Texas Hold'em

Need For Speed The Run concepts

A few concepts I did for the game back in April...

I finally managed to do some large oils on canvas.

Experiments

I'm finally starting to put some thoughts down on paper(screen)and plan some large oils on canvas.
Growing up, there was a large oild painting in our living room, a running man painted just realistically enough to blend with abstractions surrounding it. He was in motion, a running stride, mainly yellow with orage and red accents. I have no idea what happened to that painting but I would love to see it again and see how vivid my memory is.
Subconciously, I have allways been influenced by it and tried to do something similar. I think I'm getting closer...

Another quick self portrait.

More Nessus

So I can't help but fall into painting more of this character, more or less in a similar fashion as my earlier paintings of him. The story that will surround him is still shaping in my head, it's as if I feel that the more I paint him the more cohisive the tale will become. I hope that works. I suppose I should start writing as well but every time I do, I get the urge to paint. Is this my own handicap? If I give up and bury this project, it will prove that it is.

Still, I`m compelled to paint and it seems that there`s not much i can do about it...

I must have drawn his left arm a dozen times, just couldn`t get it to work. Its still not working but I decided to call it done for now and move on.

Not that I'm making excuses, but painting traditionally on large canvases requires time, space and willingness to live in a mess. I live in a condo and when I attempt to paint, somehow I get paint all over my place, the kitchen, the bathroom, my clothes, floors, the walls....it's a huge mess. There's something to be said about painting in a separate studio where you can go nuts and just leave it like that.
The urge is definately there. Once in awhile, I feel like taking the break from concept art and just letting my brush flow. No purpose, just shape and emotion. Here's one of those urges...

Sony - Two Worlds commercial - Concept Art

I did this back at the beginning of the year, it's a concept painting aimed to define the look of the commercial. As rare as it is in this business, the final product/shot is almost exactly as I painted it, down to the smallest detail so it's a special treat for me to have my vision followed through to the end. This commercial is in 3D and it has just been released worldwide, in theatres. Check it out. Also, be sure to check out the Making Of clip below...

Zombies

Playing around with zombie look/feel for a pitch for live action feature. If anything has already been done in every possible way it's certanly zombies. I'm trying to come up with something at least vaguely original but what I ended up with is the same ol' same ol'. Pushing forward, when it clicks - it clicks...and click it will.

Muse is a powerful thing, like a drug.

If I'm in a specific mood or something significant is happening in my life, I'll do a self portrait to capture it. It means something to me, it's like a moment in time that I want to remember. When I look at it, it brings back that feeling and the memory of whatever events surrounded it. I don't do this for "happy" moments but rather moments of unpleasant experiences or situations I learned from. Nostalgia is a powerful thing and doesn't always signify the times you wish you could go back to.

Nessus

A personal project I'm starting to play with again...

Another Tron concept painting

I always fall back to this subject matter, it's something I've been drawing since was three years old. Capturing the spirit of a warrior. It is what it is.

Armor design

Sometimes art just comes out. No hard labour. The eye, the hand and the brain are in sync and they just do their thing. This usually happens when you know exactly where you're going and getting there is a breeze. I wish life was like that...well, sometimes it is.

Fanboy Confessionals

Awhile back I worked on the opening sequence for the new reality show called Fanboy Confessionals, live shots transitioning into paintings and such. It's obviously a paintover with some elements painted in, like armor, weapons and background, as well as the overall mood. It airs on Space Channel - check it out here

Tanlines

This is digital but I wish I did it in oil. Lately I've been having a strong urge to paint large, from the shoulder. The wrist action that happens when I'm working on a tablet is starting to feel restricted and even my Cintiq doesn't seem to be doing the trick. There is something about being physical when painting, some of that energy is captured in an image. It's tough to replicate the sheer physical emotion when working on a computer, the environment itself is too controlled. You can be bursting with energy in your mind but it's usually reduced to whatever is channeled through contrived wrist action. I always think of Jackson Pollock and how he moved around the canvas on the floor while painting. That's basically what his paintings are, an explosion of physical energy and that's why they are so captivating. By the way, his painting titled No.5 is the single most expensive painting ever sold ($155.3 million).

Nessus

Organic vehicle

I don't spend as much time with my sketchbook as I used to...I miss her.

Tron - design process

People often ask me what exactly I do in video games so here`s one example. Also, for all of you aspiring freelance concept artist here`s a glimpse into how a typical process may work when you`re operating off-site.

My job on Tron was to visually break down the gameplay into mood paintings for each key moment in this particular level(Spiritual City). About 30-40 shots total. As the player progresses through the game, level designers needed a concept painting as a guide for each of those key moments, much like a sequentially simplified yet more detailed version of a storyboard.

What is the process like and how long does a typical concept painting take to complete? I say three days:
Day 1 - Three black & white rough compositions (like the attached, based on the same brief. This is to give your client some options while keeping it loose.
Day 2 - One comp is chosen and you move onto rough color and tightening things while addressing client`s feedback.
Day 3 - You`re pretty much done at this point and now it`s just a matter of making it pretty and adding final touches - sugarcoating.

Of course, the process can vary depending on the nature of the project, however, it`s important to have a rough idea to be able to quote when first approached by a client. The question is always ``how long will this take and how much will it cost`? The truth is you never know until you start actually working but it`s good to have an idea and a rough estimate, so that you don`t come across as an amateur. Know your speed, understand your abilities and justify your price. It will not only help you get that job, but it will also help you in doing it smoothly and professionally. This is a business like any other, with budgets, timelines and deliverables. The fact that we are creatives and that our job is to draw and paint, doesn`t change this.

