Meet The Artist: Scott Robertson

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  04 April 2005
Meet The Artist: Scott Robertson



Our first artist featured in this Meet the Artists series is Scott Robertson. We featured Scott on CGNetworks last year here.

About Scott Robertson
Scott Robertson was born in Oregon and grew up in the country. Under the guidance of his father, who was also an artist and had attended Art Center College of Design, Scott was drawn to the world of design through his love of vehicles. This passion led him to Art Center in 1987, where he studied industrial design and graduated with a degree in Transportation Design in 1990. “I loved going to Art Center and everything about Industrial Design,” explains Robertson. “But during my final year of school, I had grown bored with cars and the pace of their development, so after graduating, I opened a design firm with Neville Page.”

For the next five years, Scott was commissioned for a variety of design jobs with Kestrel, Giro Sport Design, Nissan, Volvo, Yamaha, Scott USA, Schwinn, and Medical Composite Technology. The collaboration with Neville Page continues to this day, where the two now share a studio in Culver City, California. Recent clients have included BMW subsidiary Design-works/USA, Bell Sports, Raleigh Bicycles, Mattel Toys, Patagonia, Scifi Lab, 3DO, Minority Report feature film, Nike, Universal Studios, OVO, Black Diamond, Rockstar Games, and Sony Entertainment, to name a few.

Scott founded Design Studio Press, a publishing company dedicated to art and design. He also teaches at Art Center College of Design, where some of the best talents have recently emerged under his guidance, several such talents being Feng Zhu, Mike Yamada, Felix Yoon and Khang Le.

Scott has released numerous training DVDs with The Gnomon Workshop. His latest two DVDs cover Industrial Design Rendering and Creating Unique Environments. Both are available from the CGProShop.

Related Links
Scott Robertson & Neville Page's website
Design Studio Press
The Art of Scott Robertson (CGNetworks)
The Gnomon Workshop







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Last edited by Leonard : 04 April 2005 at 04:37 AM.
 
  04 April 2005
Hello Scott. I am and aspiring 2-d concept artist currently putting together work to submitt to game studios. I have been going to your site for a while for inspiration and your work is nothing but inspiring and motivational to me, I am trying to gain a little insight of what is expected of the work load of a concept artist new to the industry.

My question to you is what is the genral time limit for and artist to complete a concept piece of work on a given project.

I find myself doing hand renderings for most of my work which can take a good amount of time to complete. I am currently trying to cross over into the digital medium.

If you can shed any light on this that would be great thanx for your time.
 
  04 April 2005
I, currently a sponge of a listener for information, am just breaking into the 3D imaging scene. Just wanted to delve into a quick obvious (for me) question.

Your art work is amazing and original. Where do you find the inspiration for such works?
__________________
I do not go where the path leads. I instead create my own path and leave a trail.
 
  04 April 2005
Hi scott. I love your work, and the way your render cars and things like that is beautiful.

I just have one question. When you are sketching concepts, how do you start out, and with what? Do you start out with markers or pens or pencils? Do you just outline the idea itself right away or do you draw guidelines first for the sketch? Thanks in advance.
__________________
Dialog and characters that transcend their video game origins, thus highlighting humanity's place in the universe. -Paul W.S. Anderson IMDB Trademark
 
  04 April 2005
Hi Scott,

#1. I've always wanted to know why it seems like great designers, such as yourself, rarely see your more radical designs implemented in the automotive industry? I'd pay good money for one of your vehicles.

#2. Your tutorial in photoshop for the bicycle looks like a real work of engineering genius, I could be wrong, but do you have an engineering background or is it just part of your talent to create great designs that look so sound?

Thanks for being here!
Sincerely John Le Baron

Last edited by chillnlikeamug : 04 April 2005 at 04:12 AM.
 
  04 April 2005
Hi Scott.

I have only a couple of questions.

First: What tools do you use in a given day. Does it chance for every piece of art work you do or are there a couple tried and true things that you use to make your drawings.

