Meet The Artist: Scott Robertson

#81

Scott skipped mine and said he was going to answer it later, but I think he forgot about it. :smiley:

#82

From: Ecthelion
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?

ScoRo Ā– First it really requires a lot of hard work, which IĀ’m sure you are up to task. A strong understanding of perspective drawing, design and styling principles will get you started in the right direction. In addition to the books both Ballistic Publishing and Design Studio Press are putting out check out our DVDs at www.thegnomonworkshop.com look under the Analog heading for DVDs on the subjects you are asking about. In addition I think that John Montague has a decent book on perspective drawing called Basic Perspective Drawing. For a basic start at how to do cars I think my How to Draw Cars the Hotwheels Way will give you a nice introduction. Frequent the on-line forums and continue to ask questions. Most people are usually willing to help out.

Best of luck.

#83

From: destroyfred
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) ?

ScoRo Ā– On Minority Report I worked on about a dozen futuristic bicycle designs, only one of which made it on screen for about a second! Also I designed the wheelchair for the warden of the containment center. James Clyne, Mark Goerner, Harald Belker, and Neville Page did most of the work for the film that was actually on screen. IĀ’m not really up on which schools are doing what right now in France, sorry. I really like some French artists, Sparth, Beat and Bengal have to be my current favorites, of and I cannot forget Stephan Martiniere! You need to start bottling that special French touch.

#84

From: icedeyes
I am a big fan of your work and I own two gnomon dvds that you made (love them by the way)ā€¦ 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)ā€¦

ScoRo Ā– Thanks. I have tried to put together a list of design schools on the links page of www.designstudiopress.com for students to check out schools from all over the world.

Hope this helps.

#85

From: Lunatique,
Iā€™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 isnā€™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 70ā€™s was dominated by boxy designs, then that gave away to emphasis on curves and more aerodynamic looks.)

ScoRo Ā– I havenĀ’t forgotten, just getting to it. I would agree that the current older generation which I would classify as us designers nearing 40, were all influenced by SydĀ’s work. He really was for a long time one of the only ones we had to be inspired by while going to school in the late eighties. Some of my other personal favorites are John Berkey, Steven Olds, the first Star Wars guys such as Joe Johnston, Ron Cobb, Nilo Rodis-Jamero, and Ralph McQuarrie. In regard to the history of trends in the entertainment design field I think designers have just started to realize that there is more to be done than what we have all seen in Star Wars, and Blade Runner. In the past, and probably into the future, entertainment will most likely be driven by artists who have a strong design background and so as a result most designs will still remain fairly familiar projections of our future. In part this is due to the Ā“decision-makersĀ” lacking a true desire for originality. I really think the most promising place to look for the most creative designs in future will be in books. The risk of investment loss is small and so therefore the creative risks and experiments can be great. I think that the design trends shared through these books will venture into new aesthetics, which will hopefully make us very uncomfortable due to the fact that they will be so fresh.

From: Lunatique,
On a side note, I donā€™t know if youā€™re familiar with Yamashita Ikutoā€™s works. I highly recommend his manga series ā€œDark Whisper,ā€ 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 youā€™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.

ScoRo Ā– I have seen the Neon Genesis Evangelion series and I like the mechanical bots that he has done. IĀ’ll try and find the books, thanks.

#86

From: Artbot,
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)?

ScoRo Ā– When IĀ’m not to busy working on books, DVDs and teaching and I want to do some consulting work it is a bit easier but I still need to show a portfolio and decide if I have the skills to help the client with their requests.

From: Artbot,
Iā€™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? Iā€™m a fellow ACCD ID grad, but have been out of the commecial illustration loop for a long time.

ScoRo Ā– IĀ’m not really the one to help on this, sorry. I think you have the first right step though, which is a web site, now you just need to get it in front of the right people. Might be a good question on some of the more illustration based forums?

#87

from: alexqwerty,
I always wanted to ask you whether you have any recommendation for beginners. Iā€™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?

ScoRo Ā– Advice for beginners, is to really focus on your foundation skills and practice as much as possible. I do know a few self-taught designers and they are very good, but I think they could have gotten to where they are now a lot faster had they attended a good school for the subject.

from: alexqwerty,
I from Australia, i wish I can attend your college. Hope youā€™ll release more DVD in the future regarding the subject of Lighting and Shading

ScoRo Ā– That is one of the topics I hope to complete a DVD series on this summer, stay tuned.

