I finally completed my roles essay. I found whilst writing that no more research was necessary. Although the paragraph describing the concept artist's role is a little scarce, I believe that it is descriptive enough for a one thousand word essay. The only information I found that needed to be added was information on ModDB.com and ConceptArt.org. Which are equivilant in their usefullness to amateur designers and concept artists in that they allow members to share and discuss their work. ConceptArt.org gives its members the competition and feedback to improve, while ModDB gives designers people to collaborate with on small game projects.
The only real problem I had was getting the word count down to within 10% of the 1000 word limit. Not including the title, my name, my blog address, citations and references the word count comes to exactly 1100 words.
I am fairly happy with the resulting paper, and believe that I have backed up every point with more than sufficient evidence and references.
Showing posts with label Roles. Show all posts
Showing posts with label Roles. Show all posts
Sunday, 26 February 2012
Thursday, 23 February 2012
Rough Draft Complete
With no response from Bioware and the deadline slowly looming, I decided to create a very rough first draft of the research report done. The intention of this is to get all of the research I have collected onto a page in a semi-structured way and find out if anymore research needs to be done. I found that I had collected more than enough information on how to get into the industry and the role of the Games Designer, but not nearly enough on the Concept Artist.
The role of the Concept Artist is much more straight forward to describe, or so it seems from my research, than that of the games designer, which has many variations. This means that I need to find out more about the role of the Concept Artist than just their job deescription and more about the skills involved and what the promotional ladder looks like.
Although there is very little time left, I believe that, with a bit of last minute focus, I can still pull a first with this essay if I focus, not only on an abundance of research, but, more importantly strong, concise and clear writing, which I believe was lacking from my last essay.
The role of the Concept Artist is much more straight forward to describe, or so it seems from my research, than that of the games designer, which has many variations. This means that I need to find out more about the role of the Concept Artist than just their job deescription and more about the skills involved and what the promotional ladder looks like.
Although there is very little time left, I believe that, with a bit of last minute focus, I can still pull a first with this essay if I focus, not only on an abundance of research, but, more importantly strong, concise and clear writing, which I believe was lacking from my last essay.
Friday, 17 February 2012
e-mail to Bioware.
With hopes of answering some questions Google cannot, I have e-mailed Bioware about outsourcing concept artists. Not overly hopeful about receiving an answer in time, but it is worth a try. The e-mail was sent as follows:
Bioware,
I am currently a student in my first year of studying Games Art & Design at university who is currently researching and preparing for a short research report on roles in the games industry. In my research, I have found that one question I have about the role of Concept Artist cannot be answered using the books, magazines, lectures and search engines I have available to me. I am aware that Bioware has Concept Artists on staff and that you have also outsourced to other companies such as Massive Black. If you have Concept Artists on staff, why outsource? Do external companies give you a perspective when looking for the right mood in the game? Or do they provide artwork for early stage proposal documents so as not to swamp staff when they are busy with current projects?
Hope to hear from you soon,
Thank you,
Kai Creedon
Bioware,
I am currently a student in my first year of studying Games Art & Design at university who is currently researching and preparing for a short research report on roles in the games industry. In my research, I have found that one question I have about the role of Concept Artist cannot be answered using the books, magazines, lectures and search engines I have available to me. I am aware that Bioware has Concept Artists on staff and that you have also outsourced to other companies such as Massive Black. If you have Concept Artists on staff, why outsource? Do external companies give you a perspective when looking for the right mood in the game? Or do they provide artwork for early stage proposal documents so as not to swamp staff when they are busy with current projects?
Hope to hear from you soon,
Thank you,
Kai Creedon
Crytek and Essay Research
Our current assignment for Contextual Studies has been set as a 1000 word essay on roles in the games industry. The two roles in particular I have chosen to look at are Concept Artist and Game Designer. On top of our previous visits from Drew and Sean we have also had a lecture from a 2D Artist and Designer from Crytek. Who talk about their roles in the company and how they got there, perfect for my essay. Laim Wong, the 2D artist, and Michael Barclay, the designer both got into the industry through similar routes. They were both extremly active in the modding community. The differance between their routes was simply that Liam Wong was more deliberate in making a name for himself in the industry before getting in.