Second: Which do you prefer, working with computers to make art, or working more with your hands. By this I mean do you like drawing with a tablet (if you use one) or do you prefer to work with a simple piece of paper and pencil or a canvas and a paint brush.
__________________
I really need to do some work
 
  04 April 2005
Scott,
Kudos...seriously. The material I have seen of yours is amazing. One question: is the reason that your stuff comes out so life-like a result of technique in a particular software or softwares? Can someone who desires life-like results from their work achieve them just through observation of nature or must one know HOW to achieve particular results within their 2d software package of choice?
Anyway, I appreciate your time.
C
__________________
You have to let it all go....Fear...Doubt...Disbelief. Free your mind.
 
  04 April 2005
1. Have you ever painted traditionally or just got your hands wet? What one/two tips do recommend or stress to become a great painter.

2. Do you draw from life? In past? Now? How do you keep your skill up by practicing drawing which subjects? (life, anatomy, imagination?) One/two tips you recommend or stress to become great at drawing?

3. How long do you spend on a drawing/painting to have it finished approximetly?

Take care Scott and thank you for your time to answer these.
 
  04 April 2005
Hey Scott!

I'd like to know your thoughts on the history/trends of industrial/entertainment design. It seems that the current generation is mostly influenced by Syd Mead, from his marker rendering style to the design sensibility. But of course Syd Mead isn't the only designer in the history of industrial/entertainment design. What are some of the other pioneers and innovators that you think deserves more notice, and how would you describe the various trends in the modern history of industrial/entertainment design? (For example, the 70's was dominated by boxy designs, then that gave away to emphasis on curves and more aerodynamic looks.)

On a side note, I don't know if you're familiar with Yamashita Ikuto's works. I highly recommend his manga series "Dark Whisper," published by Bandai (there are only two volumes). His design sense is very slick and very beautiful. Dark Whisper has never been translated and published in English, so you'll have to hunt them down from Japanese online bookshops or local ones in your area. Yamashita is currently most known for his mechanic designs on the anime series Neon Genesis Evangelion.

Last edited by Lunatique : 04 April 2005 at 05:06 AM.
 
  04 April 2005
hey scott if your teaching a class again at art center next term, do you mind if i sit in?
im a fine art major and im not to hot at sketching and figgure your lectures would help out a bit hehe
 
  04 April 2005
Your industrial design experience could help a lot !

Scott, i started a thread, Car studio lighting recepies here, on CGTalk. I am looking for that PERFECT car lighting in studio with 3d Max and MentalRay. Any advices ? Hope to hear from you !
 
  04 April 2005
Hi Mr Robertson,

I'm a huge fan of your work and have been a been captivated by your sketches of the Snow Cruiser. It is truely outstanding to see how many variations you came up with of the same machine, to me that is true inspiration.

I have made an attempt at bringing your 2D drawings to 3D and would love to hear your comments and/or suggestions regarding the modeling as well as texturing. Perhaps you saw the cruiser in different colours, purpose ect.

Snow Cruiser Link

Also what is their true purpose of them? i saw them as some type of specialised rescue unit, and that is why i chose the colors that i did.

Thank you for taking the time for this thread.
__________________

 
  04 April 2005
Mr. Robertson

I've been working professionally with print and game art for four years now, mainly painting, texturing, modeling and concepting. During that time, I've gotten increasingly interested in working in the movie business as well, either as a texturer or a matte painter - but given that I'm self-taught and without a traditional background, my question is this :

To what extent do studios go on portfolio when hiring people? Is it all about the experience, or does the education behind it factor massively as well? I'm assuming it's all about the talent, but given a choice between person A and B - both talented - the choice would most likely be the person with a traditional background?

Thanks for spreading your knowledge around, I enjoyed your workshop at the 3d festival last year. (And the others, for that matter. Sad to see there won't be a 3d festival this year)


All the best
/Mogens
__________________



Last edited by Skjoldbroder : 04 April 2005 at 09:49 AM.
 
  04 April 2005
Do you think Industrial Design and Character Design are two different disciplines, or do you believe if you know one you should be able to do the other?

Such as if you train yourself to do anatomy, life drawing and character concepts, you should be just as able to do architecture and environments?

Basically, I'm asking this because it seems you can't do one without doing the other.....well a character generally needs an environment............however, an environment does not necessarily need a character.
 
