads to my second question:
Did
you work on multiple projects simultaneously?
No. Stephen said he didn’t and would personally prefer to
work and focus on one project at a time, as he said his director assumes he has
undivided attention and knowing he can handle the work, otherwise, working on
another project without the director knowing would stir some problems, also
taking into account Stephen would need to keep things confidential of both
projects between the two companies. Plus it would personally conflicts
Stephen’s working hours, as there is more work to do.
Did
you have to self-teach to learn new software outside of work?
Yes. He said that a lot of companies does not provide any
tutorial or training if a particular software skill is required. He reflects
back to my first question, where he tells me that knowing some of the software
is a plus to your employability, which I think he is correct. This had me
reflecting back when I first acquired Photoshop a few years ago, knowing that I
would need to self-teach myself, considering there’s no classes that teach you
the ways of digital painting, unless you go to a specific art school/college.
He said it is handy knowing a few extra things, but if it is something that you
would definitely be using, you would need to teach yourself.
As an
artist is it better to be well rounded in everything, rather than sticking to
the things you like to do? Such as drawing specific characters, environments,
etc.
Yes. Cooper said it is better to be well rounded than
sticking to what you can do, as it will narrow down your opportunities. He
personally say that sticking to one thing is somewhat generally not a good
idea, but you do get artists who are recognised or well known for drawing the
one subject or theme that they like to do, whether its character portraits or
sci-fi robots, which is not a bad idea if it is successful, but overall he
personally says that it is better to know your way round rather than boxing in
on yourself. Sure it will make you recognisable in a way to be known as an
artist who draws this or that, but drawing your favourite things all the time
could somewhat hinder your job opportunities and skill.
It was nice to have discussions and debates on several
topics with Stephen and was given small tutorials in Photoshop including some
advice in painting surface materials. This session has been very good and was
well engaged in discussing relevant topics relating to my own interests with
Stephen Cooper and I may contact him via email for future references/purposes.




