Roundtable:
The Artist’s
I’m a twenty-two year old artist with a keen interest in a wide range of creative fields. I’ve gone from working in digital 2D to exploring 3D a whole lot. I guess it’s mostly because of my interest in the future of 3DCG cinematics.
I mean, if GPU rendering technology continues to progress, you’ll start seeing indie developers who are wanting to make a cinematic, too. This is why I don’t want to be a 2D-centric artist, I want to be more like Ash Thorp – he’s someone I like to think of as a true all-rounder. Now, this might make it difficult to categorize what I do, but you won’t see me fretting about it. I will always be inspired. So long as I can keep looking to Blur Studio, Digic Pictures and Square Enix to remind myself of what can people have achieved in this industry.
Question: Why Do We Follow Trends?
I want to ask something about trends. It seems rather prevalent for aspiring artists to follow styles and trends too closely.
I’ve seen a lot of stuff that looks just like Naughty Dog, Vitaly Bulgarov and so on. I’m wondering if this is stifling creativity in our field, or if it’s actually a good thing to follow these popular trends so closely.
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Quitting Job, Taking the Leap of Faith, Super Stressed, Not Burning to Cinder…
Julien Gauthier is a French concept artist who’s currently working at Industrial Light & Magic. Because France is known for its 3D-oriented art schools, he chose one of the more renowned ones and studied for four years, learning everything he’d need to know before setting off to work at a big studio. After graduating, he was a lighting technical director for Guardians of the Galaxy (2014) in London, and shortly after, he’d be on his way to Paris, then Vancouver, and finally Singapore.
Every move brought a new project with it, but Julien was growing dissatisfied with the lack of creative input artists get in big VFX companies.
I was working on the lighting for different scenes, but I didn’t have that much choice when it comes to the overall aesthetic. It was mostly technical problem-solving. How to render this or that without breaking the render farm […]
he tells Vox Groovy.
In the end, this desire for more creative freedom led him to learning about concept art. He got himself a pen tablet and took an online class, then he quit his job in Singapore to take a leap of faith. He told us that,
Bangkok XXIII – Emiko
This is how I landed my first concept art job at ILM, with my first ever project being Jurassic World: Fallen Kingdom (2018). I was the happiest guy on earth! (I was also super stressed) […]
In his upcoming interview with us, you’ll learn even more about Julien’s experiences so far. There’s also an opportunity to read about his work on both Alladin (2019) and Aquaman (2018). Lastly, there’s a rich answer that explains how a 2D-centric artist could benefit from using 3D more. We highly recommend you check back regularly because this is an interview you might benefit from if you’re looking to break into the industry.
Lorenzo Lanfranconi
Lorenzo Lanfranconi is a freelance environment artist and colourist from Como, Italy. You might already recognize his artwork, mainly because he, much like Sylvain Sarrailh, uses bold and vibrant colour palettes to catch the viewer’s eye. Inspired by Italy and its beautiful nature, Lorenzo creates awe-inspiring environments for games like League of Legends. In fact, his backgrounds for The Path, An Ionian Myth | Spirit Blossom 2020 Animated Trailer is something we’ll be discussing, as well as his techniques and processes when it comes to illustrating and colouring. Check back soon if you would like to learn more!
Interview With Quy Ho
Quy Ho’s journey to becoming a concept artist wasn’t easy. Conflicting ideas and inner voices pushed this aspiration aside for long periods of time. But in spite of that, once he realized that nothing else is as important and that he will eventually find himself doodling in sketchbook anyway, he came to a decision and pursued a career in entertainment art.
In the beginning, he barely knew how to draw and needed to work on a few other skills like communication and being held accountable. The process wasn’t easy and took a lot of time, but eventually, certain clients kept coming back, the tiny commissions grew to be big projects, and the door to Riot was finally open.
In his own words:
There were too many voices telling me that being an artist is a mistake
and there are much better options out there […]
I didn’t care about making money, It will come once I’m good enough and
I was bad for a long time […]
Quy Ho’s goal has always been to be the best artist he can be, so hopefully, his creations will be seen by plenty of people in the future.
Read more about this unusual journey in an upcoming interview article on Vox Groovy!