  04 April 2005
Hello Scott,
I was wondering what your toughts were on the the subject of the influnce of matreials on design. It seems as manufactured and refined materials have improved in composition, strength, and the ease with which they can be formed into shapes, industrial design has moved ever closer to pure organic forms.
Now that we're close to the limits of our technology to create and manipulate these manmade materials ( barring any leap in nanotechnology in the near future ), do you think industrial design will begin looking back to it's own history for influnces in the future, as opposed to nature.
Looking forward to your thoughts on this, as well as the attached image.
Thanks for taking the time to do this.
Attached Images
File Type: jpg CITY01_MK8_2000Bsmall.jpg (79.9 KB, 545 views)
 
  04 April 2005
hello mr robertson,

I'm happy to have the possibility of having a contact with you,as you're one of the best concept artists around.I might have many questions,but I will priorize only one:
Q I am only 16 year old,and i know i still have a way to go,i was drawing really a lot lately,especially sketching,learning photoshop etc. all by myself.I wasnt thinking of getting to be an artist because my mother is,and advises me to get another job,as this may be very risky.After all not averybody has success.Though she doesnt know anything about the cg,and the way it could be used(webs etc.)So i was thinking of studying something else first,then art.
Do you think this makes sense?i enjoy drawing,so i think it wont be a major problem going to an art school after getting any other degree.Do you think going to an art school is crucial about getting a good job,having a nice portfolio?

Thank you very much
__________________
tonich03
my car concept learning..learning..
my 2nd try,lot more better
documented loneliness!!!
don quixote!!!
 
  04 April 2005
Hallo, Mr Robertson

I have one question about you. It's tricky a little bit. Do you prefer 2D car renders or 3D car renders?
__________________
www.inverse-gravity.net
 
  04 April 2005
This has to be the sweetest concept car I have ever seen! Very nice job.



How do you come up with these designs? I know that that is not an easy question to answer but I often have a hard time thinking up nice concepts. Artist's block is something that I experience often and I'm just wondering if you experience the same thing. If so, how do you overcome it?

Thanks,


TraceR

Last edited by zachg : 04 April 2005 at 03:02 PM.
 
  04 April 2005
Hey Scott,

Big fan of your design and concept work. I picked up the first 3 of your DVDs after Christmas and have watched them several times (Your first is still by far the most valueable though). My question is this:

Given your usual rendering style is very tight, do you usually go through your entire process for digital works? For those not as familiar, do you completely set up and and do free hand perspective on everything prior to switching to digital, or do you work more loosely and then refine your perspective construction as your work, using just rough guides to start? Any methodological would be highly appreciated ( but you could probably save it up for a 5th DVD).

Can't wait to see more new stuff from but I am sure your are quite busy with projects under wraps,

-Josh
 
  04 April 2005
Scott,

Much honor and respect.

Sometimes clients can be ... absurd in their demands. In your case, I would expect that you'd get some freedom, but have you ever had a client that you simply could not please? And, for that matter, have you ever had to tell a client to go stuff themselves in an impolitely described hole somewhere, because of their expectations?
__________________
 
  04 April 2005
Hi scott

I am a student still and was wondering, in your point of view, do you think breaking in the industry either Animation or game industry has gone harder, if so, what would you advice us to do to prepare

I Love your work

cheers

thanks
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This message DOES reflect the opinions of the extraterrestrials
 
  04 April 2005
Hi Scott,

Is your book "How to Draw Vehicles" going to be out this year? I have some questions about the content: Is it going to include color rendering lessons, and is it going to have a section on creating vehicles from scratch - focusing on the design aspects of the car, not just the drawing technique?

What types of objects from the real world (i.e. reference material) do you bring into the creative vehicle design process - or do you just make everything up as you go? I watched the Gnomon DVD on hovercraft - and the main thing I got from it was that I was watching an artist that was highly experienced and had a lot of ideas about form committed to memory. I can honestly say I've never seen anyone draw like that before - you were pulling things out of thin air while most other artists I watch are looking at reference when they draw. So, just wondering what some of these influences are that feed the idea process. Do you spend a lot of hours drawing from reference, or do you try to be creative as much as possible? In school they teach people to draw from reference as much as possible, but when you try to switch to making things up and being creative, it's not exactly an automatic thing. Are there some tricks to making the transition from copying what you see to actually inventing forms?

Is industry demand for traditional concept artists/designers (people who draw, more so than people that are in 3D production) as high as it used to be, or lower, or is demand getting much stronger now for good concept designers?

