Meet the Artist: David Levy

#79

“For large area with textures, I created a brush that fakes perspective using various settings on the pen pressure. It is one trick that does not always work, so on complex images (unless they are speedpaintings), I tend to use photo textures, or the texture checkbox option in the brushes when painting.”

Could you explain this in depth a little more? I am intrigued. Perhaps a screen shot of the brush settings or a description of the settings or perhaps even the brush itself as an abr file to download?
Great works, I always look forward to your posts on CA

#80

Hi man! I am your big fan, love your works very much.
I haven´t much time now, but I will ask you some question later, cya :slight_smile:

#81

Hello David :slight_smile:

I have seen the little V signs on your most recent work.
According to their design: Are they understandable as a hommage to V for Vendetta?

Have fun :slight_smile:

#82

wow wow it buautiful nice concept idea

#83

Hey Dave, your work is okay at best.

Alright just kidding. You know you rock! Keep up the great work, my friend! It’s always exciting to see new work from you.

Isn’t V for Vyle?

#84

Fl3k>>

  • I used to be a poor student too, and I can tell you one thing: my first PC was the best investment I ever did.

  • We were 5 on Prince of Persia: Hydropix, Viag, Patrick Lambert, Martin Deschambault, Myself. Difficult to tell how much work I did. I will count and post the numbers!

The Prof>>
I will probably post that brush once the CA workshop in Montreal is over (tuesday). But it is fairly simple: opacity and roundness are both set to “pressure” on a basic round brush that looks like a “rust texture” that fades on the side. Ahem, yep, probably easier if I post it.

rawwad>>
Thanks! Looking forward to answer those.

Azurelle-Ray-Ray>>
Actually the V (for vyle yep) is not for Vendetta. I actually did not know that comic book until recently. I thought signing the whole nickname was not very discreet, and also got lazy.

Ray-Ray (also called smeagol if I remember? Brad booker is sitting next to me right now and he is the one who gave me the tip!)>>
:stuck_out_tongue: Great to hear from you! Congrats on your new little family member! And tell hi to Vanessa. I miss going to Barton springs on hot days, I hope Austin is still as beautiful as it was!

#85

I see what you mean, and that’s really a cool coinsidence since the two signs look exactly the same - but there are too many different people on the world, so coinsidences are a real must.

Keep up the good work. I especially like your prince of persia “portrait” :slight_smile:

Az

#86

Djampa>>

  • Thanks for the kind words! Well, if I was to write a book, there would definitely be a LOT of stories to tell! But that would probably take a long time, and people would not believe me on many of them! I think I went through all the worse experiences of the gaming industry history …
  • I had never thought about the importance of Psychology and theater in my job, but it makes total sense now that you say it. The systems I use right now, when it comes to emotions are very basic, and I would say more “gut feelings” driven. I think it comes back to the “story telling idea” that I mentioned regarding script writing or film making studiying.
    So many books to read, such little time to live!
    But that’s a great comment that gets me thinking! Thanks!

:slight_smile: Thanks for the answer. Glad I made you get thinking. :slight_smile:
“gut feelings” driven… lol Thats the best I´ve heard ! I´d say you may have a lot of “gut feelings” then… hehehehe your work rocks !

Best wishes,

#87

hello Vyle. Youre a great and very inspiring contemporary Artist :thumbsup:

questions:

What are for you personally the 3 most important qualities of cd in the whole production ?

Do you think that this job will ever evolve more in europe in the future ? :slight_smile:

I assume that for your gut driven system it is very important to be able to work very fast with fluent brushwork. Especially in your free work at home where you let yourself be inspired by the image itself. How much Ram do you have so you can be fast in those 4000 & 6000px high resolutions ?

#88

My real first PC was in 2003, and I’ve been fixing upgrading it ever since. Been a real investment in both luxary and studying! I’m thinking of getting a new one with my student loan when I go to UNI. Even though I might have to pay the loan back, atleast I bought something worth while.

