Rocío Pena Romero is a Junior Illustrator and Concept Artist from Spain, that has been in love with videogames and animation from childhood.

Rocío finished an engineering degree, but art was her true calling, which led her to her studies at Lightbox Academy. She been drawing and painting traditionally since she was a kid, and is now focusing on her digital skills to improve and grow as an artist.

The Journey

What's your current role and what does it involve?

I’m currently looking for my first job as a professional concept artist and I am currently interviewing. Please hire me soon!

Where do you work, and what type of projects are they involved with?

I’ve taken part in an animation project at my school, Lightbox Academy. Every year the school and the students of all disciplines join forces to produce a pro-level short film. This is really exciting as the school was founded by Lightbox Animation Studios and has already received an award for these works.

Besides, I have recently finished collaborating as lead concept artist on a demo developed by indie videogame studio TreegamesStudios. This is their first self-produced project called Project-R and will become a full videogame if it receives enough support on Kickstarter!

When did you first realise you wanted to work in this industry?

When I was finishing my engineering studies at University I felt like I was missing a very important piece of me as I had no time at all for art. I was always the kid that drew on her notes during lessons at school and constantly had my nose in a book or in front of a screen growing up.

I investigated further on what exactly I loved so much about those videogames and films and fell in love with concept art. Since then, I’ve dreamt of working on visual world-building full time.

How did you get your first big break?

It was an honour for me to receive the 2022 Lightbox Academy Tadeo de Oro, an excellence award for best concept art/illustration work, on my graduation day. Receiving that public shout out and feeling the support of my schoolmates has helped me a lot to keep up with the hard work. In an industry where visibility is key, I am sure it will open a lot of promising possibilities for my career as an artist.

Describe the journey you took into your current role?

Even though I am just beginning my journey as an artist, it feels like an old struggle. It was difficult for me to choose this path as a lot of people around me warned me about the difficulties of pursuing art professionally.

For those that are seriously considering a career in the creative industries, please be aware that you have to be proactive and bit stubborn when looking for opportunities, and humble and hard-working when it comes to everything else.

If you have the love and determination to keep at it, you will undoubtedly keep improving your skills like I have. Be patient and focus on progress instead of a on single goal!

Why did you choose to study at Lightbox Academy?

After a six-month stay in Montreal where I had my first lessons in digital art and concept art, I fell in love with it but quickly realised that I had a long journey ahead of me if I wanted to become a pro. During lockdown I kept practicing on my own and applying to schools abroad, which were the only ones I knew of back then. Sadly, I got rejected every single time, as competition was fierce to enter some of these places and I was still quite new when it came to concept.

I knew education would help if I wanted to improve quickly, so I started looking for schools near me that could offer concept design classes; this is how I found Lightbox Academy.

I already knew the quality of the work produced by the Animation Studio that founded it and I loved the approach they used during lessons, combining theory, technique and practice, and feedback. It was also of great help being able to see my teacher, Álvaro Jiménez, work in real time during lessons and getting a realistic view of the opportunities in the area in my home country.

How does your education complement your work?

The way I see education in the art field is like a booster; you need to put in the work and interest to grow as an artist either way, but classes help reduce the amount of time to develop your skills or allow you to acquire new ones that might take you a while to discover on your own.

If you are not sure what your work is missing or how to improve faster, it helps having the guidance and feedback of a professional to avoid feeling lost and hopeless in your career.

Day in the life

Describe a typical day for you and your team?

My work for the animation project was outside class/homework hours. We would have a group meeting every two weeks approximately and discuss pending tasks and get feedback from our art director, Alejandra Luque. This way, we would all have work assigned to us or taken voluntarily and a set deadline for the next meeting.

For the Project-R demo, it was a bit different. Every day I would discuss a new part of the project that needed to be designed with the CEO, and we would prioritise different aspects to make sure the 3D sculptors had material to work with comfortably. Since it was a completely new project, I was guided on a basic aesthetic for the design and worked with variations and iterations of the same design once it was deemed fitting.

We were a small team, so I also helped with some of the graphic designs such as icons and UI elements too. I learned a lot about communicating effectively with simplified forms.

What third-party and proprietary tools do you use on a daily basis?

I personally use Adobe Photoshop for illustration and photo-manipulation, and Clip Studio Paint for perspective aid. Having some knowledge of 3D software is useful too.

For equipment, I have a small Wacom Intuos at home that works great for me right now, but I have used a Wacom Cintiq at class and I think any tablets that incorporate display as you draw might help a lot if you are more used to traditional media like I was.

What does your workflow look like?

For all projects, I like to work with a limited reference board, so I give myself a set time to gather images as inspiration and then move on to initial sketches.

Both during schoolwork and the demo development, we would produce some iterations and get feedback from everyone in the group to get first impressions.

Once an option is decided upon, I explore different colour palette options and lighting. I like to get as much feedback as possible on all the steps before committing to a final rendering, as it can be quite time-consuming depending on the painting style of the project. To get a quick base and some texturing before rendering, photo-bashing works wonders too!

Which departments and key people do you work closely with?

All projects benefit enormously from having a well thought-out story and world-building, as well as a clear idea of the general aesthetic that is desired. Usually, the prompts given by the story-board artists / writers and the art director are crucial to that.

For projects that involve 3D modelling, it is particularly important keeping in mind what parts might be overlapping during movement or can be troublesome during play-throughs later on.

Are there any industry trends that are changing the nature of your role?

I’d say recruiters are looking for more complete concept artists that can produce both professional designs in 2D and render them in 3D software effectively.

One thing you’d never change about your job.

Constantly learning about obscure topics and having to be open-minded to differences in time, culture, and customs in order to enrich my work, is something I really enjoy. Just having the chance to draw daily is a great joy for me.

But one thing you wouldn’t mind seeing changed is?

I think the industry could see a great improvement if some of the entry-level jobs were more accessible. It can be difficult to get into internships or junior jobs without experience and, if you are not enrolled in a school that already has a program that will help you with that, it can take some time to find a paid job on your own.

Career Advice

Is formal education essential for someone aspiring to do your job?

I’d say it’s honestly a big help. It depends on whether you have previous experience in an artistic field and how fast you want to reach you goals. If you’re determined and patient, you can get to a professional level even if you’re completely self-taught. Nowadays there’s lots of information and resources both online and offline, and some of them are free.

Practicing non-stop is most important to nail down the basics, while having constant feedback and acquiring more complex techniques that allow you to work more efficiently is easier through formal education, as long as the courses focus on practical skills the most.

Why would you recommend your school to others?

Yes, I honestly would. Having professional teachers that can work on a person-to-person basis has helped me greatly to set realistic expectations of my work and keep pushing myself on daily assignments.

The school has also organised numerous competitions, talks delivered by industry pros, and social/cultural activities that have helped me get to know people in the industry and my classmates, as well as to keep myself motivated and focused on my artistic journey. It’s also especially helpful if, like me, you don’t have any contacts in the field and need an extra push to know how to handle social media and build a cohesive portfolio.

What do you wish you knew about the industry before you started?

It’s a small but constantly growing and evolving world. You need to keep up with the new content that comes out but also have some general knowledge of classics and staple works.

The more open-minded and curious you are about the world, the more diverse your work can become, and that’s a huge advantage!

Alternatively, some genres in entertainment can be a bit niche, but that gives you the chance to specialise in something you really love and are passionate about.

If you could give one piece of advice to artists trying to get a job, what would it be?

Don’t give up if nothing seems to work at first try. Ask for feedback even when you are being rejected and continue to be active. Putting your work out on social media will make you keep improving and will send the message that you take your passion seriously.

What tasks would you be typically asked to do as a junior artist?

It depends a lot on the work hierarchy where you work! An indie studio with a small team may give you the opportunity to take on more responsibility and allow for more liberty on artistic choices and decisions that impact directly on the final project. That usually involves more exploration and design iterations until the visual portion of the project goes hand on hand with the vision the producers might have in mind.

In a more established environment where you need to work with a bigger team, you usually support more experienced colleagues and help deliver more specific and detailed designs that fall under the direction of an art lead. You can grow and learn a lot in both ways.

What skills do you think recruiters are looking for when hiring an artist?

What I hear the most from recruiters is that they look for someone that has an interest in the industry and the project, not just meet the skill requirements. Someone hardworking that can take positive feedback well and can work well with other people.

What skills seem to be missing all too often?

I’d say, for me, it’s still a bit difficult to speak up when giving or receiving feedback. It can come off sounding harsh for some people, even if no harm is intended! I try my best to be uplifting about my work and others’, since I know all the work that goes into developing any piece of concept art. So, keeping that in mind helps me not take things personally but as a meaning of artistic growth, and to keep pushing forward.

Describe your attitude towards your job?

It’s a love-love relationship. Even when I feel frustrated with what I’m working on and nothing seems to be turning the way it’s supposed to, I try to remember how much art has always made me happy and I focus on that feeling while working. I immediately feel grateful that I have a job that makes me feel at peace with myself, even if it means having to fight hard to deliver good quality.

Where do you get your inspiration from and how do you implement it into your work?

All the media I consume is a constant source of inspiration. From the movies I would obsess over when I was a child, to the content you mindlessly browse on social media, or the latest series you binge watch on any streaming platform.Cultural experiences such as travelling during your holidays or visiting museums on days off, like we did at my school, can be enriching too. I think the key is to analyse what makes that subject special or meaningful to you and try to imitate that in your work. To do that, you can incorporate themes, motifs, patterns… I like to make my own sketches trying to capture that essence as best as I can.

Describe a project brief that you’d recommend artists create for their portfolio?

Spend some time creating a world from scratch. Think of a decent story, any genre you like, and develop the whole universe you’d like to see if you were to consume that product. One that never fails is the “hero’s journey” or the monomyth, but there are hundreds of archetypal plots and tropes that can help with story building once you give it your own spin.

What mistakes do you see artists making when applying for jobs?

From experience, apply to anything that you think might fit your profile, even if you don’t fulfil all the requirements. It’s also useful to bother writing motivation letters and sending your portfolio/CV to companies even if there are no spots open for your specific area at the moment!

If you could give one piece of advice to artists starting out, what would it be?

Be prepared to be patient and stubborn. Learn to take constructive criticism gracefully and humbly, and ignore all other unwanted opinions. For me, what helps is keeping the focus on the joy of the process and not to obsess over immediate results.

If you could go back in time to when you first started out, what advice would you give yourself?

Believe in yourself and focus on the improvement and you will see results when you least expect it.

You can find Rocío on The Rookies, ArtStation, Instagram and LinkedIn.

Want a successful career working in VFX? David Blaya, a Lightbox Academy alumnus, is a 3D Lookdev Artist at MPC Film London's Character Lab. David sits down with us to share his journey and advice to aspiring artists looking for an exciting and challenging career like his own.

The Journey

What's your current role and what does it involve?

Key Lookdev Artist. I am responsible for creating the shaders for hero assets.

Where do you work, and what type of projects are they involved with?

I work at MPC Film. This is where magic happens and many of the blockbusters you watch are made here. In this last year I had the opportunity to work on films like Transformers: Rise of the Beasts, and in an upcoming Disney’s live action movie.

When did you first realise you wanted to work in this industry?

I grew up loving dinosaur documentaries and drawing monsters in my spare time. However, I never thought that the film industry was an option to me so I decided to study Advertising in University.

I like Advertising but I realised that my passion was in another place. What makes me feel more excited is nothing but movies, video games and animals; that’s why I wanted to share that passion and spread it among other people.

How did you get your first big break?

Surprisingly, it was during the pandemic. At that moment I was working as a freelancer from home and I received an offer from Belgium to join Walking the Dog as a Texture Artist. They considered me during a very difficult time, and I am really grateful to them!

Describe the journey you took into your current role?

To be honest it was a happy accident that brought me here. After working as a generalist for more than 4 years in a virtual simulator company I decided to jump into the film industry. I joined a master degree to learn Organic Modelling with ZBrush.

But I felt that my renders didn’t look too good so I found a Lookdev course and I thought it could be great to learn something in order to push my models to the next level. Surprisingly I found that stage of the pipeline quite fun and that’s why I’m doing it now.

Why did you choose to study at Lightbox Academy?

It’s all about the instructors. When I’m about to join a course, the first thing I investigate is about the person who teaches that discipline, and Lightbox Academy has amazing professionals always happy to help you and make you feel like working in a real studio.

How does your education complement your work?

The education I received was a boost to bring me where I wanted. I had the opportunity to give my first steps with ZBrush taught by Manu Mané, learn about anatomy with Gaël Kerchenbaum, and discovering lookdev with Miguel Castrillo.

All of my mentors, and the [instructors at Lightbox Academy] shared with me not only their knowledge, but also their experiences in the industry.

Day in the life

Describe a typical day for you and your team?

Me and the team usually have a catch up with the Lead to see what’s priority in the day. Once the tasks are clear we start the production! One of the most common assignments we have is addressing the notes given in previous dailies.

We have daily sessions almost everyday. In these sessions we have a call with the VFX supervisor, where we show our work and they give us notes or ways to improve the asset. With this constant follow up we all make sure that the asset is in good tracks. At the end of the day we set the renders to submit in the next daily session.

What third-party and proprietary tools do you use on a daily basis?

Usually I work with Katana, Mari, Substance 3D Painter, Maya and Nuke. When sculpting, I go with ZBrush.

Which departments and key people do you work closely with?

When I’m texturing, I work closely with the modelling team. For lookdev, we are in contact with lighting. In case the lookdev step implies some groom, then the grooming team is added too.

Are there any industry trends that are changing the nature of your role?

Real-time render engines are something that have to be taken into account!

One thing you’d never change about your job?

The VFX industry is constantly evolving and upgrading itself. That means that there is always something new to learn and skills to improve, if you enjoy the loop that’s exciting.

But one thing you wouldn’t mind seeing changed is?

As I said before, lack of pre-rendering is time consuming. It would be great to have a more standardised software with the best of both worlds being part of the industry.

Career Advice

Is formal education essential for someone aspiring to do your job?

Not really. It is more about what you can offer as an artist rather than where you learnt. However, having good instructors definitely helps you to grow faster and can guide you in this journey as well.

Why would you recommend your school to others?

Lightbox Academy is definitely one of the best choices for Spanish speakers. The different degrees are not hermetics. Just as a business, there is a strong connection between all the disciplines and the people inside.

But also it has been like a family for me. The treatment received was excellent, I was a student more than four years ago and we are still in contact.

What do you wish you knew about the industry before you started?

There are so many disciplines and probably in the future there will be even more. Don’t get upset for not being aware of all of them and do not hesitate to ask, this is a narrow industry and the artists are always happy to explain what they do!

If you could give one piece of advice to artists trying to get a job, what would it be?

Keep updating your portfolio. When you are working in a big studio you’ll probably work with the same asset for a long time, which is cool for one side,  but don’t forget that they also encourage artists to keep learning beyond those projects.

What skills do you look for when hiring an artist?