Thanks for your time.
 
  04 April 2005
GREAT STUFF!! The colors are really fantastic.

Who invented drawing through?
 
  04 April 2005
my hero

hey scott/ mr. robertson,
i'm unsure of how to address you, myself being 16 years of age.
i don't have much to say. by now, i'm sure you know your work is incredible and probably some of the most "grabbing" artwork of the whole conceptual design genre.
i've loved your work for years (honestly-that no exaguration [sp]. i'm 16, but even years ago you and doug chiang were my two greatest inspirations).
the biggest problem i've ever had in looking at your work is this:
i see, i love, i try, i suck. i'm a real perfectionist, and if something doesn't satisfy me, i throw it away. what i love about your work is its "solidity," that is, your lines are so well-trained and your knowledge of space is incredible.
here's the question:

how can i, being a decent artist and designer, strive most efficiently toward artwork like yours? more specifically, what can i do to understand perspective artwork, and shapes in space? any books that helped you? anything said directly to me from you will be incredible. you are my hero.
thanks alot.

luke shuman
__________________
"a tower is no tower without its city"
 
  04 April 2005
Hello scott,
i am a french CG student and i find your work very impressive. I just want to know what was your work on Minority Report Feature film (i love this !).
And just for the fun do you know some french CG school ? what do you think about french artists (french touch) ?
thanks for your replies.
bye
Frédéric FOURIER

here is some of my work :
http://lenemarlin.free.fr/3D/rendu_final02.jpg
http://lenemarlin.free.fr/3D/mam1.jpg
http://lenemarlin.free.fr/3D/mam2.jpg
http://lenemarlin.free.fr/3D/mam3.jpg
this architecture is from Santiago Calatrava
if you have time to say to me what you think of this it would be perfect

Last edited by ffourier : 04 April 2005 at 10:44 PM.
 
  04 April 2005
Business Challenges

Greetings and Salutations,
What, if any, are the biggest issues (hurdles) which have arisen from owning your own business? What did you do to overcome those issues? What was the outcome of your actions?

I know this doesn't have much to do with the artwork, but all the people here aren't doing this work for their health alone.

I would appreciate any comments if you have time. If not...you do marvelous work and it has been a pleasure seeing the visions of your mind.

Have a great day,
Benjamin Dean
__________________
Benjamin Dean
www.benjamindean.com
 
  04 April 2005
wait a second, is scott going to read this?
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This message DOES reflect the opinions of the extraterrestrials
 
  04 April 2005
hello scott,

I am a big fan of your work and I own two gnomon dvds that you made (love them by the way)... just wanted to say i love your work and ask if you knew of any good university for industrial design (other than the one you went)...
__________________
If you fail the first time... So much for skydiving...

My online portfolio
 
  04 April 2005
from: Kansai,
My question to you is what is the genral time limit for and artist to complete a concept piece of work on a given project?

It can vary quite a bit. I will try to give you some idea based on some of my past experience. When I was working on the vehicles for Spy Hunter 2 I was usually given between 12 to 16 hours of working time to do the design and one color rendering. The basic work flow was for me to do a few pages of quick thumbnails and then send them to the creative director, he would then choose a direction and I would work up the final line drawings of the front and rear 3/4 views. After these were approved I would then quickly throw some color on one of the views. This was about as fast as a project could be done. On the more relaxed side of things if you are asked to do a tightly rendered environment you might be given a couple of days to a week to complete it.

Hope this helps.
 
  04 April 2005
Oops I forgot this reply to post first.

Thanks for the warm welcome!

I hope I can provide some good answers to your questions. Sorry for the slow start but since this went live last during my night and I just finished a long day of teaching at Art Center this is the first time I have had to read the questions and reply.

So I better get to it...
 
  04 April 2005
Hi Scott. I'm an admirer of your work and appreciate you taking the time to do this.

I have 2 questions:

Are you at a point in your career where you no longer have to actively chase after jobs (in other words, clients seek you out)?

I'm been an artist in the games biz for 13 years and would like to do more freelance illustration work (3D, 2D, Photo manipulation, or mixed) on the side. Got any tips on the easiest way to find potential clients? I'm a fellow ACCD ID grad, but have been out of the commecial illustration loop for a long time.