I dont really have any questions right now, thanks for posting :smiley:

#89

Hello Vyle, love your work since the first time i saw it at CA
I wanted to ask you if you think that it’s possible to reach a professional level, and be updated with the latest trends in the industry without going a normal/top school? these last months i’ve been doing a lot of stuff at school without seeing the purpose.
I attend to a fine arts school where no technical skills are being teach. So i’m always asking myself if i should do my own schooling.
Anyways, thanks for taking the time.

#90

Hi Vyle ! Are you a member of Ubisoft’s 3D team ?? - what a great job !! which’s software do you often use ?

Thanks for answering us !

#91

hi vyle

i am currently a 2nd year ID student here in montreal,i like to sketch A LOT

so i went in ID, they say its hard to find a job, got to be the best and loads of negative blabla ( good thing my parents didnt really know what is ID really like )

i planned to be a car designer , they say its even harder to find a job , you have to be the best of the best and loads of negative blabla

now i want to be a concept artist… suis-je suicidaire?

#92

Also, I would like to thank CG talk to allow me to post here, it is a real honour. I am very humbled, and feel so lucky to help one way or the other the CG society.
Vahn>>
3 qualities (that I can think of right now):

  • Creative, team player, hard worker.
  • Hopefully that job wil be recognised more in Europe, either that or productions won’t be competitive.
  • 2gig of ram, ATI radeon 9800 pro.

Diego>>

  • It is possible, but it will take you extra discipline and motivation.ALso you do not need a “top” school per say. You need a top teacher, and you can find that in many schools I am sure. Just ask other artists online, and see what could match where you live and what you need to learn.
    About your art school, first of alldo not be too confrontational, it could be that what you are learning are the basics, and they want the students to be confortable before going into more complex things. On the other side, if you think that it is really not what you expected, and you feel really not happy, nothing stops you to switch to another art school.
  • Own schooling sound good at first, but for 99.99 % of the people, it is not the right way to go. A teacher will allow you to advance MUCH MUCH faster. Think Mister Myiagi in Karate kid :wise:
    Ahem, maybe that was not the best exemple… :stuck_out_tongue:

Tebaochet>>
Not part of the 3D team, just concept design.Softwares I use are: Max, Photoshop, and sometimes painter.

subvicto>>

  • Hi there! It is a good thing when you are young to have desires and dreams. YOU are the master of your own life once you are freed from your parent’s education harness. Fulfill your dreams, and don’t dream small. I love car design, and eventhough I did not manage to get in that industry, it allowed me to grow in the game industry, and discover a completely new dimension. If you are always protected from failing, you will never know who you are. Face your fears!

  • I am not a competitive person, to be honest. Any industry is somewhat competitive, but if you approach it as being a passion, and embrace it, you wont’ need competition to be motivated. Competition in between people of the same company is the fuel needed by people that are insecured and unmotivated or lazy. Competition against other companies as a team, is what really counts.
    Think like an organised war, not a coup d’etat.

#93

Hey Vyle,

I’ve always enjoyed and admired your work, theres a couple of questions I would like to ask you. How much of your ideas in the concept stay? Does the art director usually have open mind to your ideas? Or does the art director have final say so. I realize that a concept artist usually is the spark for most visual creation. I’m just trying understand if the concept artist can put alittle of his or her personality and vision into the concept.

Much respect, and thanks in advance!

Take care man

PS: DesignstudioPress Forum is back up!!

#94

here I am :slight_smile:

At first I must say again,that I love your work very much. Your ideas and style is just fantastic.
You are one of artist that I called “speed realist” (for example work of Craig Mullins), because you have very dynamic style, with sharp brushes but your works still looks realistic, I mean, with right shadows and light atmosphere which make it more realistic. Many artists have beautiful scenes fully of details but not realistic as yours.
How you know which realistc lightning and color atmosphere is good for it and make your idea realistic, and are you use any references ( enviroment, nature photos) or 3D basic light scene?
Also I want ask you how brushes you use?
If you use mostly basic brushes or you have lot of customs, because in your works you have very intresting brushes strustures, looking like something from graphic design.
Which tablet do you use (wacom right :smiley: ) normal or special with screen board?

And one question to your ideas, which are very original and great. What is inspiration for you? music, movies, film, dreams, …?
And which kind music do you listen usuall?