When a company is hiring it is because they have a necessity and they are looking for someone who helps to solve it. As a candidate your mission is to prove that you’re gonna solve it.

Where do you get your inspiration from and how do you implement it into your work?

Real-life world is the main inspiration. I often watch documentaries taking hundreds of screenshots I use as references, so my library is getting bigger and bigger.

When you’re outside, try to take macro pictures of any material you find and try to reproduce it in your favourite software.

Describe a project brief that you’d recommend artists create for their portfolio?

It is important to understand how the different materials react to the light and how to reproduce them in CGI. A good exercise is to start a project with an organic character with cloths and metallic ornaments, so in a single project you can play with a wide range of materials.

What mistakes do you see artists making when applying for jobs?

I often see demo-reels with too many projects to show. It’s hard to cut our beloved projects but only add the ones you consider they are gonna like. Quality over quantity.

If you could give one piece of advice to artists starting out, what would it be?

Don’t be scared of getting out of your comfort zone, it’s the only way to improve.

If you could go back in time to when you first started out, what advice would you give yourself?

Enjoy the journey!

You can find more of David's work on his website, Instagram. Reach out via LinkedIn and email: blayapapaya@gmail.com.

If you want to learn more about VFX roles, this is a great article to get started!

Want a successful career working in VFX and Animation? Often overlooked, Previsualisation can be a challenging and rewarding  role.

Nadya Sugiarto is a Ringling College of Art and Design alumna, making tracks in Visual Effects as a Previs Artist at MPC LA. She sits down with us to share her journey and advice to aspiring artists looking for an exciting start to a career like her own.

The Journey

What's your current role and what does it involve?

I’m currently working as a Previs Artist, which is short for Pre-Visualization. My job involves planning the camera and layout in pre-production as well as some character animation. We’re basically creating the blue-print of the film before production starts filming.

Where do you work, and what type of projects are they involved with?

I’m currently working for MPC LA. MPC has worked on various Hollywood films, such as Chip n’ Dale: Rescue Rangers, Nope, and Sonic The Hedgehog 2. I specifically work in the Visualization Department where we do Previs, Techvis, and Postvis.

When did you first realise you wanted to work in this industry?

It first clicked to me back when I was a sophomore student in high school. At first, I wanted to major in biotechnology, but later I realised that I wasn’t as passionate about it as I thought. I wasn’t excited enough to research the industry on my own free time.

On the contrary, the idea of working in animation was so exciting to me. I spent a lot of time reading articles and watching videos about the animation pipeline and filmmaking process. I didn’t think that it involved such a complicated process!

I also have always loved art and storytelling, so I thought that this career path would’ve been perfect for me.

How did you get your first big break?

I got my first job in the industry as a Technical Animator at Blue Sky Studios. It was during my junior year back in college. I was offered a 3-month contract job for that summer break and got the chance to work on Spies in Disguise. It was only for a short time, but I learned a lot!

After I graduated, I got my first role as a Previs Artist at MPC LA where I worked on Chip n’ Dale: Rescue Rangers as my first project there.

Describe the journey you took into your current role?

Back when I was in college, I wanted to be a Final Animator. I think a lot of people did. It was definitely a popular choice among the students along with Storyboarding, Visual Development, Modeling, and Lighting/Compositing. We barely heard about Previs at all.

I first got exposed to Previs when we worked on our thesis film. A Ringling College alumnus who worked at The Third Floor visited the school as a guest artist for our layout pass. He showed us what kind of work they did at TTF and I thought it was pretty cool. I kept that in mind as I kept aiming to be an Animator back then.

Later when I graduated, I kept my options open and applied for different positions, including Previs Artist roles. Eventually, I heard back from MPC, got interviewed, and accepted their offer. At that time, I still wasn’t sure if I wanted to stick with Previs, but after meeting my supervisors and peers, learning from them, and doing more previs, I realised that I love my job!

I think the Previs role is very crucial and sadly it’s a bit underrated especially among students. I wish we were exposed more to it back at school. It’s such a fun job to do!

Why did you choose to study at Ringling College?

I found out about Ringling College when I googled animation schools in the US. It was one of the top schools that I discovered.

When I researched Ringling College's student work, I thought it was amazing. I loved their stories and the films looked so well done

How does your education complement your work?

Back at school, we were trained as CG generalists. We learned everything in the pipeline, from Storyboarding, Visdev, Modeling, Rigging, Animation, Texturing, Lighting, and Compositing.

For our 2nd semester of junior year, we started to develop our thesis film, which we had to complete in order to graduate. Being exposed to this whole process has been really helpful to everything I do in Previs.

There are times where I have to do some prop modeling and rigging to help with certain shots. We also aim to make the shots look as pretty as we can, and having the knowledge to do lighting really helps with that.

Day in the life

Describe a typical day for you and your team?

I have been working from home since I graduated. The routines have differed from project to project, depending on the schedule. But, typically we start with a morning meeting to talk about our goal for the day or the week, get notes for the shots we submitted the day before, and then we spend the rest of the day working on our shots.

We communicate with each other through Teams and ask each other questions when we are unsure about certain things like continuity between shots. If we run into problems, everyone is always kind enough to help each other and figure things out!

What third-party and proprietary tools do you use on a daily basis?

We mainly use Autodesk Maya for animating, and After Effects, and Premiere Pro for editing.

What does your workflow look like?

It has been slightly different from project to project. There were times when we received storyboards and started from there. There were also times when we started from scripts, or just a loose description of ideas that the client wanted to try. We then try to visualise it and show a first pass to them.

From there, ideas grow and then we get to experiment more. After initial passes, as we keep doing revisions, we also keep polishing the shots, making them look as close to final as we can.

Which departments and key people do you work closely with?

We work closely with the Director, VFX Supervisor, Cinematographer, Storyboard Artist, and other department heads (depending on the show).

Are there any industry trends that are changing the nature of your role?

A lot of previs projects are utilising Unreal Engine more and more these days, so having an understanding of that software would help a lot.

One thing you’d never change about your job?

The fact that I get to do a little bit of everything. What I love about Previs is that I get to animate, do some lighting, and make the shots look pretty. It’s not as polished as final production, but I enjoy the process of visualising how the end product might look. And if the client likes it, the final film would look pretty close to what we did!

But one thing you wouldn’t mind seeing changed is?

I wish we would receive better credit in visualisation. There have been times where we didn't get credited at the film’s end credits and it can be pretty disappointing. No matter how small or big our role was, I think proper credit would mean a lot to the artists who have spent months of their life on that film.

Career Advice

Is formal education essential for someone aspiring to do your job?

These days, you can pretty much learn everything from the internet. There are lots of tutorials, webinars, and online classes that can provide you with the knowledge. However what formal education offers you is the structured curriculum and easier access to teachers, studios, alumni, and recruiters. As well as meeting your classmates face to face and learning from each other.

What tasks would you be typically asked to do as a junior artist?

As a junior artist, I started with simpler shots. Something that’s not as dynamic. From there, I started to get more challenging shots.

What skills would you look for if hiring an artist?

I’m not the best person to answer this, since I’m not in the position yet, but one of the questions that I’ve been asked in interviews was if I had camera experience. Was I responsible for the camera in my animation reel? How do I choose my lenses? How comfortable I am with doing revisions and how fast I am when tackling multiple shots....

Describe your attitude towards your job?

To always be flexible and fast. Previs is a process where everything is very malleable. Often times, script goes through changes, character changes, set/shooting location changes. Basically everything can change anytime. When that happens, we often have to redo our work from scratch. It can be discouraging sometimes, but when we see our work on the big screen, it makes everything worth it.

Where do you get your inspiration from and how do you implement it into your work?

I got my inspiration from watching movies, following photography accounts on Instagram, and looking at artbooks! I like looking at well composed pictures and analysing what makes them work nicely. And when I watch movies with complicated shots, I try to analyze how I would tackle that shot in terms of the technicality, like, what kind of constraints, what kind of cheats I could use (if it’s an animated film), etc.

What mistakes do you see artists making when applying for jobs?

Not moving the camera or even adding a simple keep-alive was one of the mistakes I made when I worked on my first layout pass for our thesis film. There were also instances when I forgot about the 180’ rules.

As for mistakes when applying for jobs, I was guilty of this as a shy introvert, but I didn’t follow up enough with recruiters because I was afraid that I would annoy them. Looking back, I think it’s important to follow up as long as you don’t go overboard with it. Just make sure you do it within healthy boundaries.

If you could go back in time to when you first started out, what advice would you give yourself?

Persistence and hard work is really important, but it’s also important to take a break and enjoy life! Remember that this is a marathon. When you have your well-deserved break, your work quality also improves and you get more fresh ideas from your life outside work!

Nadya Sugiarto is a Previs artist based in Los Angeles, California. She has a great passion for all types of animation and always strive to learn as much as she can in everything she does.

You can find Nadya on Instagram and LinkedIn.

Claudio Quatela is a 22 year-old 3D Artist specialising in Environment Art. Rainbow Academy alumnus, Claudio, is now working at Ubisoft Milan, on the Mario + Rabbids franchise, and he sits down with us to today give his advice for other aspiring Artists looking to join the Games industry.

The Journey

What's your current role and what does it involve?

I am Junior 3D Artist. My role is to create assets, props, textures and more, for the environments that make up the levels of our projects.

From modeling to texturing to shading of the asset, I make sure the quality and
optimisation of the product is triple-A compliant.

Where do you work, and what type of projects are they involved with?

I currently work for Ubisoft Milan in the 3D Art team, and I’ve worked here for almost 2 years. The studio is part of one of the most important video game manufacturing companies globally and right now we are in the process of producing the 3 DLCs for the “Mario + Rabbids Sparks Of Hope” game that have been announced in recent weeks.

When did you first realise you wanted to work in this industry?

I've always had a passion for drawing and art in general since I was a child.
During my adolescence I also approached the world of video games and I began to be interested in the graphic aspect and the artistic direction of the games that marked that period.

The inspiration came when, during the fourth year of high school, I attended a conference about computer graphics in film, and in that moment I understood that I wanted to make my passion for art my job and become a 3D Artist.

How did you get your first big break?

I had my first big break to enter the world of work at a higher level after obtaining my master's degree in video game graphics and having had the experience of teaching a course on 3D graphics in a private school.

In that period my former school Rainbow Academy organised the Career Day event, which represented an opportunity for new graduates to be able to interface directly with the staff of important companies, including Ubisoft.

On the occasion of this Career Day, whoever was in charge of observing the showreels and CVs of the students noticed my profile and I was subsequently contacted to start the recruitment process in the Ubisoft Milan studio - a path which then ended in the best of ways.

Describe the journey you took into your current role.

The journey I took to become an Environment Artist was not too long. In high school I was convinced I wanted to be an architect as I was interested in the design and visual rendering of architectural projects, but later I realised that I wasn't made for that kind of study.

I still remained interested in the harmony of shapes, landscapes, settings, whether they were films, video games or reality itself. However, during my studies to become a 3D Artist, I also showed a strong interest in characters; having fun creating both cartoon and realistic 3D characters.

In the end, my preference for the environment and my interest in places that tell a story rather than characters was too ingrained and prevailed.

Why did you choose to study at Rainbow Academy?

After high school I decided to directly attend a Master's Degree in video game graphics at the Rainbow Academy. My choice wasn't easy, considering the amount of training opportunities that exist in Italy and online, but after attending their open day, I was immediately struck by the warmth of the staff and their
evident love for the world of computer graphics.

It is a place that manages to make you understand how much of what we have always dreamed of is literally a door away - Rainbow Academy is in fact directly connected to the Rainbow CGI studio, so you are always in contact with professionals, approaching the world of work even before entering it. This was
also a determining factor for my choice.

How does your education complement your work?

Training within Rainbow was of fundamental importance to me for my personal growth as a professional in the sector, not only for the educational programs that allow you to learn the basics of creating quality characters and environments, but also for the teachings that they give about the world of work, how
to introduce yourself to a company, how to create a portfolio and a showreel in a professional way; all fundamental lessons needed to move from being a student to a professional.

Day in the Life

Describe a typical day for you and your team?

In our typical day, daily meetings cannot be missed in order to have a better understanding of the progress of the project. Being 100% communicative is essential to work in sync and always be aligned on what we are working on. Once the team is cohesive and in sync, everyone gets on with their tasks, whether they're in the office or working remotely.

What third-party and proprietary tools do you use on a daily basis?

In our 3D pipeline we have various software available that let us create what we need. The software we often use is Maya, 3ds Max, ZBrush and Blender for modeling, and Substance 3D Painter, Designer and Photoshop for texturing.

What does your workflow look like?

The initial phase of my workflow is certainly the study the concepts. From there I start to model a blockout of what is asked of me. Once the modeling is completed, I plan what is the best way to texture the asset, whether for example with an atlas, a tilable material, or an ad hoc texture.

Depending on what I need, I decide which texturing program to work in. Once the asset meets the basic requirements, it should be tested in engine, to make sure everything works as it should. If not, I go back and fix what it takes until the asset is ready for my Lead's validation.

Which departments and key people do you work closely with?

I work every day in close contact with the Concept Art and Level Design departments. The first is the department that prepares the concept tables that are provided to us 3D Artists and to which we must adhere in terms of style and artistic direction, to create the assets that are used to give life to the
environments.

Communication with the Concept Art team is essential to be able to balance the art
direction and the subsequent practical application in 3D.

After an asset is ready, I get in touch with the Level Design department, in order to implement it in the game. We then discuss what a certain asset must do and what its function will be in order to be able to set everything you need in the right way and then go and program its behaviour during gameplay.

Are there any industry trends that are changing the nature of your role?

Very often the figure of the Environment Artist has to interface with increasingly advanced methods in the creation of maps and game levels, such as procedural systems that allow you to create a multitude of elements simply by changing parameters.

You can also count on cutting-edge technologies for scanning real elements, allowing us to obtain super realistic props without having to create them from scratch. On the other hand, however, the hand of a modeling and texturing technician is still essential to be able to create an entire environment that has a well-defined identity and that fully respects the guidelines of an artistic direction, especially if you are working on a cartoon-style product like our latest projects.

If we talk about art, the artist's role was and remains fundamental, yet it is increasingly supported by the updating of the various software tools to be able to create anything more easily and precisely.

One thing you’d never change about your job?

The audience of our games. Passionate gamers from all over the world, no matter what age they are, where they come from and what their origins are...I know that even now they are playing our game, marveling and enjoying exploring the environments I have worked on together with my fantastic team. I think this is the most satisfying part of this job.

Needless to explain how nice it can be to see gameplay videos eery day from YouTubers, live streamers or even memes on social networks about what you have created, made by thousands of content creators around the world. It's a unique feeling.

But one thing you wouldn’t mind seeing changed is?

I don't think there is something I would want to see change: our sector is among the most versatile and it’s constantly changing since it must adapt to the needs and demands of the market. I'm very open to changes and innovations, as long as I don't lose the desire to create something wonderful and new in the eyes of the public.