Thanks for your time.

Richard Green

PS: I just noticed we overlapped a year (1988) at ACCD. Can't believe I never met you. AC was an amazing experience, huh?
__________________
www.artbot.com

 
  04 April 2005
from: UnknownArtist,
Where do you find the inspiration for such works?

That's a good question. I think that most of it comes from my education as an industrial designer. In that field you are taught a process of how to look at anything and come up with interesting design solutions for that subject. Second I would have to say that hanging around with such an amazing group of artists here in Los Angeles makes it very easy to always be inspired. It seems like someone I know is always doing something cool, that gets me going as well. I think that forums like this one are a larger version of what I have here in LA with my friends and will hopefully continue to grow and inspire all of us together.
 
  04 April 2005
from: ThePumpkinKing,
When you are sketching concepts, how do you start out, and with what? Do you start out with markers or pens or pencils? Do you just outline the idea itself right away or do you draw guidelines first for the sketch?

To start I like to use all forms of media. Not usually at the same time, but if I'm going for something organic in form I lean towards the media that is easy to get smooth gradations with, like chalk and pencil. If I'm trying to go for something mechanical I like to use pen and marker. Since I have to teach all of the differnt techniques I like to experiment and start many, many differnt ways. As I really believe that strong perspective drawing skills are a great way to communicate your ideas to others I usually start with some loose perspective guide lines to get the sketch started.
 
  04 April 2005
from: chillnlikeamug,
1. I've always wanted to know why it seems like great designers, such as yourself, rarely see your more radical designs implemented in the automotive industry? I'd pay good money for one of your vehicles?

Thanks, that makes two of us.
Basically I think that doing something like putting a real vehicle into production is so expensive that no one company or one person at a company wants to be held responsible for risking so much money on a radical design. The general public is very conservative and they like familar designs. If it was your money to invest you might spend it the same way they do.

2. Your tutorial in photoshop for the bicycle looks like a real work of engineering genius, I could be wrong, but do you have an engineering background or is it just part of your talent to create great designs that look so sound?

Thanks, but I think that must be the reflections talking to you!
I have designed a lot of real bicycle frames for Kestrel over the last 15 years, so I do know where things go and again my ID training and professional experience make it easy to know how to make things "look" like they would work. That bike is really more of a movie bike. It could be made, someone colud ride it, but it would be heavy and inefficient with today's manufacturing processes.
 
  04 April 2005
from: maxrelics,
First: What tools do you use in a given day. Does it change for every piece of art work you do or are there a couple tried and true things that you use to make your drawings?

As mentioned a couple of questions ago I like to try everything, all media is fair game.

Second: Which do you prefer, working with computers to make art, or working more with your hands. By this I mean do you like drawing with a tablet (if you use one) or do you prefer to work with a simple piece of paper and pencil or a canvas and a paint brush?

I acutally like both traditional and digital medai quite a bit. The way it seems to be breaking down lately is I do my design work with traditional media working monochromatically and then I scan that into Photoshop and do my color rendering there where it is cleaner, faster and easier to to achieve more realistic material indication. Plus ther is always command Z.
 
  04 April 2005
from: kamrhon,
Is the reason that your stuff comes out so life-like a result of technique in a particular software or softwares? Can someone who desires life-like results from their work achieve them just through observation of nature or must one know HOW to achieve particular results within their 2d software package of choice?

Yeah, it basically has nothing to do with software and everything to do with gaining the knowledge of what you are observing in nature. You can observe everything you need but the problem arises when you try to apply what you are observing to a form that know one has ever seen before and you are the only one who knows what you are trying accomplish with the sections of your object. This is where having someone explain the physics of what you are observing can go a long way to helping you apply this to your own designs.
 
  04 April 2005
Hi Scott

I've bought 2 concept DVD from gnomon and your teaching is amazing. Thank you for an excellent tutorial.

I always wanted to ask you whether you have any recommendation for beginners. I'm aiming at getting a job in 3D modelling or concept design in US within 2-3 years. Can design skills be self-taught or must I attend college?

I've been learning to draw and practise modelling every day/night lately. (I am computer science student - should have choose design degree instead).

