Industry Facing Materials and EOYS

End of year show Display Implementation

Going from the feedback given to previous years we realised the importance of keeping precise measurements in our display design. Knowing this, we started with planning and leaving nothing to chance. Andrew, Matthew and Kerry measured our space. Sorcha and I then divided up these measurements to determine how much space each print would get plus border space. Sorcha then took theses measurements into photoshop and further figured out how best to use the space between large and small prints.  This resulted in Photoshop documents set to 32.5 x 50 inches, 300ppi. Sorcha saved this template for each of us to add our work to. We decided to print each of our boards as one unit each (5 x boards) instead of individual prints as this was quicker to print/prepare and kept our measurements from Photoshop intact.

Seeing as our work is best displayed on screen, we each used a mac for our showreels plus an extra mac for the full film.

For preparing our space, we painted the wall, cleaned the floor and tried to make sure that our wires were taped invisibly beneath the table or under a wire mat.

 

C.V.

https://docs.google.com/document/d/15ytAGeDBX1tspOrjyFP36qM8RrUnaesVO32fNNw7RNw/edit?usp=sharing

For my CV Alec suggested adding more of my artwork. My CV is currently very bland compared to others in the class. Gavin Goulden (lead character artist at Insomniac Games) suggests keeping a clean CV in his tweets on tailoring your portfolio (link). A blend between simple and showing more of my work sounds like the best to aim for.

Screen Shot 05-28-18 at 09.05 PM.PNG

 

Showreel

Business Cards

For my business cards, Alec has suggested to include my profile picture on one side and either my environment art or a render on the opposite side. The above black/white design is what I printed before I received the feedback. It’s quite minimal so I may redesign it with feedback to make it more memorable.

Project Poster

Using Matthew’s poses which he prepared for EOYS, I composed new scenes with our props and put together the following two posters. For the landscape poster Alec suggested removing the clutter from behind Tato, adding the strangeling in the doorway and adding a warm light to break up the blue.

For the second portrait poster below that, Sorcha did some paint-over to make it pop more. Andrew provided a Photoshop template with the correct dimensions to everyone in the class as he printed everyone’s posters.

Any other Team/Project Branding for EOYS Display

We visited FabLab (website link) to get the “Nami the Last Witch” logo cut out for above our display (about an arms length:D). Sorcha and Kerry are also getting Nami and Púca 3D printed.

Portfolio  (optional, e.g. Artstation/Sketchfab etc)

https://crowlena.wixsite.com/crowlena

https://www.artstation.com/crowlena

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Environment Artist Jobs and Skills

I’m looking into the skills that I need to develop in order to apply as an environment artist. During final year I’ve worked on both 2D concepts and 3D production for environment. However, I feel like I’ve only skimmed the surface of either and have a lot of work ahead of me in order to be industry level.  I’m determined to develop my skills but still feel that I need to experiment in both 2D concept design and 3D modeling, texturing and lighting in order to determine what I route I should specialise more in.

In order to apply for a job I’m considering the specific skills that I need to showcase in my portfolio. I’ve been looking at both games and live action centered jobs as I feel like I could still branch into either. The following are just a few of the job listings/requirements that I’ve looked at to help me find more focus and see what areas I’m lacking in.

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Barton, G. Don’t Get a Job…Make a Job

These are some of my notes from reading “Don’t Get a Job, Make a Job” by Gem Barton.

Release early and release often. Don’t just rely on a cv to tell your skills, create proof! (p.23)

Your personality is your brand. Don’t be afraid to promote yourself.

Going Mobile

Go to the clients, don’t make them come to you.

“Having a hook that is a perfect match for your business needs as well as a strong brand identity is the ideal situation to put yourself in.”

“…we learn most when we act on our ideas instead of questioning them to death.” –

the Free Architecture stall idea broke down the barrier for having a conversation with architects.

Build your ideas for the world to see so that you become a familiar name. e.g. an architecture student built his masters project inside a bus which he then drove around to present.

Specialism versus Diversity

Be t-shaped.

Tough Calls

Competitions that you entered for well know brands are a good conversation point in interviews. Think of how you are spending your time now . This might prompt a tough decision of what you need to give up in order to pursue what will realistically get you the jobs that you want.