Spartacus

Self portrait

Once in awhile, it's good to do a self-portrait. Just to see where you're at in terms of skill, ability to paint likeness and overall copying things as they are in real life. As every artist knows, it's a constant and a frustrating struggle getting things right. Structure, proportions, values, flow...it never ends. You can never really "learn" how to draw well - life is too short, but there is a point where you start to feel absolutely confident about being able to draw just about anything. That is truly the point where your creative juices kick in and your talent takes over. Up until that point, your focus is devided between having a cool image in your head and wondering how the hell are you going to project in on the paper. Once the "lack" of skill is eliminated and and you're not intimidated by logistics, the true test of you as an artist begins. Ok, I can draw anything but what will I choose to draw? What is going to define me and how? Is it important, does it have an impact? Does it communicate what I'm trying to say and what am I trying to say?

Those are the real questions, answers to which can't be found in books. You have to find it within yourself. I truly believe originality is in all of us, it's just a matter of having the courage to look for it in the right places...

I haven't done a self-portrait in a long time and although I wanted to get an instant likenes, I went a little crazy on the palette. I kinda like the way it turned out, might do a couple more...

Rejected sketches...

I heard Craig Mullins once say " I must be in the wrong business because whatever I do and like, my client doesn't...and vice versa"

I find that hard to believe when it comes to Craig's work but it's probably true. It's not always how cool your work is, it's more important that it communicates whatever the client is trying to say. Most directors and even art directors are not good draftsmen, if at all, so what they see is in your work is the message, not brush strokes.

These few sketches are a good example...I think they're pretty cool for what they are (extremely rough sketches) but the client rejected them and wanted to go in a different direction. It's sometimes hard to remain professional and ultimately, visualize your client's thoughts, especially if you do something you think is perfect, but that's the job. It took me many years to learn not to get emotionally attached to my work...

Btw, just today I got offered to work on Age of Conan, the video game. It was to be a full time position that would require me to move to Montreal...so I declined. This happens to me at least twice per month, it seems that most studio's still prefer in-house artists to freelancers. This is probably due to a number of reasons:

1)Keeping the project as secret as possible, as well as any assets done for it.
2)It is much easier to justify paying someone if they are physically present.
3)In most cases, guvernment pays 40% of your salary if you're registered as a full time employee.
4)A sense of a team environment and daily collaboration.

These are all legitimate but this is the way I look at it...it's true that it is not easy to find reliable freelancers out there but there are definitely some that are (myself included). What if I had kids going to school where I live? What if my wife had a career that depended on her physical presence? Do I leave them behind and relocate for the sake of a job? A job that can easily be done in freelance capacity? I doesn't make sense to me. This is an information age and 21st century, it doesn't matter where you are - I can make you feel like I'm there.

Not to mention a sea of talent world-wide, available for freelance, as opposed to being forced to rely only on local talent or artists wiling/able to relocate. I imagine myself in a studio's position and I think that I wouldn't compromise the right talent...I would make it work.

This is too bad really, working on Conan is my childhood dream. I hope they change their mind and let me do some Conan magic from here...I hope so :)

Card from Propaganda Games

Just got this in the mail, along with a copy of Tron Evolution. Totally unexpected, greatly appreciated. I truly enjoyed working with Propaganda Games team, they took care of me in a way that is rare in this business. Thanks guys, best of luck out there!

Fine Art vs Concept Art

I think I can say that I have some ability to draw and paint in different styles. Is that a good thing? Sure, in this line of work it's good to be versatile because you're required to project someone else's ideas on paper, not yours. But what happens when it comes to doing personal stuff? Do you stick to one style, own it and try to brand yourself? I have always struggled with this question. Most fine artists will chase one style their whole life, perfecting the look and feel until they own it. There could be a great value in this if you manage to sustain a specific look and experiment only within the confines of it. A Croatian artist Julius Knifer literally painted only meandres all his life and that's what made him famous and successful. Is it worthed? Can I ever choose one thing and paint the hell out of it for the rest of my life? I don't think so. For me, art is about exploring and trying different things, going out of the comfort zone. I don't think I could ever settle. This is why I never got a tattoo.

EA's SSX in EGM Magazine

Some of my work has been published in the latest EGM (Electronic Gaming Monthly) magazine so I thought I'd share. This is just a fraction and not necessarily my top picks but it's what has been published. It's always a good thing to be able to show work for games that are still in production. Most of the time they're locked in the vault until the game hits the shelves...if it does at all. I have worked on some high end projects in the past that got cancelled for whatever reason and as a result, I can never show those concepts. Frustrating, because some of it is my best work to date and it will never see the light of day. It's understandable though...if the publisher paid for certain designs and decided not to utilize them, they will surely want to keep them a secret just in case the project is ressurected at some point. This way they don't have to go through the same process again.

I spent a few months working on SSX, a legendary snowboarding game that's undergoing a serious makeover. All clues point towards a mayor hit, having a huge, established fan base and the look that can rub shoulders with any other next gen title. Normally, I would never play a game of this type but this one looks so exilerating that it got my juices flowing. Check out the SSX trailer

I was lucky to work alongside my good pal Charles Guan of Mighty Canvas, an amazing concept artist based in Vancouver, who's dedication to his craft always left me inspired and made me work harder. I'd work with him again in a heartbeat.