I from Australia, i wish I can attend your college. Hope you'll release more DVD in the future regarding the subject of Lighting and Shading

Thank you very much Scott.
 
  04 April 2005
from: kgb,
1. Have you ever painted traditionally or just got your hands wet? What one/two tips do recommend or stress to become a great painter?

I learned how to do all of the rendering and material indication stuff the old way. When I was in school we did not know how to use the computer to do digital 2D work, other than preparing our resumes. One would be to find a good mentor or educator and listen. Second would be to practice, practice looking, thinking and drawing.

2. Do you draw from life? In past? Now? How do you keep your skill up by practicing drawing which subjects? (life, anatomy, imagination?) One/two tips you recommend or stress to become great at drawing?

I'm really short on time lately and so I have no time to draw, which means when I do again in a couple of weeks I will be rusty! I do not often draw from life. I like to start from the ground up and create things I have never seen before. I think learning how to do good perspective drawing can be one of the most powerful creative assets you can obtain. It will allow you to easily create things from your imagination that look convincingly real to other people.

3. How long do you spend on a drawing/painting to have it finished approximetly?

Oh really I cannot answer this one because each drawing/painting is different and some done in mere seconds can be all that is required and if you spend more time on it all you'll do it potentially screw it up!
 
  04 April 2005
Lunatique,
I'm running low on energy and I'll get back to you on this one.
 
  04 April 2005
Mr. Scott Robertson.
I would like to thank you for taking the time to do this. I have got as far as I have in art due to talent, and proper mentor/student (me being the student) relations. Not by much education. (I cannot afford too much schooling; I do have 2 degrees one in graphic design and another in fine art). I have to say I really enjoy your work.
I was really exposed to your work one day when I was working as inventory supervisor at a bookstore and decided to run your name through our database and see what books I could find. A quirky little title showed up ‘ How to draw cars the hot wheels way’ well that book is now in my library.
Ok on to the question. Sans school placement what is the best way to get a job as a concept artist for film, television, or games? I have been able to get work with comics due to the fact that you can approach a company during a convention or they have open submissions, ect. Is there such a thing for film work? I know the talent needs to be there I am more curious about the initial open door opportunity.
Thanks for taking the time for this again

Kraal
 
  04 April 2005
from: SPIDER2544,
hey scott if your teaching a class again at art center next term, do you mind if i sit in?

I will be teaching again next term, two Vis Com classes. Generally I cannot allow other students to sit in and take away table space from the regulars, but please come by whenever you like to check out the work on the wall each week. Hit the library to check out the DVDs. See you around school.
 
  04 April 2005
from: DodoPAN,
Scott, i started a thread, Car studio lighting recepies here, on CGTalk. I am looking for that PERFECT car lighting in studio with 3d Max and MentalRay. Any advices ? Hope to hear from you !

I'm sorry I'm no help on the 3D side of things, strictly 2D. I doubt there is a singular perfect set up though. I mean since it is a shiny object designing the environment around your car will be the key to a succesful rendering, in regards to the reflections anyway. Of course the reflections are very sensitive to the viewing angle and the sections of the surfaces all of which will need to be tweaked on a case by case basis, just like doing good photography.
 
  04 April 2005
Hi Scott

Your DVD at Gnomon is amazing, Thank you for a great tutorial.

I was wondering whether you have any guidance or recommendation for beginners. Can these design skills be self-taught or must I attend school of design?

my goal is to become a 3D modeller with great concept design skills after 2 years + getting a job. Do you have a tips on how to successfully achieve this goal?

Please release a DVD on Lighting, Shading and Texturing. It would be very helpful for lots of students.

I'm from Australia, doing computer science but love art/graphics.
Thank and Take care Scott
Alex
 
  04 April 2005
from: Fede,
I have made an attempt at bringing your 2D drawings to 3D and would love to hear your comments and/or suggestions regarding the modeling as well as texturing. Perhaps you saw the cruiser in different colours, purpose ect.

Thanks, you are right it is a sort of rescue/scout vehicle. The model looks like it is coming along, some of the window shapes and main body surfaces look like they could use some love. The skis and the track look nice. Send me some jpegs if you take it further.
 