Experience – “work for others in order to understand how the industry works from the inside, how to deal with clients and suppliers, and how to manage a studio in the best way.” (p. 78)

“…always be alert to what surrounds you, work for others before you start your own studio, and be very patient”.

“The results are stronger when you exchange ideas with people. ”

“Build best case scenarios in your imagination”. Write a few fake CVs of possible futures and print them out.

Going it alone vs teaming up

“Hard work and commitment beat almost any other trait” (p.95). Do what you love and trust your instincts – this is common advice but at the end of the day you still need to support yourself. It’s up to yourself to put your name out there.

“Getting a diversity of experience matters, particularly if you’re going solo.” (p.96)

When you’re making a name, don’t think of who you are now, but what you want to become.

Don’t become a hermit. If you’re going it alone then networking outside the studio will be even more important. “Look for arenas to continue critical dialogues to test your ideas”. (p.97)

“Even within a team you need to be individual”

“Do everything yourself at the beginning – book-keeping, meetings, clearing up, building, drawings – it is important that you have an understanding of all aspects of practice as well as the life of the things you design.” (p.105)

“When starting a collective, it is important to set out a shared goal, a mission statement or similar, summarizing who you are, who you want to be, and the ethos behind the work you hope to produce.” (p.107)

“work out who you are and then express that”

“Don’t wait for things to happen – you are the one who can create your opportunities. Draw the art you want to see, create the events you want to attend, write the books you want to read” (Mega, p.121)

“If you have to show your portfolio to someone, highlight your ideas instead of your technical abilities….Get out of your comfort zone”.

Podcasts: Finding Jobs

I Graduated…Now What? GSG Podcast Ep. 93

These guys offer some advice on getting a job after graduation with a design degree.

  • Networking is key. Start networking and visiting studios as a student.
  • Don’t be ‘the best person in the basement’.
  • Go to events and meetups. be active online in forums and slack channels.
  • Make yourself memorable as a specific skill based identity. E.g. when people think of ‘concept artist’ they should think of your name. This is your personal brand. Market and compartmentalise yourself in a crowd.
  • Ask other junior artists how they got their job.
  • Our work is all about trying to catch people’s attention. Apply this to yourself.

Becoming a Better Artist – with Emilie Stabell

  • Do projects in your own time to find what you’re talented at.
  • The first impression in your portfolio decides whether you’re skipped.
  • Why you instead of the other applicants?
  • Cater to the company or find a company that suits your style. Display the skills that they’re looking for. Make your application personal.
  • Soft skills matter a lot in this small industry. There are maybe about 40 character modellers in London VFX.
  • Going in as a concept artist is the hardest role in this industry. Mentally exhausting to come up with new ideas everyday.
  • Storytelling/concept is a muscle that you can train. Be aware of the difference between concept art and production. Get the idea across. You are an idea artist. Use kit bashing. Create a lot of quick ideas.
  • Quantity matters. You need to explore. Create 200, throw them out and create 200 more. You need to push beyond the limits. Quantity makes you go crazy and create mad decisions.
  • Low intensity over 10 years is better than high intensity for a short time. Be analytical and have a critical eye of your weaknesses. Be consistent over a long time with a focused, clear goal. Be the water in the grand canyon. The rewards on hard mode are more rewarding than easy mode. There are stupid limitations like not having undo or save. References and the challenge of not using references. By setting yourself up to fail deliberately you learn more from when you do it again e.g. draw a horse from memory and then look at reference.
  • Get a really shit idea and then critique it until it’s amazing. Don’t just through it away. Finish projects. 
  • Put up your work for critique, don’t be afraid. Fight the words with good art. You are not your work.
  • Your first job is usually your hardest.

Getting Your First Job and Internship as a 3D Artist

  • They both made industry connections through internships which got them their jobs.
  • Tailor your portfolio. Personalise your cover letter.
  • Junior positions are more plentiful than internships.

Killer Portfolio or Portfolio Killer 2018: Advice from Industry Artists

  • Prepare yourself for lots of rejection and don’t be deterred.
  • Get rid of portfolio weeds. Quality over quantity.
  • Stills might be a better format e.g. an artstation portfolio, if you don’t have animation in your reel.
  • There is an advantage in showing a specialist skill plus a complimentary secondary skill.