That´s everything what I want know :slight_smile:
Good luck and be original as always! :thumbsup:

Tibor

#95

“The Prof>>
I will probably post that brush once the CA workshop in Montreal is over (tuesday). But it is fairly simple: opacity and roundness are both set to “pressure” on a basic round brush that looks like a “rust texture” that fades on the side. Ahem, yep, probably easier if I post it.”

Sounds interesting, I look forward to seeing/trying it out.

PS. Did you enjoy the workshop?

#96

Many thanks for taking the time to respond to our inquiries, David.:slight_smile: Greatly appreciated.:slight_smile:

#97

Square Pixel>>
Nice to see you here!

  • It depends on many parameters, and especially the project and management you are working with. If the pipeline is organised and logical, there are many chances the CD’s vision will be followed almost perfectly once built in game assets. If the art director does not really understand the use of concept art, there are many chances your game will look like a mutated potatoe. In the next gen games, this is what will make a huge difference: not as much the technology, as the concept behind the game. Normally, when it coms to graphic vision, the concept artist is THE person. The art director and the concept artist should just work hand in hand to makes sure that vision is implemented in the game: communication and respect are a must.
    Can’t wait to be back on DSP!

Rawad>>

  • First of all, when it comes to realistic lighting, it is all in the analyse of light. Whether everyday, or when looking at movies or still pictures, I try to understand how lights affects shapes and materials.So working from references is important. It does not need to be obsessive, but using references once in a while is a great practice. Once you assimilate those references light, they are in your memory, and you can reuse them when necessary.
    99.99 % of my brushes are custom brushes. I usually start a new set just with a round brush and an airbrush. I do use a wacom intuos 9X12.

  • For inspiration, all is good! Everything you listed works, I have a preference for books and movies, but I also love to read magasines that vulgarize science and technology. I spend a lot of time on the NASA site, google image search, and the passion for sport also motivates me.

The Prof>>
-The workshop was amazing, I am alsway happy to share techniques with other professionals, and get things moving. It’s a huge motivational boost to see so much talent under one roof, it is all about sharing and creating, many artist don’t really understand that.

  • I will post the brush as soon as possible.

Thanks again for all the interest! And thanks especially to CG talk for allowing me to be invited here. I sincerely believe the future of concept art in videogames has just begun, welcome all to the revolution!
I really hope my answers have somewhat helped!
Looking forward to meet all of you guys in future forums or during workshops!

Keep painting!

David

#98

Your information in this thread is invaluable. I have some issues that might be cleared up if I explain them and ask the relavent questions.

Most members on here use the 3D programs, and in most cases are animators and modellors for the industry. But this type of work does not appeal to me, it never did. I prefer to work flat, on either traditional canvas/paper/board, or from Photoshop/Painter. Do you think, to be able to get into the industry, that I would have to learn things like MAYA and MAX? I know it would be useful to have as a skill, but like I said these things dont interst me, and also I would prefer the precious time spent on the skills I do need to develope.

When you first started using a wacom and a computer, how did you begin to learn the basics of learning how to paint with pixelsm and even more to use photos to blend into the work for textures? I know styles and such are learned through experience and time, but how would one new to graphics start such a learning curve?

I’m going to be learning Photoshop for the next 8 weeks and I think I know how to go about it. For one I might do some master copies entirely in photoshop, then maybe some life studies, but what then? Could you give me some advise on how to use this time wisely?

When you are at the end of a project and deadlines are very close, do you work overtime, and what hows would this mean for you?

When making your images, how do you go about selecting your colours? Do you have a library of colours that you have saved and then just bring them up when you think you need that specific set, or do you just use the two sqaures on the toolbox?

You say 99% of your brushes are custom, is there a chance you could go more indepth and explain what type of customs you use and what for?

I find it difficult to think up compositions off the bat, especially when creating illustrations, do you use thumbnails first, just get ideas of compositions?

This one is more of a personal question that as nagged at me and because your not in my country and dont see if you could explain this. In most jobs for game companies and film productions, they ask that you have like three years of experience. Is this job in that industry, or three years of…? I dont see how I could break in if I need experience to begin with. Are there some companies that allow you in if your portfolios good and you have the required degree?

Well theres the questions :smiley: thanks for the time, again.