Career Advice

Is formal education essential for someone aspiring to do your job

I think that in order to become a professional 3D Artist it is not strictly necessary to attend a university or an academy. Nowadays there are numerous courses, tutorials and technical documentation on which to draw in order to be able to cultivate one's artistic vein and transform it into a technical work.

Once you have learned the main technical rules in creating a product that works, only your artistic ability remains and that is an innate gift that must be trained with dedication and commitment.

Why would you recommend your school to others?

As mentioned above, I would recommend the Rainbow Academy to anyone who wants to become a 3D Artist because it offers a variety of programs that include pipelines of CGI and animated films, as well as a Master's course in Game Assets, or again Game Design and Concept Art, held by teachers often already fully involved in the production of high-level projects.

The possibility of being in a place where you can constantly ask for advice and learn from people who already have solid work experience, since the academy is inside the Rainbow production studio, allows you to grow a lot.

But of course, you also have to fully dedicate yourself to studying.

If you could give one piece of advice to artist’s trying to get a job, what would it be?

Many times I am asked for advice by emerging 3D Artists who want to start approaching the world of work and often what I recommend is to make the best effort, for as long as necessary, to create a reel that can be shown as a business card to companies, and to not be afraid of not being good enough,
because most of the times, we may not realise our potential.

Wrapping up the most beautiful works and demonstrating that you have valid technical knowledge is already an excellent starting point for being hired.

What tasks would you be typically asked to do as a junior artist?

Initially as a Junior 3D Artist it is very likely that your artistic and technical skills will be put to the test through the creation of simple props or characters, as a contour to what is the whole project, but which are very important to ensure that every detail be taken care of. It is therefore essential that apparently easy and unimportant tasks are not underestimated.

You have to put the same effort into making any one of a thousand vases or a hero asset, because this is the approach of a professional who is rewarded and step by step, if you prove you have the right qualities, the difficulty level of the tasks will increase along with the satisfaction that comes from making them.

What skills do you look for when hiring an artist?

Personally, I don't hire people, but if I had to, I would like them to have a high propensity for problem solving as well as artistic talent.

What skills seem to be missing all too often?

Paradoxically, one thing that I often notice missing in the artworks of those who want to do this job is precisely the attention to detail, the artistic quality.

Perhaps the technical rules necessary for the functioning of an asset have been respected but it is as if one were impatient to create something, without taking care of every single detail, without carefully observing reality and bringing it back to the screen, without inquiring about the basic rules of the various artistic styles.

Dedicating yourself to drawing before starting to work in 3D can help train your eye and understand when something works visually or not.

Delivery times should not be prioritised over product quality. When you approach 3D for the first time, even just creating a glass can take a month but it is essential to dedicate yourself to artistic quality, to the study of colours and shapes. Then the speed of creating and technical mastery will increase from time to time.

Describe your attitude towards your job.

I love my job. I am proud to be able to give life to stories and landscapes in which hundreds of thousands, if not millions of people will spend part of their days.

Working with people equally in love with this world and with a crazy talent, makes me feel part of something much bigger than me, but at the same time it gives me the feeling of having been fundamental to its realisation.

Where do you get your inspiration from and how do you implement it into your work?

When I find myself having to work on something, I certainly cannot help but take inspiration from the concepts and the artistic direction that is being followed at that moment, but I also take my cue from what I see in reality; doing online research or observing things with my own eyes similar to the ones I have to
recreate in 3D. In this way I can have all the necessary tools to be able to report what I see in my work, finding an adequate synthesis, especially if we are talking about a cartoon style.

Describe a project brief that you’d recommend artists create for their portfolio?

Personally, I don't have any particular advice on what to do for a portfolio, but what really matters is the quality with which the work in question is done. Surely it is very useful to demonstrate that you can range in multiple areas and in multiple artistic styles but being able to do multiple things, perhaps both modeling and texturing, or both realistic and cartoon style is a great way to show that you are flexible in working and that you are not afraid to experiment and learn more things.

What mistakes do you see artists making when applying for jobs

Little attention to the presentation of the showreel. Presenting the final product is the basis, but attention to the presentation makes a lot of difference: the result must be captivating, it must attract attention with a dynamic video editing, beautiful music, well-maintained lighting and without forgetting to also show the
technical part of the work.

If you could give one piece of advice to artists starting out, what would it be?

Never be satisfied until you see the result you really want to achieve, before moving from one project to another. Start one, simple or complex, and finish it in the best way.

If you could go back in time to when you first started out, what advice would you give yourself?

I don't think that if I could go back I would give some advice to myself. I rather think that every doubt, mistake and failure is an essential part of one's personal and professional growth path: from how one approaches criticisms and slip-ups to better understanding your own self and how to deal with obstacles.

Getting it wrong the first time, learning the lesson and never getting it wrong again is a huge step towards your own fulfilment.

You can reach out to Claudio via LinkedIn, ArtStation and Instagram.

Steve Biggert is a South African/Swazi art director, designer and animator based in Los Angeles. Steve is also an alumnus of Ringling College of Art and Design, who was more than willing to share his journey and advice to other aspiring artists looking to start their careers in 3D Motion Design and Animation.

The Journey

What's your current role and what does it involve?

I’m currently an art director and designer at Elastic, a design and production studio in Santa Monica, CA.

What type of projects are they involved with?

At Elastic, we mostly create main title sequences, as well as design and motion graphics for television series, films and documentaries. As an Art Director, I’m often involved in leading the design approach for projects and helping the team develop that approach in animation. Depending on the size of the team and role as an art director, I may also be involved in presenting our approach to the client and establishing how best we can execute their needs.

What is the company culture like?

We have been working from home since the pandemic started, and although the studio is back open, most artists are still at home. Although that has changed the culture a bit, we are still a team that is engaged with each other and makes an effort to meet up and catch up. We’re coworkers and friends, which I think is really important.

When did you first realise you wanted to work in this industry?

Prior to going to college, I had always been involved in visual arts and graphic design. I knew I wanted to follow a creative career path, but I was not sure what that would be. When I arrived at Ringling College of Art and Design in 2014, one of our first projects was to create a title sequence. Before then, I had no idea what motion design was or that title sequences were a thing I could be involved in. Ever since then, I knew I wanted to work in the motion design industry - and that titles were what I wanted to create specifically.

How did you get your first big break?

The Motion Design major at Ringling helped me develop a varied, and pretty extensive portfolio of work by the time I graduated. That said, when I graduated in 2018, I still didn’t have a studio who’d said yes to hiring me. Being an international student, this was a big issue. I had previously interned in LA though, and really loved the city. I figured I had nothing to lose, so I moved to LA on a whim and a little money saved up.

Shortly after arriving in LA, and many emails later, a door finally opened and I met up for lunch with Elastic - a studio I’d long admired and wanted to be a part of. I began freelancing at Elastic as a Designer and Animator, before agreeing to join on as staff a few months later. Almost 5 years on, I’m still loving being a part of such a stellar creative team.

Describe the journey you took into your current role?

After landing at Elastic, I felt incredibly lucky to be working alongside so many incredibly talented artists. At times it was a bit overwhelming, but it was also very motivating. In my time here, the team has always made me feel welcome, and has provided a lot of support to help me grow and succeed. It’s not a given that every studio puts their faith in young creatives, but at Elastic I felt a tremendous amount of trust from day one. Opportunities to work on some awesome projects, such as the main titles for One Dollar, Aaron Hernandez and Spies in Disguise came up very early on. As time has passed my skills have broadened, and Elastic have continued to provide a space for me to grow - most recently trusting me to take on more leadership and design management as an Art Director.

Why did you choose to study at Ringling College of Art and Design?

Ringling appealed to me because it was a college with a strong focus on design as a viable career path. The school seemed like it had everything I needed to learn a new skill set, but perhaps more importantly to learn how to navigate my early career. I was given the opportunity to attend Ringling on a scholarship, and I couldn’t pass up on that offer. I packed my bags, moved to the US from home in South Africa, and have never regretted taking that chance.

How does your education complement your work?

Ringling’s Motion Design major provided 4 years of education and a portfolio that closely followed the industry’s workflow and demands. The department provided students with the access to tools to create the best work we possibly could, and the support to do so from not only the staff but also a very motivated group of classmates.

Very few industry studios have the vast selection of tools - from stop motion labs and film equipment to a professional grade green screen room and computer software - that Ringling’s Motion Design department has.

Overall my education prepared me with a large portfolio, and a work ethic that has served me well as a professional.

Day in the life

Describe a typical day for you and your team?

Days at Elastic usually start (or end) with a project meeting in which the team go over what needs to be done and discuss how we can execute those needs. These are very collaborative meetings, allowing artists and directors to bounce ideas off of each other and provide any support needed. The rest of the day is mostly working on the notes discussed, either in animation or design.

What third-party and proprietary tools do you use on a daily basis?

By far the most widely used software at the studio is the Adobe suite - After Effects for animation and compositing, and Photoshop and Illustrator for design. We are a studio well known for our 3D work, which is mostly created using Maxon Cinema 4D, and rendered using Octane or sometimes Redshift. Our 3D VFX team also use Maya for most of their work.

How are new ideas pitched and developed?

When a project comes in, the team is usually briefed on the client asks and needs, before we begin developing possible looks and concepts in the form of styleframes. These frames are collected in a pitch deck, which is presented to the client. From that feedback we further explore the design approach and fully flesh out the look and feel of the project. Once that is approved, the team moves into animation production and delivers the final project.

What does design look like in your team?

Design involves a lot of references being pulled, a lot of discussion on what look we want to create, and then design frame explorations. Some projects/concepts may only need a couple frames to communicate the idea, while others may require several to break down the sequence of events. Design and animation often overlap in the production process, so often design changes will be made by animators later on as well.

What does your workflow look like?

For me everything starts with research and a lot of reference. Even if I’m not creating something that resembles a specific reference, I have still pulled a bunch of references in the build up. I also scribble down a lot of notes and ideas - these are usually conceptual approaches, ideas of objects/scenes to include and descriptions of feelings I want to evoke.

After that, I begin designing styleframes for hero moments which “sell” my idea, either to the client or the team. These frames are usually collected in a deck with some descriptions/concept statements (this is where the extensive scribbled notes come in handy) which is sent to the client. After the client lands on a look, I design more frames to flesh out the sequence and approach before beginning animation. After many tweaks and a healthy amount of second guessing, things are finished!

Which departments and key people do you work closely with?

Things are very collaborative at Elastic, with every team member working very closely and having input on how things look, move and are executed. Teams usually consist of a few designers, animators, an art director, a creative director and a producer.

Are there any industry trends that are changing the nature of your role?

Industry trends are usually visual trends, and are continually evolving. Often clients are going to want whatever the current trendy look is, be it stylized 2D animation or highly cinematic 3D. That often affects what sort of artist is in demand at various studios.

It helps to wear a few different hats as an artist, but there’s a fine line between being a generalist and spreading yourself too thin.

At the the end of the day, trends will come and go. What is most important in my opinion is making sure you have good taste.

One thing you’d never change about your job?

Working with like-minded, passionate people. I’m not sure how some designers/animators are able to work as a team of one for most of their careers. I love having a team of driven creatives to work with. Your personal talent might be individual, but it really helps to have people around to explore ideas with and take on tasks they’re more adept at.

But one thing you wouldn’t mind seeing changed is?

Motion graphics, like many creative careers, can often be a little grueling in terms of hours and deadlines. I think more boundaries, and a stronger position/will to enforce those boundaries on clients, is needed.

Career Advice

Is formal education essential for someone aspiring to do your job?

The short answer is no. Studying motion design at college played a big role in my career, but it won’t be essential for everyone. I’ve worked with a lot of talented people who just picked up the trade and learnt it themselves.

Whether you went to college to get into this industry or learned things yourself through other methods, the most important thing to grasp is a professional workflow and solid work ethic. That isn’t taught through any specific method, it’s really down to the person to commit to and uphold.

What tasks would you be typically asked to do as a junior artist?

Junior artists play different roles from studio to studio. Sometimes these will be more mundane than others, but everything is important in gaining the trust you can execute things to a high level. At Elastic, we try to get juniors as involved as possible without overwhelming them with too much pressure. This is often in the form of design explorations and motion tests in the early stages of a project.

What skills do you look for when hiring an artist?

Strong knowledge of the tools we use is really important, because we’re not really going to hire someone who doesn’t know the software we use. At Elastic specifically, being able to design and animate is a big plus because of how often those two stages overlap in production. For me personally, I always try to see how good their eye for motion design is. Do they know what good design or animation looks like?

What skills seem to be missing all too often?

Professionalism is a skill often overlooked in favour of others, despite being the most important thing.

You may be good at the software and have talent for design and animation, but if your professional skills - working effectively with the team, communicating clearly and just being a positive presence - are lacking, that’s going to be a big issue.

Describe your attitude towards your job?

It’s a cliche of course, but I’m very passionate about what I do. I want every project I work on to be something I can be proud of, and to have been a positive experience. That’s not always possible, for a variety of reasons, but it’s something I strive for every time. I have realized, for better and sometimes for worse, my personal feelings and motivations are often affected by the quality of work I’m producing and how interesting I find that work.

Where do you get your inspiration from and how do you implement it into your work?

A lot of my inspiration comes from film and photography. I love creating work that has a cinematic quality to it. Dramatic lighting, beautiful compositions, and symbolism as storytelling tools are perfect for title sequence design. I also pull color palettes from movie stills all the time - especially films that match the tone of the project I’m working on. More than anything though, I just love texture. Work that has a tangible quality to it, be it subtle or more overt, is so appealing to me.

New product or business you admire?

AI scares the hell out of me to be honest, but I’m excited to see how it’s incorporated into our existing toolsets and software. I’m not really interested in image generation for social media clout, but more so in how AI can improve plugins and processes such as keying, texture creation, UV mapping and a whole host of tools we use as motion designers every day.

What unique challenges and opportunities does your work bring?

Title design is a very story/concept driven medium. Creating a cinematic piece which prepares the viewer for the world they are about to experience in the show/film is a really intriguing challenge, and is what drew me to the industry. How difficult that challenge is really depends on the content it is being created for, and what concept we are executing.

Describe a project brief that you’d recommend artists create for their portfolio?

I don’t really have a specific brief but I think it’s really important for students to think about what type of work they enjoy, and what type of work they would like to do in the industry. For me that was title sequences and work for television, so most of my portfolio was those types of projects, and was executed in a style I like and felt I was strong at. Don’t pigeon-hole yourself, but don’t spend a large chunk of time creating a variety of work just for the sake of it. If a student really loves a certain look and feel, is good at creating work in that style, and wants to work for a studio that excels in that space - then by all means, do that!

That said, if you are being very focused in your approach to your work, make sure you are executing it at a high quality and that there is a realistic space for that work in the professional world. The last thing you want is to have only worked in a very specific niche, only to find out the job space for it after graduation is little to none.

What mistakes do you see artists making when applying for jobs?

