How to break into movie concept art

[Rss Bot 1]

It used to be extremely difficult to find information about how to break in to the movie industry. Concept artists within the profession talked to each other, but rarely with anyone outside the loop, making it difficult to understand what distinguished film work from everything else.

Concept art as used in movies has many facets, and these tips are specifically geared toward emphasising clarity and narrative in your portfolio.

The advice I give comes from my experiences and observations within the entertainment field (most recently on Star Wars: Rogue One, Pacific Rim 2 and Transformers: The Last Knight, as you can see on my portfolio site), which is a fast-paced and continually changing industry. To stay relevant, concept artists must adapt quickly, and keep ahead of the curve in a challenging environment. 

Understanding what art directors and production designers look for when assembling their teams is crucial, as is streamlining your process, since time is always of the essence.

Joining a project offers many opportunities and you should learn as much as possible from every one, including building strong relationships with colleagues. Since the concept work on a film can last from a few months to a few years, knowing how the industry works and being able to transition seamlessly between jobs will help you stay on the production as long as possible. 

Here are my tips for making it as a movie concept artist.

01. Show your ability to adapt to storylines

Ballarat Establishing: Tell stories with everything you do

Any concept artist working for movies is designing for the story, regardless of their level of experience. Every movie is based on a narrative that must be communicated clearly, whether through a design or defined by a key frame, and a movie-oriented portfolio must show the ability to adapt to storylines. 

Make sure to show your storytelling abilities: usually three or four keyframes can sell a plot point. These moments should relate to each other rather than be chosen from throughout the narrative, since exhibiting one or two important segments is better than randomly choosing points.

02. Design grounded concepts

Encounter: Master the art of accurate historical storytelling

Many concept artists these days are talented at designing for the fantasy and science fiction genres. But it’s important not to compartmentalise your talents, and drawing on a broad range of genres is crucial for a film designer’s portfolio. 

Frequently, aspiring artists overlook historical adaptations that can be big selling points in their portfolios. My first position in film came about because of several Western-influenced keyframes I designed. This type of historical work will indicate you have a broader range than the competition. 

Make sure only to use references that are correct for that specific time period. When your work is grounded in this way, it means you're depicting the past correctly, instead of creating derivative or stylised designs.

03. Get a clear read

Hideout: Convey your ideas clearly

Expressing an idea clearly is as important as communicating a narrative, but many aspiring concept artists sacrifice clarity by over-designing an image. The aim is to simplify ideas, not create unnecessary confusion. 

Studios look to artists who can convey ideas succinctly. Many times it’s the simplest composition that’s the most effective. Always have a reason for every stroke you make, for every light source, and for every composition decision.

04. Create ‘arrows’ to guide the eye

Forgotten refuge: Guiding the viewers' eye is essential to film story telling

It’s important to guide the eye through your composition, and planning the focal points carefully will control the image and compositional elements.

A great, simple way to manage this is by breaking down each element into 'arrows'. Think of each brush stroke and texture you add as a line; use the momentum of the shape to carry focus from one object to another, so that they’re linked in a subtle visual way. 

This can work for any design element, from a shape on a wall, to a character’s shadow, to mist that’s diffusing a scene. Try to guide the eye through several focal points in the image – a main statement followed by supporting focal points. See step 8 for more on this.

05. Consider variations, and how to show them

Bistan Gun Designs: Make sure you show the extent of your skills

Most concept artists employed in the industry create variations during their design process, and studios want to hire junior artists who have the same approach. 

When given a single idea – for instance, an architectural structure – visualise eight different possibilities, each based on the same cultural inspiration and materials. It’s the form and aesthetic that should vary throughout each design, though the theme remains the same.

06. Specialise from the start

Stilt House: Become a niche artist to attract the work you want

In my experience it's easier to break into the industry by specialising in one category, rather than pursuing multiple skillsets. This is not the same as a genre – sci-fi, fantasy, historical, say – rather, it’s focusing your effort on one subject like environments, props, creatures or costumes. 

Choosing one of these means you can devote more time to mastering that individual craft rather than spreading yourself too thin, which means achieving less but in more categories. 

Art directors generally choose a “specialist” they have confidence in over a jack-of-all-trades. Selling yourself as the perfect person for a specific type of job reaps rewards. You can always explore other categories later.

07. Push yourself

Somnapod: Never get comfortable, keep pushing your skills at every opportunity

This industry is always evolving along with its technology, and as a result, everyone in the field must adapt or risk being left behind. A concept artist who's pushing to learn and grow will be an obvious choice over one who stagnates. 

It’s tempting to slow down once you get the job you’ve worked hard for. But it’s also important to confront – and learn from – new challenges as you go. 

This could mean trying a new approach to design once in a while or learning a new program. It could mean taking an extra class on the side. Every person has a different end goal, but the point is to not lose your drive or passion after success.

Next page: 7 more tips on becoming a successful film concept artist

08. Use the 'arrows' technique

Guide the eye within a composition by making significant choices and establishing a hierarchy of shapes

A. Use meaningful shapes

Make sure when setting up your composition to place meaningful shapes. Think of lighting as revealing areas in your canvas where you want people to focus. Generally at this point it’s good to think in the abstract. Instead of thinking of the actual object (say, a person), think of it as a shape, and try to create contrast in form where you want people to look.