  04 April 2005
from: plaf,
To what extent do studios go on portfolio when hiring people? Is it all about the experience, or does the education behind it factor massively as well? I'm assuming it's all about the talent, but given a choice between person A and B - both talented - the choice would most likely be the person with a traditional background?

Talent, talent, talent. Really your past formal education or lack thereof means very little to getting a decent job. Your experience is important, but being pleasant and have great skills is the key combination to sucess.
 
  04 April 2005
from: NoSeRider,
Do you think Industrial Design and Character Design are two different disciplines, or do you believe if you know one you should be able to do the other?

As a creative design exercise I do not see that there is much of a difference. Anytime you are doing entertainment design all of the subjects such as environments, characters, vehicles and props only exist to support the story and move it forward. Formally speaking traditioanal ID work is quite different in that it encompases many more disciplines in regards to making a 3D product that people live with and use. Ideally I believe that good well rounded entertainment designers should be able to design anything for any time period.

Such as if you train yourself to do anatomy, life drawing and character concepts, you should be just as able to do architecture and environments?

No, I do not usually see this. Here is why I think that is.
Most of the figurative training that exists is from observation and rarely from one's own imagination. When this is all you have it will be hard to start with nothing to create something entirely new in regards to ID subjects or environments. One of the most important skills lacking in figuatively trained designers is their abiltiy to draw in perpsective and fully realize an imagined space of their own design from multiple view points. Even if you draw a lot of architecture from observation you will be filling your visual library which is good and can be helpful but you do not need to know anything about perpsective to accomplish well executed representative drawings. If you can imagine what you are looking at as flat 2D shapes it is all about properly reproducing these shapes to make a "good" drawing. Knowing how to build the same thing in perspective a month later from your imagination is where having some knowledge of more technical drawing skills is very helpful.

Basically, I'm asking this because it seems you can't do one without doing the other.....well a character generally needs an environment............however, an environment does not necessarily need a character.

True it would be nice to see more charcters in the environments we see and like wise more environments supporting the character designs we see, but if you are hired to design one or the other it is hard to make a case for spending the extra time to do so when you most likely are not being paid to do so.
 
  04 April 2005
I think that's it for tonight...I'll try and get through more as soon as I can.

All the best!

S.
 
  04 April 2005
Mr. Robertson : thanks for your reply.

In connection with my previous question, I've got one about portfolios as well. When applying for jobs, I've usually included a broad range of stuff : sketches, finished 2d art, low and high poly 3d models, textures and animations. This has burned me a few times, since it seems some studios get confused by this and prefer single-function artists that focus solely on one aspect of production
- whereas I think being an all-rounder is a good thing, especially if you show some proficiency at all of them (I guess it's up to the studios to judge that, though )


Anyways. My question is: would you recommend compiling a portfolio singlemindedly, showing off only stuff that's directly relevant to the position you're applying for, or would you include other things to show off your range as well? To what extent do movie studios appreciate all-rounders?

(Although I'm guessing that your answer is going to be : moviemakers mainly employ single-function artists because they're usually better at that one function, so include some other stuff, but concentrate on the things directly relevant)



Thanks again for taking time to do this.!
\\\\\\\\\



All the best
/Mogens
__________________


 
  04 April 2005
Hello, Scott.

Your dvds helped me a lot. They are the best learning material I've seen on perspective drawing.

My question
When designing any fast moving vehicles, I'd assume you have to have knowledge of aerodynamics to a certain degree or mechanical engineering if you are designing a machine/robot. How do you balance the technical and design aspect in your designs? How much knowledge of the technical is required when doing ID. Are there any good books/resources you can recommend specifically for designers?

I guess one of the things you can do is copy vehicles/machines and build up your visual library?

Thank you in advance.
 
  04 April 2005
Hey Scott,
First of all thanks for answering these questions.

Anyway here goes...

I've been doing the whole CG thing now for about two years now while attending a degree course (which I don't think is very good but I'll stick it out just to get that piece of paper). My problem is that I find I keep on going from one area to another (2D to 3D...modelling to some animation...and even programming.)

I would really like to focus on one area and become as much of an expert at is as I can because I'm aware that alot of places aren't looking to employ a jack of all trades kind of guy.

So basically my question is: When you were starting to learn over the first few years did you find it hard to focus on one area like me or were you always very focused on the 2D design end of things?

-Thanks
 
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