Coming across as insincere is a weirdly specific thing, but it irks me quite a lot. Don’t be overly formal, but also don’t be unprofessional when reaching out for jobs. Don’t lead with your resume, have it somewhere on your site but don’t put it in your first email.

Also, don’t make it hard to find your best work. If you send a link to your website, that link should open up onto all your best work and be easy to navigate. I do a pretty deep dive, but most studios will take a 2 minute look and move on - don’t make anyone have to search for your best work, show us!

Finally, for students doing class projects to fill their portfolio - even if it means breaking the rules a little bit - try your best to make your projects look different from your colleagues. Set yourself apart and create work that doesn’t look like an assignment. Class projects are totally fine in your portfolio, after all that’s why you’re in college, but coming across a few students with very similar individual projects on their sites is always a bit of a downer.

If you could give one piece of advice to artists starting out, what would it be?

Listen to all advice, but be specific about what advice you take. When you first start out, everyone has more experience than you, so it’s important to hear what that experience is and what it could teach you.

Not all advice is good advice, and not all advice will work for you specifically. Listen, decide what works for you, and then use what does.

If you could go back in time to when you first started out, what advice would you give yourself?

Imposter syndrome is normal for everyone, but have more confidence in yourself. As I got closer to graduation, I felt more and more pressure to have my path established and a job secured. Most of my classmates had done that, but for whatever reason that wasn’t the case for me at all. So, when I got to Elastic I felt incredibly lucky (which I was) but also that I might not have deserved the opportunity. I had a lot of self doubt and, surrounded by such incredible talent, I felt like I might not have been good enough to be where I was. On the outside I was working very hard, and developing a good relationship with the studio, but it took a long time for me to grow out of that deeper feeling. I’ve finally got to the point where I understand luck has played a big part in my career, but hard work and desire to grow and succeed has created a lot of that luck.

What specifically about The Rookies do you think is beneficial to an artists journey?

The Rookies is a fantastic resource for artists to learn more about the industry, engage with each other and get support for their journey. Nobody’s path into the industry will be the same, and so it’s really important for young artists to have support that they can tailor for themselves specifically. For me, I think The Rookies is a really good space to provide that - whether it be in creating new work or by connecting young artists starting out with experiences that they could gain from.

We thank Steve for sharing his experiences with his fellow artists! You can find more of his work on Instagram and on his website.

BREAKING - The Rookies — known for its creative community and school rankings in creative media and entertainment categories — today released its 12th annual ranking lists naming the Top 50 Creative Media & Entertainments Schools in the World.

In addition to this, industry based rankings have been announced for the Best Schools across 2D Animation, 3D Animation, Archviz, Concept Art, Game Development, Motion Design, Product Design and Visual Effects courses.

“The Rookies rankings are not like other education based ranking systems. They are driven and judged by industry professionals without the interference of paid advertising dollars that cloud the judgement of other ranking sites” explains Scott Thompson, Founder of Think Tank Training Centre.

Please follow the link below to visit our new Rankings area and learn more about the Rookies World School Rankings:

2022 Best Creative Media & Entertainment Art Schools in the World

The most important digital entertainment school ranking system with industry credibility that others rankings just don’t have.

Discover | The RookiesAndrew McDonald

Or jump straight to a category with these links:

• Top 50 Creative Media & Entertainment Schools in the World
• Best 2D Animation Schools in the World
• Best 3D Animation Schools in the World
• Best Architectural Visualisation Schools in the World
• Best Concept Art & Illustration Schools in the World
• Best Game Design & Development Schools in the World
• Best Motion Graphics Schools in the World
• Best Product Design Schools in the World
• Best Visual Effects Schools in the World
• Best Production Excellence (Game Development) Schools in the World
• Best Production Excellence (Visual Effects & Animation) Schools in the World

The Rookies has been ranking creative media and entertainment schools since 2011 with the goal of helping aspiring artists find trusted schools to help them forge successful careers in creative fields.

What sets these rankings apart from other systems is they are based on the quality and performance of student work that is completed at school. To collect this data, students submit their best work to the Rookie Awards 2022 and are reviewed by an industry panel. This data is analysed in detail to calculate where students are receiving the best education and graduating with the highest rate of employment success.

The digital industry is dynamic, creative and ever-evolving, but how do you find your place in it and what should you expect? Justin Wight, Director at Monkeystack Studios shares his wisdom and experience gained from 18 years in the industry.

Monkeystack is a multidisciplinary digital chameleon that adapts to any digital content project, working wonders in animation, games, apps, web, VR, AR, MR, live action, special effects and more.

Established in 2004, Monkeystack is recognised as a multi-international award-winning studio and have worked with high profile clients including Nickelodeon, Nike and Red Cross amongst others, as well as producing a variety of its own animation series and games.”

What do you look for when hiring junior artists/entry-level positions?

“Our strength and success come from our talented team of 24 creatives, producers, developers and designers. In a studio the size of Monkeystack it’s common to find most team members are multi-disciplined which makes it easier to balance the flow of work from week to work. It also means people get to work on a great mix of projects which keeps things interesting.” says Director, Justin Wight.

The Studio has a long history of supporting students looking to join the industry.

Nick was introduced to Monkeystack through their Incubator Program in 2009 “Once I saw the inner workings of a studio, I knew it was the career path for me. One of the Directors at the time encouraged me to go on to further study to further build my skills. I was then offered the opportunity to join the team in a full-time capacity.”

After 3 years with the studio, Nick is now moving into a Production Supervisor role. “Justin and Troy are very supportive and aim to help everyone reach their full potential,” says Nick.

We love meeting new talent through our relationship with Flinders University, University of South Australia, CDW, AIE, Tafe, Adelaide University. Henry first met the Monkeystack team after accepting an invitation to the Studio. “Initially the visit was set up as a kind of work review, but we ended up being thrown into mock interview situation which was a great insight into what I might experience once I started job hunting.” Henry is now a qualified 3D Artist working with the Monkeystack team and is currently developing a Facebook AR effect for an upcoming Exhibition.

Tell us about the company culture and what motivates you to work for Monkeystack?

The digital age has seen Monkeystack services become even more relevant and in demand for our growing list of clients nationally and internationally. Monkeystack is committed to staying on the edge of the evolving digital landscape and encourage our team members to continually refine and expand their knowledge and skills.

Together with the Studio and Production Managers, Troy and I create a culture centred around quality client outcomes and continuous improvement. While the team continues to grow, it’s important we maintain that family feel. We encourage a lot of peer-to-peer learning and also give the team dedicated time to learn new program and techniques, so we can always offer our clients digital solutions incorporating the latest in design, technology and delivery.

We also encourage team members to put forward suggestions for improvement and have a good history of implementing change to improve the way we work.

What are some of the biggest projects you’ve worked on?

No two days are the same in the Monkeystack studio with projects spanning many different disciplines and industries. Specialising in all things interactive, animation and design, we can step in and support with pieces of a larger project, but we really shine when working with clients throughout the entire creative process. One day we will be scripting and designing 2D animation videos and interactive smartphone Apps, and then next we’ll be creating photorealistic CGI visualisations, websites or even simulations and serious games.

Understanding people’s transferable skills mean we can move our team easily between projects and keep their work interesting and be challenging while delivering great results for our clients.

With many projects attracting national and international acclaim, work we’ve been particularly proud of in recent times includes the following collaborations

Austroads: Producing a library of photorealistic 3D CGI clips that form part of the new car and motorcycle licence process in throughout Australia and New Zealand.

Flinders University: Gamification complex healthcare has helped to educate those at risk of cardiovascular issues.

SA Water: Cross-platform education games about the states water system.
ABC Network: Collaborating to deliver a world-first VR project to bring the Kokoda story to life like never before

What software do you use and where do you see a shortage of talent at the moment?

Some of the core software we use in the Studio include game engines and Unity, Unreal Engine, most of the Adobe Suite for illustrating and effects. Our 3D crew mostly use Maya, 3D Studio Max, Blender and are really enjoying Substance Painter which is something we’ve recently rolled out studio-wide following a suggestion from one of the team.

As for talent, we’re pretty lucky with the team we currently have as we really do have all bases covered when it comes to all things interactive and animated. We will be scaling up, building a dedicated team to work on a large project running over the next 6 months.

How much ‘On the job training’ does someone get when they first start at Monkeystack?

There is an assumed baseline of competence with most creative and technical roles, so our newcomers arrive technically capable but often lack in Studio experience. It takes time to learn the systems and processes specific to our business and we support the team as they build their understanding and work capacity. We rely heavily on Slack to support collaboration, communication and information sharing and where possible pair juniors with an experienced team for on the job support. Strong leadership is essential to keep projects and each team member on track.

How much scope is there for a junior artist to move between departments?

When you’re new in a role, I think it’s important to prove your skills first before seeking to expand and grow. Once I understood the project, I could then apply my skills in 3D art and animation to troubleshoot issues and make changes on the go.

With such a broad range of challenging projects coming through the Studio, there are always opportunities for the team to lend their hand to new or complimentary creative or technical processes.

If you were to offer one bit of advice to somebody wanting to work at Monkeystack what would it be?

Justin, Director
I generally expect artists to have a very broad portfolio of different styles to show their versatility; not every project we have features cool robots and monsters. I also like to see they’ve tried their hand at a few different disciplines to get a feel for the whole pipeline. Otherwise, it’s down to just having a good attitude and a clear passion for their craft!

Troy, Creative Director
Good design is appropriate design. While it is good to have a personal style, a good artist will take the time to understand the client and their needs and adapt to deliver a solution that works for them.

Nick, Production Supervisor
Stick with it, it’s going to be hard in the beginning, but it will get better. At first, I struggled with my daily output, but it doesn’t take long to improve your productivity in the studio.

As a newcomer, I would suggest making sure you understand the work and the people around you. Learn their systems and their way of doing things and pick your timing if you think you can put forward good suggestions for change.

Be proud of the skills you have a make sure people know about them. Look for opportunities to take on new things and learn new skills.

Henry, 3D Artist
Stick with it – don’t give up.
It can be tough finding work. Getting your foot in the door to secure that first bit of experience is the hardest.

Gaëlle Seguillon, a graduate of ArtFX, is a concept artist and matte painter with over 7 years of experience in the movie and video game industry, currently working at Quantic Dream in France.  Over the last few years, she had the opportunity to work with amazing companies like ILM, BBC, Lucasfilm and Quantic Dream. She is known for her work on Guardians of the Galaxy Jurassic World : Fallen kingdom, Aladdin and Ready Player One.

The Journey

What's your current role and what does it involve?

I am concept artist. My role is to visualise ideas and create art to help define the look and artistic direction of a movie or video game. The concepts will be used to communicate with modelers, animators, and the VFX team to help them make these ideas ready for production. It’s a challenging but very exciting job!

Where do you work, and what type of projects are they involved with?

I currently work at Quantic Dream, a french video game company known for titles like Heavy Rain, Beyond two souls and Detroit. They are involved in making AAA games with an emphasis on interactive storytelling and multiple endings.

When did you first realise you wanted to work in this industry?

I have been drawing since as far as I can remember and I always loved movies but doing art for movies never came to my mind when I was a kid because I didn't know that those jobs even existed. To my younger self, working in art was limited to painting on canvas or illustrating books. The realisation only came to me when I was a teenager, that I could create imagery for films. I had a big interest in watching the making of movies.

I was fascinated to see how movies were made and the beautiful artwork that was created. Especially those for Star Wars and the Lord of the Ring. That’s when the idea of working in VFX started to blossom. It just seemed like a distant dream and a crazy idea back then. It seemed like an unachievable goal for me at the time.

How did you get your first big break?

Everything came very quickly, right after I graduated from ArtFX. At the end of my scholarship at ArtFX, our graduation movies were presented in front of a jury panel with some of the biggest VFX companies and my work got noticed by companies like MPC and Framestore. I had an interview with them and in the following weeks both companies offered me a job as Junior Matte Painter to work on Guardians of the Galaxy. I started at MPC a month later and my career kickstarted like that. It was an amazing experience to work on Guardians of the Galaxy as a first job!

Describe the journey you took into your current role?

I was working as a Matte Painter at MPC but during that year working on Guardians of the Galaxy, I also had the opportunity to do some concept art for the art department. It happens sometimes when the art department is too busy that they ask the DMP (digital matte painting) team to help out because the work and techniques are very similar. I had the chance to design some buildings for the movie. That experience made me realise that I preferred concept art to matte painting and from that moment it was going to be my career goal.

I didn't feel ready at the time to integrate an art department, so after MPC I multiplied my experiences in different companies such as Dneg, Framestore and Animal Logic, where I had the chance to work on many amazing project as a matte painter and sometimes concept artist. In the meantime I was building myself a portfolio with personal concept artworks because my goal was still to integrate into an art department someday.

The opportunity came to me when I was at Animal Logic in Sydney. I was contacted by ILM to join their art department. I couldn't believe it! They liked my work on Artstation, I had an interview and about two month later I was part of the art department team. It was a big shift in my career, it was hard but so rewarding. I learned so much that year and the team was amazing. I have been working as a concept artist since then and after 2 years at ILM I went to Jellyfish picture to work on a specific project for BBC. I then made the decision to freelance. It has been a year now of freelancing, working on set for Lucasfilm, then BBC and now on my first video game at Quantic Dream.

Day in the life

Describe a typical day for you and your team?

It's a tough question because my days are very different as a freeelance artist working from home compared to when I was in a studio.

A typical day in a studio would start with a breakfast at work exchanging with teammates. Then the day is spent mostly working on our sequence with visits from the Art director to check where we are and if we need help. We usually have a meeting every day with the team.  The VFX supervisor would call a "Daily" where we share with him our work in progress and get feedback and notes. Those meetings a more or less formal depending on the company you work for.

What third-party and proprietary tools do you use on a daily basis?

On a daily basis I use Photoshop, Blender and Octane Standalone to render my scenes. I don't use any specific plugin. I also use Pureref a lot, to gather my references and create mood boards.

Which departments and key people do you work closely with?

In post production, you work closely with the VFX supervisor of the project and with many departments like lighting, layout, environment, modeling, fx or compositing, because your work can be helping any of those department.

In pre-production we usually work with the on-set team or the writing team because it's all about generating ideas. You can also be lucky to work with the production designer or the Director.

It's a very versatile job.

Are there any industry trends that are changing the nature of your role?

There are industry trends like Virtual Reality but I don't think it will change the nature of the job. Concept artists used to work traditionally with acrylic, ink or pencil sketches which is progressively replaced by digital techniques like digital painting and photo manipulation. Now we use more and more 3D but the core of the job stays the same, to communicate ideas and designs. The only thing that changes is the tools we use for that.

One thing you’d never change about your job?

Sharing and exchanging with my team. The creative vibes and the amazing people I have and had the chance to work with.

But one thing you wouldn’t mind seeing changed is?

There is nothing I would change really, I love every part of my job.

Career Advice

Is formal education essential for someone aspiring to do your job?