B. Add arrows

During the first refinement stage I start adding the arrows we discussed earlier. Here, the concentric rings around the entrance function as a circular arrow, supported by the background rings in the landscape. I add more figures that are centred around my focal point, all looking towards where the action is taking place. I try to reinforce multiple focal points.

C. Simplify and refine

The last step is just reinforcing the statements from our earlier composition. The great part about setting up your composition beforehand is that it acts as a guide to the rest of your image. The goal is to solve as many problems as you can early on, so when you come to your refinement passes, you're simplifying and rendering rather than changing your canvas.

09. Target pre production vs post production

Wobani: Where do you want to be? Working in the initial concepts or on the film itself?

There are many phases in a film’s production, and a concept artist has a particular role in each. Some artists are hired even before funding is in place, pitching concepts to investors just as the movie is conceived.

When pre-production for a film starts, most of the work is blue sky, meaning it’s focused on exploration and finding the visual style of the film. This is the most open-ended phase of a film, during which time artists usually have more freedom to illustrate their own ideas. As pre-production comes to a close, the creative ideas in a film are resolved.

Post-production takes place after principle photography has been completed, when the majority of the film has been shot on camera. In this phase concept artists usually deal with shot replacement, shot extensions, visual effects, and assisting animation and other departments to finalise the CG shots. 

Often, studios will hire vendors and VFX companies – such as ILM, MPC and Weta Digital – to assist with these shots; with larger-budget films, the amount of vendors required on a film will increase, with CG-heavy films having a multitude of companies involved.

While visual development occurs in both sections of a production, generally speaking more development takes place during the earlier phases of the project.

10. Learn about VR

Water Tower Callouts: VR is changing the way films are made

Virtual reality is a game-changing technology that’s having a big impact on the industry. Designing in a virtual space has become more popular in film production: set designers construct 3D models of the actual stage, then use real-time simulations that enable the director and crew to move around the scene.

This makes conceiving shots and locations easier and faster, sometimes designing sets without any plates or real-world locations. Learning how to design in a virtual set is becoming more important, and a concept artist can offer much more to a team when they can work with this technology. Being fluent in a 3D modelling package is a must when it comes to this kind of work.

For a bit of VR inspiration, why not immerse yourself in these VR podcasts?

11. Consider working for a VFX company versus working on-set

The Brothers: Being on-set can be preferable if you prefer a wider range of tasks

Just as there are differences in production, there are major variations between working within an outsourcing or VFX company versus an on-set art department. When you're working off-site on films, say for a VFX firm or visual development outsourcer, you're surrounded with an extra layer of colleagues, art directors and leads who can help you grow as an artist. 

Many companies will have artists on several projects at once, which will be very exciting on the creative side as you're switching between many types of design.  

In contrast, working in an on-set art department brings you closer to the production. You'll interact with the production designer and sometimes the director as well, depending on the project. 

In a physical art department you work with many more disciplines, with set designers, graphic designers, and the on-stage crew. Based on how long your contract is you might even see the film develop from start to finish. 

In my experience, you get to try out a wider variety of design in terms of tasks, even though this will normally be governed by your particular speciality.

12. Know your union

City of Wind: Make sure to join a union to ensure work

Even after you have the portfolio ready, after you know you have the workflow down, many artists still have trouble getting their first gig. If we're talking big productions, getting that first job might be tough, and I recommend approaching either a VFX company or looking for smaller, independent films. 

If you're hoping to work on big-budget films in the US, specifically in Los Angeles, then there's a film guild/union (IATSE Local 800) that you're required to join before you can work on any major motion picture. 

There are several ways of gaining admittance: you can get accepted through working a full 30 days on a union project, then submitting an application; a production designer can also sponsor you if they want you on a production; and there's a grandfather clause stipulating that if a show you're working on gets unionised, you can apply for union membership during the transition. 

That said, it's still hard to get in the guild, and many companies will keep workers on for 29 days, and not sponsor them at all. In the end, being part of the Local 800 union is a huge help to artists working within it, guaranteeing great rates, and providing healthcare.

13. Be sure to network, help others

Ruins: Social media can be a brilliant way to get your art seen

The industry is expanding at an exponential rate, and social media is a great platform to get your work out there. Many companies are looking for professionals, but lack the ability to find the right creatives for the job. 

I recommend promoting your work as early as possible. The internet has a way of compounding search results and information to a point where it'll always assist you down the road. 

If you ever have an excess of freelance work or clients, recommend colleagues who will appreciate the gesture – and return it one day.

14. Collaborate within the department

ARK Tower: Remember, films are a collaborative venture

Films don't get made without constant collaboration between the artists on your team and also with many other departments. Because of this, personality is a huge factor in the hiring process, and many times I've seen candidates whose work is incredible get passed up because they have a reputation for being difficult to work with. 

No matter how skilled you are, be humble about your work, always respond well to critique, learn from those around you, and be generous in helping others. Your attitude will go a very long way in this small industry, where you regularly reunite with past colleagues. Remember, they could be hiring you some day.

Related articles:

• 15 concept art skills to power up your illustration
• Concept design tips for artists
• How to press start on your game art career

View the full article