Cheers.

#88

from: kraal,
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.

ScoRo Ā– Thanks. Unfortunately the film job is really hard to get, at least here in LA due to the union. You have to be in the union to work on most films in LA and the union is accepting no new members. Due to this I think the most promising place to find concept design work is in the game industry. It is a healthier industry right now and everything they create is from scratch unlike most films which are shot with real people and at real places. The best way to get into the game world is to put your work on your own web site and then hit all on the forums to start getting the word out that you are looking for work.

Best of luck.

#89

from: plaf,
In connection with my previous question, Iā€™ve got one about portfolios as well. When applying for jobs, Iā€™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 itā€™s up to the studios to judge that, though )

Anyways. My question is: would you recommend compiling a portfolio single-mindedly, showing off only stuff thatā€™s directly relevant to the position youā€™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?

ScoRo Ā– My basic approach to portfolios is to first show only the type of work you want to get hired to do. Next you can widen the range of want you show, especially if it is for a small company that would need the same person to do a wide range of tasks. The larger the company usually the more specific each designers job will be.

#90

from: skullmonkeys,
Your DVDs helped me a lot. They are the best learning material Iā€™ve seen on perspective drawing.
My question
When designing any fast moving vehicles, Iā€™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?

ScoRo Ā– Basically the more you know about your subject matter the easier it is to make the one you are designing look like it might work. This also can work against you as the tendency will be to make it look too much like what you already know. It is almost like you need to know a lot about a specific thing are trying to design and then you want to forget about this when you start designing your version. A good working knowledge of your subject will allow you to add enough engineering realism to make objects of your own design look better. I do not know of any specific books on the subject. Your best bet is to find books on each subject that you are interested in designing and then going from there.

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

ScoRo Ā– Yeah, thatĀ’s the right idea.

#91

from: Pauleeeee,
Iā€™ve been doing the whole CG thing now for about two years now while attending a degree course (which I donā€™t think is very good but Iā€™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 3Dā€¦modelling to some animationā€¦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 Iā€™m aware that alot of places arenā€™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?

ScoRo Ā– When I returned from teaching at Art Center Europe in Ā’96 I was doing a lot of freelance ID work and I was doing 2D and 3D work. I reached a point where there were so many options of software programs to pursue learning that I felt myself being spread to thinly and not being able to produce a high level of quality with any one skill so I decided to focus on purely 2D work and give up all of the 3D pursuits. The best guys at any given skill usually only do that skill and if you want to be able to compete with them then you usually have to follow suit just to have enough time committed to the craft so you can reach your fullest potential.

#92

from: fabmedia,
My question is that Iā€™m a self-employed graphic designer and Iā€™m creating more and more 3D models for animation or rapid prototyping for either other studios/companies (sub-contract), or illustrations for my own clients (directly). Graphic design is becoming a very small part of my business (currently about 20-30%). Iā€™m wondering if I should look at staying in business for myself, or should I look at jumping into the TV/ Film industry? I would like to jump into either industry, but it comes down to finances. Currently I make only $35-40K CDN/ year but is it worth it?

ScoRo Ā– IĀ’m not sure I can help you much with this one. The only thing I know is if you can try and do what you love, the job wonĀ’t seem like work. With all of the jobs I taken due to the fact that they were well paying ones the fun of the money wore off long before the job was complete.

#93

Hi Scott, I was wondering if you could answer my question from page #4 if youā€™ve gotten around to it? You missed me!! Thanks :scream:

#94

Hi Scott. Iā€™ve been following your work for a while. I read on your site that the book ā€œBasic Perspective Drawingā€ by John Montague is pretty good. I was wondering if you had any other recomendations for books that you found helpful in that past in regards to developing perspective drawing skills.

Thanks :smiley:

#95

Just wanted to say before the thread is closedā€¦ Thanks to Scott Robertson for taking the time to answer so many questions and good luck with the books.

#96

A big thank you to Scott Robertson for taking the time to answer questions and critique work! Sorry if anyone had their questions missed, but we do have to close this Q&A session now. Thanks all for participating!

Best,

Leonard