I don't think so. ArtFX gave me a solid knowledge of the VFX workflow and helped me getting noticed and breaking into the industry but it's also possible to achieve that by yourself with time and perseverance. There are plenty of quality tutorials and online formations out there and you can get noticed by posting and sharing your work on platforms like Artstation and The Rookies.

If you could give one piece of advice to artists starting out, what would it be?

To first set yourself a goal, it's going to drive your decisions and help get closer to that goal. Then, with that goal in mind build a portfolio and post it online on many social platforms like Artstation for your work to be visible and have the chance to get noticed. Finally, practice is the key and don't be afraid to fail because it's how you learn.

If you could go back in time to when you first started out, what advice would you give yourself?

To have more confidence in myself :)

You can find more of Gaëlle's work on ArtStation and Instagram.

Want a successful career working as a 3D Artist for Video Games? Anson Ng Lee Ming, a graduate from 3dsense Media School is a 3D Artist at Bandai Namco Studios (BNSS) in Singapore, and he sits down with us to share his journey and advice to aspiring artists looking for an exciting and challenging career like his own.

The Journey

What's your current role and what does it involve?

Currently, I'm a senior 3D artist in BANDAI NAMCO Studios Singapore (BNSS). I mostly research the latest technology and direct the company demo projects. Apart from the work I do professionally, I enjoy doing personal artwork of characters, and I enjoy cooking and playing musical instruments during my free time.

What type of projects is Bandai Namco involved with?

As the gaming industry is very strict on confidentiality, all I can say is our projects cover various aspects of game development on various platforms.

When did you first realise you wanted to work in this industry?

The decision came after my personal trip to Japan in 2014. Back then, I spent days looking at the pop culture/ anime influences I grew up with. I was struggling to be either a stage performer or an artist. I decided at that time that my calling was to be an artist. I cannot see myself doing anything else. I enjoy art in many forms, I was on stage for a decade long performing the Japanese drum (Taiko), in Chinese Orchestra and performing the Chinese Lion Dance. However, my dominant strength still resides in creating artworks. I am happy doing what I like, which guided me to where I am today.

How did you get your first big break?

In 2018, I was presented the chance to lead a project. It was our first demo and we were looking into using a game engine to do cinematics. Since then, I have led a total of 3 company demos in BANDAI NAMCO Studios Malaysia (BNSMY). We faced multiple challenges dealing with the ever changing technologies and logistics. I worked with multiple departments across my years of demo production and learned how to string the different disciplines into one product.

Describe the journey you took into your current role?

I started off as a junior character artist on another project back in 2017. Prior to this role, I studied in film school and took film production studies back in 2012 and 2016 respectively. I was assigned to the Demo team when my project ended as I exhibited enthusiasm in new tech development. Since then, I have invested my time into creating the demos we see on the BNSMY website.

Every year we challenge ourselves to learn the new tech available and pipeline advancements. We also spend some time figuring out how to improve workflows and optimize within the different disciplines.

2018 marked my 1st demo project, Mecha Gorilla. Then in 2019, I was promoted to a middle level artist and continued to lead the 2nd project, Tom Majors. That was our first Raytracing project in Unreal Engine. Subsequently, I continued as a lead artist and directed the 3rd demo, Project Yggdrasil.

Day in the life

Describe a typical day for you and your team?

We have daily discussion as required. Often, we will gather to discuss the problems faced by artists and think of solutions to help them. Otherwise, it will be a feedback session to improve the artwork. Then, I will start my own set of work in Unreal Engine. Primarily focused on making the cinematic setup in the engine.

What third-party and proprietary tools do you use on a daily basis?

We use Unreal Engine as our primary tool. Other than that is the standard set of tools available on the market, Maya, Zbrush, Substance packages, etc.

Which departments and key people do you work closely with?

Leads from the other departments who are involved in the project (Character/ Environment/ Animation/ Sound/ Engine). I try not to get too directly involved with artists so we can establish a clearer communication channel with the respective leads in the loop.

Are there any industry trends that are changing the nature of your role?

The speed of how fast technology advances challenges me to learn new tools fast and pass it on for my team to learn the skill. This process demands me to get down to the basic of things and simplify the process so other people can pick it up easily. It is a challenging job but one I am constantly getting better at.

One thing you’d never change about your job?

The discipline to practice, learn and grow. I would like to say, foundations are very important.

Career Advice

Is formal education essential for someone aspiring to do your job?

Education is a good stepping stone for anybody who aspires to be an artist, as school will teach you the basics of using various software. However, the true learning only begins later when you are by yourself and working around others. There is so much to learn and so little time to absorb it all - pick those important ones (core skills) to focus on first then work on the less important ones (secondary skills) when you have the time.

Let’s say you are a character artist, then spend time to learn your cores skills: anatomy and material expression. Once you get good at these then look into how your work will be passed on to the next person in the pipeline through working on the project. For example, how topology affects animation and the rigging process.

What tasks would you typically ask a junior artist to handle?

An asset that allows them to understand how one process leads to the other.

What skills do you look for when hiring an artist?

Basically anybody who displays a good sense of aesthetic, knowledge, and a decent level of technical skills. I believe that technical skills can be trained and is not difficult to learn. Art sense on the other hand, is hard to teach.  

What skills seem to be missing all too often?

The understanding of how things work. We often follow references but do not spend enough time to understand how the reference works. When doing a weapon for example, we can see how the user holds the weapon and need to ask how is it being used? Is it being used to slash, as a projectile or a blunt weapon? They all behave differently and creates different story telling elements. Only through understanding how an object functions and how different elements react to each other, can we then make 3D assets feel believable.

Describe a project brief that you’d recommend artists create for their portfolio?

First, choose what interests you; film or game? Then, do something you like that fits within that genre, be it a character, animation or an environment.

Remember to tell a story with your work; what is it about, what you want the viewers to feel and what you want to express?

As a former stage performer, I feel that your personal expression is the key connection with your audience, in other words, your potential employer. When you do something you like, you are more likely to feel satisfied than trying to appease someone else and possibly not getting the response you expected.

What mistakes do you see artists making when applying for jobs?

Lack of personal works. I believe portfolios, be it professional or student, are the key to showcasing your ability as a working artist. However, to define who you are as an artist, is to do so through your personal works where you direct yourself to the finish line.

I personally feel that only through personal work that an artist truly expresses themselves for what they like and what they truly are capable of. Professional and school portfolios always have someone to guide you, like an art director or a teacher. When you work on your own, that's when your own unique taste for art shines and unlocks more hidden potentials.

If you could give one piece of advice to artists starting out, what would it be?

Don’t expect too much. When you hope for something to happen and it doesn't, that is when you get disappointed.

Regulate yourself, do things you like, do it for nobody but yourself. Work is work, stay professional. But remember to be yourself at the end of the day.

The start of your career will be full of passion, and slowly the fire will dwindle a bit under work pressure. Rekindle this flame, slowly and steadily. Hang onto what you believe in from the start, keep trying and learning. Just ask yourself why did you start this journey in the first place?

If you could go back in time to when you first started out, what advice would you give yourself?

Keep things balanced. Rest and practice as you need. Maybe at the start, work a bit harder to catch up to the rest, then go with your own tempo.

Learning never ends, if you want to do good, practice.

Otherwise opportunities will not arise unless you are working hard for it.

Anson Ng Lee Ming was a finalist the Rookie Awards 2016 VFX category and started working in 2017. He graduated from 3D Sense Media School in Singapore. You can find more of his personal work on ArtStation.

Want a successful career working as a Character Artist at some of the world's leading Gaming Studios? Andrea Savchenko is a Character Artist at Epic Games. Andrea started out with a traditional art background, who took on the field of real-time 3D art for games because she wants to build the coolest games of tomorrow. In fact, she wants to "make things people have never seen before...". Andrea sits down with us to share her journey and advice to aspiring image makers, looking for an exciting and challenging career like her own.

The Journey

What's your current role and what does it involve?

Currently working on Fortnite as a Character Artist at Epic Games. I create things related to the characters including hero skins, head, hair, and backpacks from modeling to texturing.

Where do you work, and what type of projects are they involved with?

Epic Games. We’re involved in a lot of things. We created the Unreal Engine and many games over the years like Unreal Tournament, Gears of War, and Fortnite. We have a disruptive storefront with industry defying economics a.k.a., the Epic Games Store. And we’ve made significant investments in the world of 3D acquiring companies like Quixel, Cubic Motion, and 3Lateral which have all worked to help our mission to make creating content in real-time better and faster.

When did you first realise you wanted to work in this industry?

When I was introduced to 3D art by an engineer who recognised I had the talent and technical appetite to create amazing things. Having mentors that know you and truly care for your success and well being can go a long way.

How did you get your first big break?

I’ve had a bunch of little breaks that led to opportunities. After creating “We’re All Mad Here” in 3D, a couple studios reached out to work with me. After creating “Alita” and “Joan of Arc”, a bunch more came knocking on my door.

After doing more research, I learned that [Think Tank Training Centre] school invested in the most updated tools, updated curriculum taught by pros that work in industry, and the student work coming out of this school was brilliant.

Describe the journey you took into your current role?

Before I learned about 3D, I had a Master’s in Business and a career in Management Consulting. During these years, I would spend all my free time painting and making photography. I wanted creativity and the little bits of it during my free time wasn’t enough. After learning more about 3D art from a mentor, I saw it as an opportunity to not only exercise that creativity but also to join a promising field that is leading the way in entertainment today and for the foreseeable future. I made the career change to fully devote myself to art.

I chose to work in games because I believe the interactive medium of play is the most powerful and welcoming influence on our kids today and people of future generations.

The experiences we create in games can directly influence the nimble minds of children. I believe that with time and maturity, players want more meaningful experiences beyond destruction or button mashing. I believe games can be a powerful educational platform that can make the learning experience fun and interactive, rather than reading from a textbook or taking proctored exams. Perhaps when learning is fun, we might all have more passion for it, and maybe that’s one way to improve the future.

I also believe that the real-time creation pipeline will be the only pipeline in the future. We’re already seeing many major film studios adopt Epic’s Unreal Engine and rendering in real-time. I believe as real-time technology advances, we’ll see more and more industries realise the potential of real time visualisation, and it will likely speed up the change in our world.

3D seems like the ultimate art medium, so I went looking for places to learn it. I specifically wanted to be a Character artist because the work of breathing life into humanoids gives me so much satisfaction as a creator.

I started my education at the Academy of Arts University doing a Master’s in Game Development, with an emphasis on Characters, in San Francisco. Though their instructors were great, the curriculum wasn't for me. Then I found Think Tank through the Facebook group called “10K/Hours”, where the plethora of art posted by Think Tank students caught my attention right away. After doing more research, I learned this school invested in the most updated tools, updated curriculum taught by pros that work in industry, and the student work coming out of this school was brilliant.

At Think Tank, they really helped me thrive by equipping me with the most updated knowledge and then giving me the freedom to pick and scope my own final projects every term. This led to awesome portfolio pieces every term, and eventually studios came knocking on my door. I also believe you can become a better specialist if you’re also a generalist. The more you know how things work together, the better you can create any specific thing in the pipeline. Though I was on the Characters for Games path, I wanted to learn a wider breadth of skills. Think Tank really supported my endeavours outside the normal path, giving me real support to experiment with shaders, in-engine effects, rigs and different kinds of new tooling.

Because Think Tank is a close-knit school, I got to know the co-Founder, Scott Thompson. He became a key mentor and really motivated me to push my boundaries. He also introduced me to the folks at Epic Games, so I owe my success to him along with my mentors throughout each term including Christian Peck, Nicolas Nino, Daniel Rodrigues, Roderick Weise, Think Tank Directors and Staff. Think Tank was the best educational investment I’ve made, and I’m proud to see Think Tank ranked #1 in Game Development by the Rookies.

Day in the life

Describe a typical day for you and your team?

There’s always new things to learn, create and problem solve. A typical day involves all these things.

What third-party and proprietary tools do you use on a daily basis?

Maya, Zbrush, Marmoset, Substance Painter, Substance Designer, Unreal Engine.

Which departments and key people do you work closely with?

Production, rigging, and tech art.

Are there any industry trends that are changing the nature of your role?

Yes, every part of the pipeline from sculpting to baking to texturing, is always evolving as new tools are created or updated, and better techniques can be used to create things. I think to make any progress, this is how it should be.

One thing you’d never change about your job?

I never want to stop creating. I want to keep being an artist foremost. I’m less interested in managing performance, as I’ve done this in my past career. Pure creativity speaks to my soul, and that’s what I want to continue to dedicate my time doing.

But one thing you wouldn’t mind seeing changed is?

I want to see the core technologies advance a few orders of magnitude from where we’re at now. I want real-time 3D content creation to be seamless, and less focused on budgets and constraints, and more about creating the ideas that dance in our imagination as quickly and fluently as possible. We, at Epic, are headed in this direction especially from what you see possible in the Unreal Engine 5 demo, but we’re just getting started, so I can’t wait to see what we have in 5-10 years.

I chose to work in games because I believe the interactive medium of play is the most powerful and welcoming influence on our kids today and people of future generations.

Career Advice

Is formal education essential for someone aspiring to do your job?

There’s nothing more essential than experience. Formal education is a way to supercharge how fast you’ll pick up a bunch of stuff, but it’s not the holy grail. The real value is in the kinds of projects and lessons you’ve got behind your back.

If you are just starting out and know nothing about 3D, I am a strong believer in the value of a well-organised curriculum taught by industry pros that can accelerate your learning, and give you a holistic understanding of the world of 3D art and what tools and techniques are used today. Sure, you can fish for YouTube videos to learn tidbits here and there but it’s hard to know what to search for when you don’t know what exists. You may be sculpting characters in Zbrush without any background in anatomy. You may only know how to bake in xNormal or Painter without ever discovering the baking tools Marmoset has to offer.

This doesn’t mean any school is worth the investment. Many accredited universities say they teach 3D art but don’t have a well-organised up-to-date curriculum, don’t teach with the latest tools, and don’t have instructors that work and create art in industry. Please don’t waste your time or money with this kind of formal education, as YouTube videos can be a far better investment than this. Do your research by evaluating the latest work from students that attend the school. When choosing schools, I trusted the Rookies rankings since it’s ranked based on the overall evaluation of combined student work.

What tasks would you typically ask a junior artist to handle?

A junior character artist in games should be able to handle the variety of tasks for character art from modeling to retopology, baking, texturing, and rendering in-engine. Would also expect the artist to ask lots of questions, be receptive to feedback, require some guidance, and do their best to problem solve.

What skills do you look for when hiring an artist?

Stellar portfolio, with clearly finished pieces that demonstrate some understanding of the pipeline. I also think diversity of perspective is important.

What skills seem to be missing all too often?

Finishing a project at a high quality bar within a variable timeframe. Knowing how to sacrifice scope and how to cheat when on a tight timeline and budget. You typically need lots of help scoping your own project, and following through on it. Finishing a scope on time tends to be a challenge for many students. I think artists should be able to finish at different complexity levels within almost any reasonable timeframe: show me what you can do in 4 weeks, 6 weeks, or 15 weeks.

