The difference between concept art for Games or Film.

I have had some wonderful luck (opportunity) to work on both film and games as a concept artist.  Here is the difference from my perspective as a remote location guy.

Thinking about concept art'ing for Film?

Film is less forgiving.  An error in time management or networking can spell the end for a lot of potential projects.  Time lines are shorter, schedules are tighter, and turnaround is quicker.  The opportunity for revision is fleeting.  Projects are measured by hours, days or maybe on the rare occasion weeks, rather than months.  Risk is higher in this case.  You need to nail the piece in three rounds and deliver a great value or expect to 'miss' the call next time.   ..that said, the reward is higher than working in games, and more quickly turned around.  Pay for a good film project ranges to 50-100% higher than games, and you will see your work on screen much faster than you will see results of your preproduction on game shelves.  Usually remote guys are brought in to fill project gaps, and usually that happens during the crunch of the project end.  Expect that the 'big studios' or the union gigs to be rare so make the most of each as they arrive.  These projects can cherry pick the industry and people will gladly re-locate to collaborate with well known directors, art directors, and scripts.  Remote folks are the last to arrive and the first to go, so make the most of every moment.  Film artists are widely held in high regard.. Noteriety is possible to achieve and in the long run can present more opportunity to cherry pick concept art jobs.

Thinking about concept art'ing for Games?

Games offer wide breadth of design opportunities.  Usually, the vision is wider, and once the key image is established there are many more moments of discovery available.  Compared to film, which often brings you to perform a specific and exacting reproduction of the directors vision.  Personally, I find concepting for the interactive industry more relaxing.  Sheer waves of asset generation and environment generation will offer a lot of ways to improve, discover, and mature as an artist.  It will also allow you to discover the projects vision over the course of a couple tasks rather than have to nail it on the very first image.  Project cycles range longer and getting in a pre-production spot can keep you busy for a good while.  Games are also more remote savvy, they are not thrown by using tools like dropbox, hipchat, skype, and file sharing.. Generally projects leads in games are more informed about working remote and less inclined to need to see your face while you paint.  Pay in games is pretty tight, but it's a bit more regular.  The industry does not rely on remote guys as a stopgap measure, so they don't have to pay a premium for overnight work with 2 hours notice.  Game studios seem to embrace the model especially for their more visible art work.  Expect artists with a lot of notoriety to appear as regulars as pitch pieces, or marketing pieces are needed.

In my opinion, a well rounded remote artist should try to work, and be well geared for both industies.  Film is a great test to see how you perform under pressure and widely varying circumstances on individual tasks.  Games is a great way to really dig into discovering how you would concept an entire fleet of ideas with wide set collaboration.

-cheers

7 dream books for concept artists.

Remember books?

We used to hunt for rare books related to concept art for hours and hours.  I still can't pass by a used book store without looking at the 'movie shelf' and the 'anatomy drawing' shelf.  Here are a few books and authors to keep an eye out for while browsing through your local stack of used books.  In some areas a first pressing is worth six bux, while in the studio they can be priceless. With a keen eye you might just find a thousand dollars worth of 'old stuff' on the shelf..

Kronolog: Boxed Set  or any unprinted Syd Mead book.  Kronolog is nearly impossible to find.

Lebbeus Woods, Anarchitecture: Architecture is a Political Act (Architectural Monographs No 22) or any Lebbeus Woods book out of print.

Bridgman's Complete Guide to Drawing from Life or Figure Drawing for All It's Worth must have anatomy basics for concept artists.  The current prints are cheap and great for the studio.

The ILLUSION OF LIFE: DISNEY ANIMATION This book was out of print when I went to school..  We found a rare copy here and there, but if you were not lucky full price at the time was nearing a thousand bucks.

The World of the Dark Crystal Another warm and great book for the studio.  The original print is amazing. The current print is good for the studio.. you don't want a co-worker putting a coffee cup on the original.

The Complete Star Wars Encyclopedia .. so many SW books to choose from.  This is good enough I suppose.

Nira Works Yasushi Nirasawa is the root for much of the entertainment imagery out of ACCD throughout the 90's.  Nira Works is a rare, and coveted book. Creature Core 2&3 Dimensional Works Original Demons & Monsters is another great and rare book from Nirasawa.

Do note, some of the re-prints are easily available.  The valued editions of books are usually the first printings.  I suggest picking up the re-prints for the studio.  Unfortunately, I've seen important books walk out of the studio or classroom more than once.

10 steps on how to become a concept artist.

I often get mail, on the best way to become a concept artist, so here are the top 10 steps towards becoming a concept artist.

1. Practice your craft 5 hours a day to 12 hours a day.

Remember, practicing concept artists, draw 8 to 14 hours a day.  You need to put the hours and practice in, in order to retain a spot on the curve.  I would say 5 hours is light.  If you think that is a lot, then concept art may not be for you.

2. Treat every opportunity as a job interview.

Freelancing is pretty common for concept artists.  Every job is an interview for the next.  Always treat it so.  Treat co-workers and clients well.  Find the professional moment in each job however large, or small.

3. Seek and enjoy feedback from people better than you.

Some artists hate changing stuff..  I never understood that.  Feedback, and change is an opportunity to make the image or design better.  The earlier you see things this way, the better off you will be.  Do not be a smarmy egotistical kook.. it will not take long for rumors to spread about your vast greatness, and your career will suffer for it in the long run.

4. Get an education, formal or informal, from someone in the field.

There are a lot of educations to get out there... Get a good one.  Get one from a person who has actually done the work you are looking to do.  Accept no less.  Do well, and inevitably that person will introduce you to a person who can help you along after you are done.  This does not have to be an expensive university.  I have had interns that have done extremely well, with minimal education.  They got their education on the job, and treated every moment as a learning moment.

5. Work on what intrinsically motivates you.

Find what you love and work towards that.  If you are not intrinsically motivated you will fail as an concept artist.  Ideas and design are moments that occupy our minds all day and all night.  If your task leaves you blank as soon as you leave your desk, it will never be enough motivation to move you towards an outstanding result.

6. Prioritize quality over money.

If one job pays little, but is awesome content, take that job.  Getting better at your craft is value added to your career.  This added value is way more important over the years than a minor bump in pay.

7. Return better value than you are paid.

Always try to give more than what is asked.  The most valuable artist is the artist that returns the most frequently.  They are also the artist who is exposed to the most opportunity and opportunity will free you to seek projects that you will love.

8. Be consistent and reliable.

A lot of artists can't even work 9-5 consistently.. Much less on demand on two or three projects all night for a week.  Be consistent, don't over stretch, but always deliver.  Your consistency will keep your quality high and high quality pays off towards more opportunity again.

9. Network.

Prepare to save email, and contacts.  Each contact is another source for an opportunity.  Not that you need to be a salesperson, but you do need to be able to send someone an image, if you think it may inspire them to have you contribute on a project.

10. Love what you do.

Don't do concept art for the fame, credit, or the money.. Do it because you have to design and draw. Do it because it's the best thing you can think of to do, and you would do it for free anyway.  If this is true, you will lead an amazing and fulfilling career.

There you go!