As a female and a minority, I really wish we have more diversity in the game industry as a whole to bring in a more diverse perspective to the games we make today. I’d love to see more variety of characters. For instance, I’d love for women to create more female characters in the way we want to be seen and portrayed, or someone of colour created by someone of colour, someone with disabilities to be created by someone with disabilities, etc. A diverse point of view is valuable in creating games that truly touch people of different backgrounds.

Describe a project brief that you’d recommend artists create for their portfolio?

Unique to the world of art, what will get you noticed isn’t simply following a project brief. Too often I see people making another polished turntable of another generic combatant that includes classic elements like leather and metal outlined in the brief, based on a clearly laid out concept with a front and side view. I understand the value of having a well scoped project, but I often see students publish pieces that no one cares to look at because it looks like any other 3D model that we’ve already seen. If no one will stop to look at your piece, you’ve only completed a project brief, not a portfolio piece. Being a student is expensive as you’re paying someone else for your own time. I wouldn’t waste a moment on making something that will for sure be moot, even if it’s just an exercise. Your time is valuable. Make things that matter. You’ll learn more and create better art.

Keep in mind that in art, no one cares if you earned an A in your course or the name brand school you went to. The only thing that matters is the 3-second impression you’ll leave on the viewer that’s reviewing your portfolio. Beyond executing things well, focus on making things that are new and that resonate.

Many times in school I’ve deviated from project briefs to create what speaks to me most, often choosing more difficult concepts, having to R&D new materials, and scope my own projects to accommodate for the unknown. The way I think about it is you’re paying the school to teach you, but not to build a portfolio, get you a job, or land you your next gig. You’re solely in charge of that, and as such, you shouldn’t let others dictate how you should spend your time. A good mentor / instructor will understand this and support you.

What mistakes do you see artists making when applying for jobs?

Mentorship is important, and unfortunately not all mentors are good. Students’ mistakes when applying for jobs is a reflection of the kind of guidance they’re following. There’s so much bad, outdated, generic advice out there. When I was just starting out as a student, an advisor once told me that I should apply to work in QA, and eventually I can make a case to be a Character Artist someday. I’ve also gotten the advice to apply everywhere and anywhere who will accept me, and that “it’s a numbers game”. Turns out he was giving this advice to every game art student, and it seemed counter-intuitive to me. Sure I know that path may be the right option for some people, but it seems less direct.

Instead of blindly following advice, I think it’s important to be critical about why you are getting this advice. Perhaps it’s because too often students don’t have the portfolio to show they can do the job of a Character Artist for a game studio. I still believe that focusing on your true craft and building a stellar portfolio are the keys to landing you that role you want.

Dedicate yourself to the lessons you want to learn, get better at the role you want to work in, and leverage the digital world in which we live in today for opportunities. Make sure your work makes a great first impression. Build up your fundamental skills with more practice, and choose sensible scopes of work that you can finish thoroughly.

If you could give one piece of advice to artists starting out, what would it be?

Choose what you make and what you put in your portfolio to make strong first impressions and demonstrate depth of skill.

If you could go back in time to when you first started out, what advice would you give yourself?

Your voice and perspective matters. Don’t waste your time creating art that doesn’t mean anything to you. Don’t accept generic advice for where to put your time or how to shape your career.  No one knows you better than yourself. Critically think about how you’re spending your time, create your own North Star, and enjoy the journey.

Want a successful career working as an Environment Artist at some of the world's leading VFX and Animation Studios? Brennan Howell is an Environment Artist and graduated from Champlain College in 2019. Since then, Brennan has been working at Velan Studios, located in Troy, New York. Brennan sits down with us to share his journey and advice to aspiring image makers, looking for an exciting and challenging career like his own.

The Journey

When did you first realise you wanted to work in this industry?

For as long as I can remember I've always wanted to spend my time either playing games or making art. I was probably about twelve when I realised that creating art for games was a possibility. Once that clicked for me, it was the only thing that I ever seriously considered for my future. I visited colleges that would allow me to learn the necessary skills, and decided that Champlain College was my top choice. After speaking with faculty there and understanding what I would need in order to be accepted into their game art program, I worked towards that, and in September of 2015 I started my journey!

What's your current role and what does it involve?

I’m an environment artist at Velan Studios.  My day to day work involves creating the levels and maps that our games are played in. That can be anything from creating 3D structures or props, to creating textures and materials, to the lighting of the levels as a whole. The environment art team at Velan is only 6 people, so there’s a lot of creative ownership over the work that each of us does, and that’s really rewarding.

Our workflow often involves getting a level that has been blocked out by a level designer, and then use any 2D concept art that has been created for the spaces to inform how the maps should look. Often our concepts will be great jumping off points, but there are always a lot of problems to solve once we get into 3D. That means that a lot of my work involves communicating with level design and other artists to get the levels looking the best that they can, while still meeting the design needs.

Where do you work, and what type of projects are you involved with?

Velan studios is a relatively small studio located in Troy, New York, with about 80 or so folks working here. It was founded in 2016 by Karthik and Guha Bala, who previously founded the studio Vicarious Visions and led them in creating titles like Skylanders and Guitar Hero. At this time we have yet to reveal much about what we’re working on, but I’m really excited about what I’ve had the chance to work on so far.

How did you get your first big break?

I was fortunate enough to get an offer from Velan Studios before I graduated in May of 2019. Although, I had been in communication with Velan’s art director since October of 2018, after he came to visit a Champlain College career fair. I showed him my portfolio as it stood and asked him what projects I could take on that would make me a more appealing candidate. I took his suggestions and I’d say that turned out pretty well!

How did you learn the skills needed to get your job?

I absolutely owe my skillset as an environment artist to my time at Champlain College. They take an approach to education which they call an “upside down” curriculum. What that means is that students begin taking classes in their major starting in their first semester. That was part of what made Champlain College such an easy choice for me, I just didn’t want to wait any longer to start making video games. Not only did I learn the variety of software that I use at my job today, but Champlain has a collaborative aspect to their game majors that taught me skills I couldn’t have picked up through tutorials.

I was involved in projects with programmers, designers, and even producers who helped manage the teams. The experience I gained in those environments were eye-opening for me, and since at my job I’m constantly working with other disciplines, I can’t imagine going straight into the industry without knowing how to communicate and compromise the way I can now.

What was the interview process like and what advice would you give others?

My interview process at Velan felt a little unorthodox compared to interviews that I had with other studios. I never had an official sit down or call where I was asked about my biggest strengths and weaknesses. A lot of it stemmed from my initial conversation with Velan’s Art Director. After my first time meeting him, he was willing to give me feedback on one of my projects in progress, which turned into a bit of a general conversation about his time in the industry, and at the end I was once again able to express my interest in Velan. That led to scheduling a follow up call where he talked to me a little bit about what the studio looked for from its employees outside of their defined roles like ‘artist’ or ‘programmer.’ I had never really had a conversation with someone at a game studio about those topics, and that was a big part of why it became my goal to work there.

The closest thing I had to a standard interview started under the premise of a portfolio review run by an environment artist at Velan. We began looking at my portfolio and he had several questions about choices that I made about my pieces, what I might do differently now, and what my process for creating them looked like. That was my last conversation with anyone from Velan before receiving my offer.

Champlain has a collaborative aspect to their game majors that taught me skills I couldn’t have picked up through tutorials.

The thing that kept me comfortable throughout the whole process was researching Velan before I applied. From what I’ve seen, most studios will talk a little bit about their values and goals somewhere on their websites. Doing that before talking with Velan’s art director gave me a good frame of mind for how to approach the conversation and how to best display what I had to offer. It was also helpful for me in determining whether I thought Velan would be a good fit.

Describe a typical day for you and your team?

We’re free to get in at any time in the morning that works for us, some people come in super early and leave early, some people come in and leave late. It’s really up to us to do what works best for ourselves. I come in around 9AM which gives me about an hour before the levels team’s daily scrum. I use that time to wrap up what I was working on the day before and get it ready for a post scrum review if I can.

The levels team consists of all the environment artists, our level designer, our levels QA, our producer, and one of our graphics programmers. In our scrum we each go over what we’ve been working on, and what we’ll be working on next. Sometimes we’ll get an announcement from a lead or producer but most times it’s pretty straight forward.

After our scrums we take a look at any environment art that’s ready for feedback. After all our feedback is received we go back to working on our tasks for the day. Sometimes we have meetings to discuss long term decisions or what we’ll be doing in future sprints.

The environment artists are also frequently asking each other for small bits of feedback, or other technical questions throughout the day. Occasionally we’ll have a question for a designer or a programmer, which can lead to some super interesting conversations that we learn a lot from. There’s a lot of day to day communication that happens between all the artwork we do, and helps inform our decisions on that front.

What third-party and proprietary tools do you use on a daily basis?

Personally I use primarily Autodesk Maya and the Substance Suite  for my work. If I ever want to do any quick 2D work I’ll use Adobe Photoshop, but most of my work involves 3D assets or texture authoring.

A few folks in the studio use ZBrush as a part of their workflow, especially the character artists. We’ve also created our own engine that we use as a part of our development. I can’t talk much about the specifics of it unfortunately, but it was definitely one of the biggest changes coming from working on personal projects to working at Velan.

Which departments and key people do you work closely with?

Since Velan is only about 80 folks, I’ve had the chance to work with almost everyone at some point throughout my time at the studio. The individuals I work the closest with are definitely the other environmental artists, especially our lead environment artist as he sits about 4 feet away from my desk. It’s amazing to be able to turn around and ask for feedback or help whenever I need to.

Level design and Graphics programmers are probably the departments we have the most interaction with outside of the environment art team. We go back and forth with our level designer to make sure everything is functioning properly after our maps leave the block-out stage is super important. We talk with the graphics team a lot to make sure that we’re staying reasonable with the art in our levels to keep everything running as smoothly as it can. That process can end up being more complicated than we expect sometimes, but more often than not we’re able to arrive at a creative solution that allows everyone to get what they want.

We also have a fair amount of interaction with character artists and concept artists. Sometimes we’ll want clarification on the intent of a concept, and a lot of times it can be faster to send a screenshot of a part of the level to a concept artist for them to do some quick iterations, before we commit to something in 3D.

We also talk with character artists pretty often. There’s a balance that has to be kept between the visuals of the characters and the environments to make sure that the characters can read properly, while keeping the environments interesting.

Because of my choice to go to Champlain I was taking classes in game art starting in my first semester. I was learning industry standard tools and techniques my entire time there.

One thing you’d never change about your job?

The amount of creative decision making that the environment art team has is one of my favourite things about working at Velan. We get amazing concepts that help us develop the spaces that our game takes place in, but when it comes to the details and specifics of how the game actually looks in 3D, we get to create it all, and try out ideas that we have along the way. It’s one of the most rewarding parts of game developments to take a create risk and have it pay off. I get to take those opportunities when I see them, and that’s the best part of my job.

But one thing you wouldn’t mind seeing changed is?

Since everything we’re working on has yet to be revealed, it’s kind of hard to talk about a lot of what I do. So it might be a bit of a cop-out, but I’m going to say the fact that everything is under NDA! I’m really excited about the work I get to do at Velan, but I can’t even imagine what getting able to talk about my first game publicly is going to be like.

Why would you recommend your school to others?

It’s pretty safe to say that I would not be where I am without Champlain College. Because of my choice to go to Champlain I was taking classes in game art starting in my first semester. I was learning industry standard tools and techniques my entire time there.

I had interviews with studios that had never met students that knew some of the techniques that I learned in my second year at Champlain. On top of all of that, the professors are incredible. Especially the game art faculty. They all have experience working in industry so everything that they teach comes from firsthand experience. They teach you not only the hard skills like software, but also the soft skills like giving and taking critique, communication, and collaboration.

One of the best things I did during my time at Champlain was take advantage of their travel abroad opportunities. Game majors will often go abroad to Montreal, which is a massive game studio hub. Students that go there get to take classes from current industry developers who come to teach classes at night after they leave work at places like Ubisoft.

My semester in Montreal is where I created my first portfolio piece, and from there I only learned more. The network that Champlain keeps with game studios around the world and its game major alumni also means that you have an incredible amount of support breaking into the industry.

Champlain brings in game professionals to our career fairs and campus events where students show off their student production games and portfolios. Artists come from studios all around the country to perform in person portfolio reviews. Because of all that, it’s not uncommon for game artists to have job offers well before graduation.

What do you wish you knew about the industry before you started?

I felt very prepared for my first job in industry, based on everything I had heard from my professors, and learned through my years at Champlain.

One thing that took me by surprise, despite having heard it several times, is just how much collaborative problem solving there is. Hardly a day goes by where the environment art team alone is involved in a discussion about how to solve a given visual or gameplay need. Oftentimes other departments are involved too.

It’s amazing to see the types of creative solutions that everyone brings to the table. Folks who have been in the industry decades will bring up a solution that I’ve never heard anything like, and at least at Velan junior developers are expected to have input in these discussions.

If you could give one piece of advice to artists trying to get a job, what would it be?

One of the most important things that I think an artist can bring to a job, is their commitment to the work that they’re doing. A good artist will tangibly increase the quality of the projects that they work on. It can be tricky however to show your dedication as an individual in a way that most studios will see, especially because for artists most of the time your portfolio will determine if you get an interview with a studio. So something that you can actively do is show your dedication in the pieces of your portfolio.

Something that I see a lot, in student work especially, is a prop sitting by itself on a grey background. Showing something like that in your portfolio can make another artist looking at it think that you weren’t invested in the piece. Adding context and storytelling to the work that you do can not only make the work itself more interesting, but it shows that when you’re making art, you’re not thinking about assets in a vacuum, because in a game they never will be.

Taking your props and giving them a fitting platform or environment to sit in, taking your material spheres and applying them to game geometry, or painting several concepts of the same environment or character from different perspectives are all ways that you can show you have the dedication to your work to think about it in a larger context.

Check out more of Brennan's work here.

Want a successful career working as a CG Supervisor at some of the world's leading VFX and Animation Studios?

Laura Hohman is a CG Supervisor at Nickelodeon Animation Studios in Burbank, California. Laura has worked in television animation for 9 years on a dozen properties for various major studios. She has moved her way up the totem pole from a green entry level artist to a CG Supervisor at Nickelodeon Animation Studios. Laura sits down with us to share her journey and advice to aspiring image makers, looking for an exciting and challenging career like her own.

The Journey

What's your current role and what does it involve?

I am a CG Supervisor on the new Rugrats at Nickelodeon Animation Studios. What doesn't my job involve?! My duties can change day to day, but mostly, I am responsible that all the CG is done on time, on budget, and to the full quality expected. This means managing our in-house team, as well as our international vendor studios. I also consult with the show-runners, writers, board artists, and producers on all matters concerning do-ability.

Where do you work, and what type of projects are they involved with?

I work at Nickelodeon Animation Studios in sunny southern California. We are a studio focused on family and children's content. Nick is known for its plethora of amazing content including SpongeBob SquarePants, Avatar The Last Airbender, Rugrats, Paw Patrol, on top of their large library of live action shows and movies.

When did you first realise you wanted to work in this industry?

Even though I grew up watching Saturday morning cartoons, I never thought of entering the industry until I decided that my first career choice wasn't for me (I wanted to be an astronaut… really...). I moved from science and math to art. Easy to say that many were surprised, but for anyone who understands Shading and Texturing, a lot of that understanding translates.

How did you get your first big break?

An alumni of my college vouched for me and helped me land an internship at Zoic Studios, a vfx house in Culver City, CA. Luckily, the time I moved to Los Angeles was booming for CG animation in the area. I quickly moved out of my internship into a role of a full time Texture Artist at Nickelodeon Animation Studios on the 2012 Teenage Mutant Ninja Turtles series.

Describe the journey you took into your current role?

I worked on TMNT for 5 years before transitioning into a Surfacing Artist position at Dreamworks Animation TV. I stayed there for 2 years before returning to Nick as a Lead Look Development Artist, and a few months ago being promoted to CG Supervisor. All the while, I have been working on online shorts to keep up skill sets (including "Duel", "La Noria", "Being Good", etc) and being active in the industry as a whole.

Day in the life

Describe a typical day for you and your team?

I start my days with much needed caffeine. Typically a cold brew. Then the day starts with a morning Producer's Meeting, where the show's leadership gets together to chat about any deadlines or news.

Next, I tend to check in with my CG leads and see who needs what and how everyone is doing. Then, I circle round to the Coordinators and PAs to see where we are with the schedule.

Depending on the day, I have between 1 - 6 meetings going over various topics. Sometimes we are troubleshooting ambitious ideas, or we could be handing out scripts to the board artists, or we could be checking all our designs before sending them to our vendor studios to build. Every day is different with its own flavour.

What third-party and proprietary tools do you use on a daily basis?

Most of our software and tools are off the shelf. We use Maya, Redshift, Zbrush, Substance, and Mudbox. Currently we do not have a studio wide artist tool creating team, so the Leads and their teams are mainly responsible for requesting or creating additional buttons/tools that come up on the day to day.

Which departments and key people do you work closely with?

I work closely with multiple teams and departments. Usually it's me and my show, so the CG Leads, Executive Producer's, Line Producers, Coordinators, Art Director. Yet now and then there are our Network Executives, overseas Vendor contacts, and other show leadership. Nickelodeon is a very close knit community and it allows us to have exposure with much of the process.

Are there any industry trends that are changing the nature of your role?

So many! The industry is constantly shifting and changing, and with that our studio is always adjusting and pushing boundaries. Though we don't use it in our production, I am currently watching real time engines, Houdini workflows, scanning, and many other amazing techs that come out monthly.

One thing you’d never change about your job?

I love being a part of something. As CG Sup, I am able to creatively contribute to my show on so many levels. I have an incredible team, which I am so proud to be working with.

But one thing you wouldn’t mind seeing changed is?

As with everything else, I wish we had more time, more people, and more money!

Career Advice

Is formal education essential for someone aspiring to do your job?

Not at all. CG Supervisor is built off of learned experience and your ability to think ahead. I have seen some incredible artists who have never been formally trained. It doesn't matter anymore. It's all about what you can do.

What skills do you look for when hiring an artist?

I look for core skills first. Does their demo reel or portfolio show complex thinking, attention to detail, and tell a story/a history? Then in the interview process, can this person fit in with the environment and team dynamic? Are they troubleshooters, someone who will look for their own answers? Also, does this person have any ego? A bad attitude is the first thing that will disqualify you in my books.

Describe a project brief that you’d recommend artists create for their portfolio?

I love to see someone work with others to create images, rather than take something start to finish themselves. It shows that the artist can work in a team, which is very important. I also love to see people have multiple styles on their reel. Working in TV, there are a lot of different shows and if you have a variety of looks you can reproduce, you are more likely to fit what we are looking for.

What mistakes do you see artists making when applying for jobs?

Don't apply for a job you don't want. If you are applying for a lighting position, don't send us your modeling reel. If you get in an interview for a texture artist opening, don't say you really want to be a generalist. Know the studio, the job, and what you want to do. Nothing is worse than wasting everyone's time.

If you could give one piece of advice to artists starting out, what would it be?

Make the art you want to make. Don't copy others out there who may be popular, be yourself. And keep learning outside of college and even outside of traditional classrooms. Personal projects are more valuable than class assigned ones.

If you could go back in time to when you first started out, what advice would you give yourself?

I would tell my younger self to be less afraid. To enter contests and put my art out there to get critiques. It took me a long time to feel comfortable showing my art and my progress was slow because of it.

You can find more of Laura's amazing work on Instagram.

Want a successful career working as a Lead Matte Painter at some of the world's leading VFX and Animation Studios?

Alyssa Zarate is a Lead Matte Painter at Sony Pictures Imageworks, Vancouver, Canada. Alyssa has spent the last 10 years working on high profile films and network shows, and is passionate about mentoring and inspiring current and future generations of women in Visual Effects. Alyssa sits down with us to share her journey and advice to aspiring image makers, looking for an exciting and challenging career like her own.

The Journey

What's your current role and what does it involve?

My current role is Lead Matte Painter. Being a lead means being the point person for the department. Leads are responsible for interacting with production and supervisors, assigning work to the team and making sure the team meets our weekly quota/target. We problem solve and share information related to the show to the team. We create digital environments/background and matte paintings as required. We also implement the best technical and creative approaches and solutions to create the required mages.

Where do you work, and what type of projects are they involved with?

Sony Pictures Imageworks (Vancouver, Canada). Live actions: Spider-Man: Far From Home, Jumanji: The Next Level, Mulan. Feature animations: Connected, Spider-Man: Into The Spider-Verse, Netflix’s Love, Death & Robots: Lucky 13, Angry Birds 2.

When did you first realise you wanted to work in this industry?

I guess pretty early on. I’ve always been fascinated by the background paintings/arts of Disney films growing up. One of the most memorable films that got me more interested is the 1964 Mary Poppins. I have a great admiration for the traditional glass matte painters from the past and I still look up to them for inspiration from time to time.

How did you get your first big break?

I was very lucky to be given an apprenticeship soon after I graduated from university. It was more of an art apprenticeship, working on set building miniature models, Special FX make up artistry (including prosthetics), and eventually I started doing matte painting, production design and previs concepts. I returned to school at Media Design School (Auckland, New Zealand) soon after my apprenticeship, to learn the industry standard 3D and compositing software and again, I was incredibly lucky to land a job as a junior matte painter soon after the completion of the course.

Describe the journey you took into your current role?

It was a long journey for sure. Started out from Fine Arts & Computer Science majors to my apprenticeship, to returning to school and getting my first job as a matte painter in the film industry. I’ve moved to a few countries because it’s the nature of our industry and eventually settled in Vancouver, British Columbia.

Although in recent years there is a lot of gender equality awareness within the visual effects & animation and the tech industry in general, for years, it was really hard for me to progress and speak up and I’ve been through a few incidents where I missed out on opportunities within the company due to the fact that I was the only female artist in the department, or that I wasn’t part of a certain group. It certainly wasn’t easy. But with determination and perseverance, it does get easier as you gain more experience and learn how to deal with such a situation.

I had to sacrifice a few things in my life, put in a lot of hard work and dedication, keep learning and surround myself with incredible people and mentors who would help me reach my goals and provide me with guidance and help whenever I seek them.

Day in the life

Describe a typical day for you and your team?

We start the day with the morning (AM) rounds. It is the time when we show our work in progress for feedback and direction or for final approval from the CG and VFX supervisors. When we get feedback on our shots, we usually address them and then present the work again in the afternoon (PM) rounds. The shots that are accepted in these rounds will get presented in Client/Director reviews.

While the team is busy addressing notes or setting up shots, leads usually have behind-the-scene tasks to deal with: working with production, doing bidding, going through our inventory, assigning shots to the artists and making sure we’re within our budget and meeting quotas/targets.

Leads are also responsible for looking through resumes and conducting interviews for future hires. We also attend production meetings with other departments to check in that we are meeting the production schedules and address any urgent matters and reshuffling priorities. We also touch base with our producers from time to time to check in our crewing needs.

Beside that, I implement technical approaches and solutions for the team, so that the artists can focus on shot work. I am also the key person to solve any technical issues that may arise within the matte painting pipeline and workflow.

What third-party and proprietary tools do you use on a daily basis?

Adobe Photoshop, Maya, and Nuke are our primary tools. We also use Houdini and Katana from time to time, depending on the shot or sequence requirements.

Which departments and key people do you work closely with?

CG & VFX Supervisors, and the Lighting and Compositing Department, as we work closely to final shots together.

Are there any industry trends that are changing the nature of your role?

Currently we are seeing a lot of transitions into a 3D workflow and pipeline. It’s something that we all have to adapt to and make informed decisions on the pros and cons (whether choosing a 2D and/or 3D workflow), and how they may impact the production timeline and costs.

With new technology progressing faster and getting more advanced, we are seeing more and more real time solutions as well. Having an open mind and working smart, are very important if you want to succeed.

One thing you’d never change about your job?

The creative side of things. Having an arts background is crucial in our line of business. Especially when I move from a live action photoreal feature, to a stylised feature animation that requires strong painting skills. I can’t say or emphasise enough how important having a painting or sketching skill is. It is one thing to render beautiful images using 3D software, but also crucial to have the artistic background and eye to complete the look for the shot, for example, how light and colours interact in different environments.

But one thing you wouldn’t mind seeing changed is?

The constant battle and bias of "3D is better than 2D". Or that “we’ll render everything” instead of “let’s see how we can solve this problem creatively first”. We are in this business because of our love for film and animation. And to be able to collaborate and work together to achieve a common goal is something that I personally wouldn’t mind seeing changed for good. There’s no right or wrong way and it really doesn't matter how you get the final images, as long as you and your production/clients are satisfied with the result and that you feel like you’ve contributed your part in making it.

Career Advice

Is formal education essential for someone aspiring to do your job?

Not necessarily, but having fine arts or any form of art foundation/background certainly helps. A lot of great artists are self taught (possibly because they don’t have the luxury of attending art schools) and many of them work incredibly hard to achieve their level of expertise. But I do recommend taking at least an art foundation course and keep learning from your peers or someone you look up to.

What skills do you look for when hiring an artist?

As basic as it sounds, people skills. It is important to hire the right people for the job because they can either create or destroy a team dynamic. I generally look out for people who are easy to work with, having the ability to work as a team, the willingness to learn, the willingness to help others and the willingness to put in the hard work. Having a strong portfolio also helps. I look for artists with a traditional arts background or skill, due to the nature of our job as a matte painter.

Describe a project brief that you’d recommend artists create for their portfolio?

Depending on what position you’re applying for. If you’re looking to apply for a job as a matte painter for animation features, create a series of stylised paintings (eg. background environments), plein air paintings or simple sketches, to show your painting and sketching skills.

If you’re looking to apply for a job as a matte painter for live action features, create a series of photoreal environments (such as set extensions from an existing image or from scratch). And if you’re applying for a position as an Environment TD, showcase your understanding in modelling, UV layout and texturing/lookdev skills. Pay extra attention to details and get as much feedback from your mentors or industry professionals as possible.

What mistakes do you see artists making when applying for jobs?

Presenting too many unfinished or work in progress pieces. Show only your best work because it is more likely that I’d hire someone with one outstanding piece of work than someone with hundreds of unfinished mediocre work in progress pieces of work.

If you could give one piece of advice to artists starting out, what would it be?

Be patient and don’t give up easily when you get rejected the first few times. The main thing is to get a foot in the door. And once you get given the opportunity, learn from your peers, work hard, be humble and have an open mind. Seek out mentors who you look up to, and learn from them.

If you could go back in time to when you first started out, what advice would you give yourself?

I’d probably tell myself to stop being so stubborn, have more patience and be confident! Three things I found the hardest to maintain a good balance of, at that time.

Follow Alyssa on social media: LinkedIn | Instagram

Want a successful career working as a 3D Modeler? Bellecour alumni, Julie Tardieu, is a Modeling Lead at Digital Domain, Montreal, and she sits down with us to share her journey and advice to aspiring artists looking for an exciting and challenging career like her own.

The Journey

What's your current role and what does it involve?

As a Modeling Lead I supervise the creation of world class visual effects assets for feature films. I am responsible for the creative and technical management for a core team of modelers.

I collaborate with other departments leads and supervisors to make sure that we are delivering assets meeting all client expectations, while being on time and on budget. I also brief and provide feedback daily to my team of artists, ensuring that our work will flow to other departments such as: look development, groom, rigging, etc. I also keep a close eye on production schedules to help organise the workload for our team.

Where do you work, and what type of projects are they involved with?

I work for Digital Domain, an international Visual Effects Studio. We are working on feature films and high-end TV series. Digital Domain is one of the oldest VFX studios, and has been responsible for movies like: Apollo 13, Gladiator, Titanic, The Curious Case of Benjamin Button and more recently created the Thanos character for Avengers: Endgame.

When did you first realise you wanted to work in this industry?

I actually knew for a long time that I wanted to be a CG artist. My mother is an incredible sculptor and painter so you could say I was born into it. I always wanted to do something similar to what she was doing, but with a “digital touch” to it. I also always loved movies and video games; the mix of all of the above has made me a CG artist.

How did you get your first big break?

I got my first break just before graduation. I made my very first demo reel and posted it on a french website that specialises in computer graphics, VFX and animation: 3dvf.fr.

Another artist that was working for a VFX company, Mokko Studio, liked my reel and recommended my profile. A few weeks later, I was on a plane flying to Canada. It all happened so fast that I had to attend my final "jury" session at school on webcam, so that I could graduate.

Describe the journey you took into your current role?

I wanted to try a lot of different things, so my career has taken a windy path. I started working on VFX at Mokko Studio as a character modeller. Then, I moved on to game cinematic with Digital Dimension, where I met a lead that taught me a lot and helped me to develop my skills as character artist, including texture and shading skills. Working at Digital Dimension gave me an opportunity to see the big picture and understand the connections between all the production departments.

At the same time I also started working as a freelance artist and started my own company: Texel Compagnie. We specialise in the creation of CG assets for a number of smaller studios.

After Digital Dimension, I went back to VFX and worked for Framestore, where I had the chance to work on incredible projects. At this time I also had a mentor that, to this day, gives me advice on the ins and out of supervising teams and all the subtleties in managing successful department workflows and production pipelines.

After my stint at Framestore, I had a short contract with Ubisoft Creative Services as an Asset Supervisor, where I put in place a new production process for the San Francisco and Montreal branch. And finally, I had the opportunity to once more go back to VFX as Lead Modeler for Digital Domain.

Day in the life

Describe a typical day for you and your team?

Usually the day starts with a “Morning Catchup” with my team, where we talk about the goals of the day and the possible issues. If required, we also go through some of the work done the day before. After that, the team get onto their tasks and I split my day between working on assets and production management.

What third-party and proprietary tools do you use on a daily basis?

Our main tool is Maya, but a very customised version with a lot of proprietary technology to help us with our day to day tasks. For character modeling, I personally almost exclusively use Zbrush, with the assistance of Marvelous Designer and Wrap3. For most production management related tasks we use Shotgun.

Which departments and key people do you work closely with?

The client briefs are passed onto us by the production management team, the VFX Supervisor, CG Supervisor and Producer. We manage each modeling artist's schedule with the help of coordinators.

Modeling is the first step of the asset creation process, so we work closely with the other departments: textures, groom, CFX, animation and sometimes Matte Painting and Environments. It is very important to keep our work in perspective and ensure that everything is done properly for the next department. Shortcuts taken at the beginning can have a terrible effect on the compositors at the very end of the process.

Are there any industry trends that are changing the nature of your role?

Not fundamentally, but it’s important to adapt to new trends and technologies. For example, we are working more and more with 3D scans, especially to capture the features and likeness of well known actors. Software and technology evolves, but you have to remember those are just a means to an end.

One thing you’d never change about your job?

I like new challenges that come with each new asset, show, etc. You have to adapt to each of them!

But one thing you wouldn’t mind seeing changed is?

Too many meetings! Sometimes it seems like we are talking more about fixing an issue than actually fixing it. I wouldn’t mind seeing that change…

Career Advice

Is formal education essential for someone aspiring to do your job?

Formal education is a great help. It will allow you to see the bigger picture. At the beginning of your education you may learn a bit of everything - the technical aspects are usually challenging. However, as you learn more and more, the challenges become the tools to express your creativity.

The real value of education is in the people you’ll meet: teachers, other students, etc., along the way.

Many people that you meet will be your inspiration, help and encouragement. Some of them might be the key to a future recommendation and your first job!

That being said, it is also possible to learn by yourself. I’ve met many successful autodidacts. The most important thing in either case, is to see things through and never give up. Often, schools will teach you the basics, for the rest you will have to rely on your own curiosity and hard work.

What skills do you look for when hiring an artist?

Most of the time when recruiting for Junior Artists we are looking for profiles with no real specialisation in hard surface or character modeling and a solid understanding of the basics: good understanding of topology, volumes and anatomy as well UV unwrap. We are also looking for the curious ones that will go the extra mile to learn about a new technique and are interested in working with others.

For Junior Artists, the first few years are a little like a finishing school. On top of that, each studio will have its idiosyncrasies. You have to be ready to learn from the beginning to the end of your career.

What tasks would you typically ask a junior artist to handle?

For Junior artists, I always assume I will have to do some coaching and mentoring, and will assign tasks so the person develops their own skills and is always in a position to succeed. In practice, it probably means starting with simple topology tasks on basic props to help situate the general level of skills. Then, more and more complex assets. If the person is more interested in characters, I would then assign background assets so they get used to 3D scans, projections and costumes.

Different people will evolve differently. Sometimes, a Junior Artist will already have a great technique and ability to work on more complex assets from the get go.

What skills seem to be missing all too often?

Managing topology, and that’s such a mistake! It is the absolute base of the modeling work and other departments will rely on it to be able to do their work; the rigger will need the vertices to be strategically placed to be able to produce good deformations, texture artists will need good “edge flow” to match real life details (like the seams on a real garment for example), CFX artists will need good clean topology with no interpenetration to be able to run simulations, etc…

It is way too often that I see demo reels with interesting assets or lots of characters done with Zbrush as speedsculpts, and think to myself: “Sure, but how will this work in a production context?”

Put yourself in the shoes of your future colleagues and leads and all the people that will work with you.

Showcasing in your demo reel that your work will integrate to a production setting without any issues, will definitely put you ahead of the pack.

Describe a project brief that you’d recommend artists create for their portfolio?

Something simple, effective and matching an existing reference. If you want to work on hard surface models, then create a complex prop matching a reference. Do a turntable, show your topology, even show that it is ready for rigging. If you are more interested in organic models, try a bust starting from a scan, retopologise, and add some details.

If you want to tackle something more challenging, match the likeness of a celebrity. But beware! It’ll have to match perfectly. If you want to work on a cartoon model, start from your own concept or use one from an artist you admire (don’t forget to credit him or her) and work step by step like it was a real production: concept sculpt, retopology, UVs. Remember you don’t need to go big, keep it simple but well executed. Something that could have been done as part of the type of show you want to work on.

What mistakes do you see artists making when applying for jobs?

• In the application: Demo reels not showcasing the work in a production context. In other words, work that is not demonstrating that a person will be able to perform the tasks that will be assigned.
• During the interview: Often people do not realise that the person who interviews them will be the person they will work with. Interviews should be a discussion and is important for all parties involved. The interviewer is trying to determine if you are the right person for a role and the company. On your side, it is the right time to ask questions about the type of work you’ll have to do, what a typical day would look like, etc., come to the interview prepared to answer questions but also ready to ask some of your own.

If you could give one piece of advice to artists starting out, what would it be?

Work hard! Don’t give up! There are no miracles, driven people are the most successful. Don’t shoot too high to start with, try to find something that excites you and is doable, so you can be really successful at it. See things through, finish what you start, no need to have 10 started projects and nothing really done. Finally, you have to love what you do! It’s a fun job, you might be the future Godzilla maker!

If you could go back in time to when you first started out, what advice would you give yourself?

Well, pretty much what I just wrote. At school I always had a tendency to want to do too much, too fast. Sometimes it worked out, but sometimes far from it and the result was very disappointing. #myteachersmustbelaughingrightnow.

I would also tell myself to stay humble - remember that you are only at the beginning. My advice would also be to keep an open mind and not refuse to try something new even if it’s not necessarily your specialty, it will give you an advantage in the long run.

Julie Tardieu is a Bellecour alumni with an impressive international career both in the game and film industries. She is a multi-skilled artist with French flair and savoir-faire. You can find more of Julie's work on ArtStation. You can also reach out to her on LinkedIn.

Want a successful career working as a Junior 3D Animator? Ian Lade, recently completing a Master of Animation and Visualisation at the UTS Animal Logic Academy, is a Junior Animator at Luma Pictures.  Ian sits down with us to share his journey and advice to aspiring artists looking for an exciting and challenging career like his own.

The Journey

When did you first realise you wanted to work in this industry?

When I was first choosing a degree to pursue at the end of high school, I was predominately tossing up between studying history and teaching. I grew up with all of the earlier Pixar movies like The Incredibles (still one of my favourite movies of all time), but making a career out of animation seemed so far removed from reality. I was never really much of an artist, and there seemed to be too many uncertainties about sustainable future job prospects.

Ultimately, given that I had enjoyed making my Design and Technology major project, which was a simple pilot episode for a children’s tv show, my curiosity won out. I chose a Bachelor of Design in Animation at UTS, promising my parents that I would switch to a more ‘standard’ degree if I wasn’t feeling like I would progress very far with it.

Thankfully, that didn’t happen. Whilst I struggled (a lot) to match the artistic talents of my peers, something clicked during my first semester of 2D animation training. Seeing my poorly drawn characters come to life; walking, jumping, picking up heavy objects, I fell in love with the process and the rewarding nature of the craft. When I started to learn Maya and realised I could follow my passion without even having to worry about my drawing skills, my goal of wanting to work in this industry had been cemented.

The (UTS) Academy is the closest you can get to working in a real studio, allowing you to get familiar with the sort of workflow you can expect in the industry whilst refining your skills under the tutelage of industry veterans.

What's your current role and what does it involve?

My current position is as a Junior Animator. I animate objects and characters on a range of different projects, whilst occasionally helping with setting up the layout of a shot. I work on shots assigned to me by my Animation Supervisor, whilst also occasionally helping my Lead Animator with secondary animation (i.e. the smaller details in a scene that they might not have the time to focus on).

Where do you work, and what type of projects are you involved with?

I work at Luma Pictures, a visual effects studio located in South Melbourne. Luma has worked on a range of CGI films in the past, providing animation and VFX for various titles, such as Jojo Rabbit, Birds of Prey and many Marvel films. I can’t say much about the types of projects I am currently involved in, but I am very excited by the work I am doing and can’t wait for people to see it.

How did you get your first big break?

My first big break came after weeks of applying to various studios worldwide, but it was ultimately the result of a sustained effort. I had spent the entirety of last year completing my Masters Degree at the UTS Animal Logic Academy in order to improve my skills and develop a higher quality showreel. Although the course hadn’t finished and I was still waiting for some of my shots to go through lighting, I knew I needed to apply for positions sooner rather than later. So, I put together a temporary reel that wasn’t the prettiest but ultimately showed off my skill set. From there, it was just a matter of applying everywhere I could, until I got a request for an interview with Luma.

One resource that was invaluable was the Industry Job Spreadsheet compiled by Chris Mayne. It’s free to access and is updated daily with positions of all disciplines across films, advertising and games. Thanks to that spreadsheet I found relevant positions that I wanted to apply for very frequently, which helped enormously to cast a wide net of job applications.

How did you learn the skills needed to get your job?

I learnt all the basic skills needed for the role during the course of my Bachelor’s degree, where I had some great animation teachers; however the course was a bit generalist in nature, making it difficult to land a job as specialised as an animator. What I found really necessary was the refinement of those skills through hard work, repetition and constant feedback. During my time at the Animal Logic Academy I got to focus almost exclusively on honing my craft, and would constantly get detailed feedback on my work from my leads. I was also encouraged to work on my own animations in my spare time, so as to get experience with a broader range of creatures and performances. This experience, combined with the tutelage along the way is what facilitated my growth as an animator and landed me my first industry job at an amazing studio.

What was the interview process like and what advice would you give others?

I found the buildup to the interview far more stressful than the interview itself! My interview was mostly going through my reel and describing my workflow, so it had a conversational tone throughout. It’s a very comfortable feeling to be able to just talk about your craft, so I had a good experience overall. My advice would be to really reflect on the story of each shot in your reel. Was it for a uni project or something you did in your spare time? Was there anything unique or challenging about the project brief? How long did it take you to complete? Is there anything you’d change about it in hindsight? You probably already know the answers to questions like this, but formulating an idea about what you want to say will make talking about your work much easier and lead to an organic conversation in your interview.

Day in the life

Describe a typical day for you and your team?

A typical day for my team and I usually starts off with our daily review session, headed by our Animation Supervisor. We get feedback on the work that we’ve submitted, which we then focus on implementing throughout the day in order to submit for review again by the end of the day. Usually this feedback will focus on acute details within a performance; slow a part down here, adjust a pose for a stronger action there. This feedback loop defines the average day at Luma, and is an ongoing cycle of improvement in order to achieve high quality performances on time for project deadlines.

What third-party and proprietary tools do you use on a daily basis?

Most of Luma’s tools are all in-house, so I can’t really talk about them. You learn how to use them along the way, so new artists shouldn’t worry too much about being overwhelmed.

Which departments and key people do you work closely with?

The key people I interact with on a daily basis are my animation supervisor and my animation leads. Whilst my supervisor provides my main notes and sets my direction for the day, it is the leads that I turn to whenever I need more immediate help. They help out whenever I have technical problems, or just need some quick feedback on the progression of my work. The assistance and mentorship they provide has been incredibly valuable and has played an important role in my workflow at Luma.

I never want to change the challenging nature of my job. At Luma, I have new problems to solve almost every day, and I am constantly learning new ways to improve my work based on the feedback that I receive.

As for other departments, the Layout and Tracking departments are two teams I work with frequently. The work they do to set up the environment and cameras for a scene provides the foundation of any shot I animate, so collaborative problem solving is common. Whether it’s finding ways to improve our workflows, or developing specific solutions for unique problems that can occur in a shot, the Layout department is an important supporting team for the Animation department. Likewise, we also rely on the Tracking department for geographic accuracy and consistency in our performances, so there is always constant coordination between our teams.

One thing you’d never change about your job?

I never want to change the challenging nature of my job. At Luma, I have new problems to solve almost every day, and I am constantly learning new ways to improve my work based on the feedback that I receive. This means being responsive to changes and letting go of parts of your work you might have already been happy with at the time, but through this process you end up working faster on your next pass. This fast-paced, fluid environment really encourages growth as an artist, which is what you want when you’re just starting.

But one thing you wouldn’t mind seeing changed is?

It would be nice if it was easier to explain what I do to people outside of the VFX and animation industry! There are so many technical roles involved in making movies these days that it feels like there’s a massive disconnect between the world we live in and everyone else’s. I would love to see a broader outreach from the film industry into the education system so that there is a greater awareness around the filmmaking process. My hope would also be that other students who absorb this knowledge become inspired to go down this exciting path.

Career Advice

Why would you recommend your school to others?

I would highly recommend the UTS Animal Logic Academy to anyone looking to upskill and gain industry experience. The Academy is the closest you can get to working in a real studio, allowing you to get familiar with the sort of workflow you can expect in the industry whilst refining your skills under the tutelage of industry veterans. From start to finish the course focuses on developing the skills you need to get that first job, facilitating the production of high quality work that will look great on your portfolio as well as developing your soft skills, those subtle communication skills you will need to use in the industry every day.

You can choose to specialise in one or two departments (which I recommend), but you can also experiment and spend your time across different departments to see what feels right for you. For example, you might have started out as a modeler, but you might discover that working with VFX in Houdini is actually your calling. The course caters for that approach, helping you to grow into an industry ready professional whichever direction you go down.

On top of that, the leads also go out of their way to help you network and make the connections you need to get that foot inside the door, which is invaluable. The sum of all these components is a thorough and intensive course with a clear focus on getting you a job, run by experienced, competent and caring staff that are just as invested in your success as you are.

What do you wish you knew about the industry before you started?

I wish I had known what the world in general was going to look like at this point in time! The current shift to working from home due to COVID-19 has been an interesting experience, as I have had to be more self-reliant than ever. Whilst technology has allowed artists to communicate with each other reliably and efficiently, there is still a social element of the work environment that has been diminished. Those smaller day to day interactions where the exchanging of ideas and little bits of feedback prior to official reviews would occur are less frequent, which can have an impact on how you learn and grow within the role. Of course there is still potential for a different kind of growth through working remotely, but had I known things would turn out this way I would have tried even harder to absorb as much knowledge as I could from my coworkers whilst I was in the studio.

If you could give one piece of advice to artists trying to get a job, what would it be?

If you’re just starting in this industry, definitely consider getting some experience abroad. There might not be any local positions available straight away, so keep an open mind about where your first job might be. If you’re young, working interstate or even in a different country is an exciting opportunity to see more of the world and grow not just as an artist, but as a person. Push hard, send out those applications, and if you’ve spent enough time polishing your reel you’ll definitely land that first gig.