My research has shown similar patterns in that getting into the industry is extremly difficult and requires you to know what you're doing whilst showing it enough to be picked out of the crowd. "There is no set route to becoming a Games Designer. However, this is not an entry level job." (jobs.ea.com)
The article goes on to explain that Designers need to know how development works and that people often getting into the industry through jobs in QA. However, Modding is good because it allows you to physically design games in groups of people, as you would in the industry. Giving you the "entry level" experience you need.
Concept Artists seem to have similar routes, even though they are much less likely to be involved in modding. They would make a name for themselves in a different way. "Concept Artists are exceptionally talented artists with at least 3-5 years of cinematic/game production experience (1-2 years feature film experience is also a plus)." (jobs.ea.com)
Concept Artists are likely to be talented artists who have taken any commissions they can get, even ones that do not pay, to build a name for themselves until they have the stupendous amount of experience games companies are asking for now.
Laim Wong's job as a 2D Artist seems to differ a fair bit from that of the concept artist. Liam's job consists of creating pieces of 2D artwork for the studio such as HUD elements and billboards. Whereas according to EA jobs concept art is used for pre-production to create concepts for weapons, clothing, environments and to show the mood of a scene. "...good concept art will...let people see, and imagine entering, your game world." (Jesse Schell, 2008)
However, I remember Nigel, one of the course tutors, talk about how there are the mood concept artist and asset and design concept artists. The former are often outsourced talent that create maybe a few pieces very early on in development, whereas the latter are staff of the company and will spend a lot of time drawing the same thing with slight differances in design. Before putting this into my essay however, I want to get this information from a current games company. I plan to e-mail Bioware with this question as I know that they have internal concept artists and have also hired the company Massive Black for some early concepts on Dragon Age: Origins.
Michael Barclay's job description bears more relevance to my essay. He described his work on Crysis 2 and how the designer's job is to create a rough level in the engine using a technique called "whiteboxing". The level then goes to the artist who puts in the meshes and textures. Michael also described the close relationship between the designer and artist and how communication between them is absolutly essential to make sure that the level both plays well and looks good.
According to Paid to Play: An Insider's Guide to Video Game Careers, a designer "...plans and implements game mechanics and double checks each new build of the game." This just goes to show that the specific job descriptions varies from company to company.
My research has shown similar patterns in that getting into the industry is extremly difficult and requires you to know what you're doing whilst showing it enough to be picked out of the crowd. "There is no set route to becoming a Games Designer. However, this is not an entry level job." (jobs.ea.com)
The article goes on to explain that Designers need to know how development works and that people often getting into the industry through jobs in QA. However, Modding is good because it allows you to physically design games in groups of people, as you would in the industry. Giving you the "entry level" experience you need.
Concept Artists seem to have similar routes, even though they are much less likely to be involved in modding. They would make a name for themselves in a different way. "Concept Artists are exceptionally talented artists with at least 3-5 years of cinematic/game production experience (1-2 years feature film experience is also a plus)." (jobs.ea.com)
Concept Artists are likely to be talented artists who have taken any commissions they can get, even ones that do not pay, to build a name for themselves until they have the stupendous amount of experience games companies are asking for now.
Laim Wong's job as a 2D Artist seems to differ a fair bit from that of the concept artist. Liam's job consists of creating pieces of 2D artwork for the studio such as HUD elements and billboards. Whereas according to EA jobs concept art is used for pre-production to create concepts for weapons, clothing, environments and to show the mood of a scene. "...good concept art will...let people see, and imagine entering, your game world." (Jesse Schell, 2008)
However, I remember Nigel, one of the course tutors, talk about how there are the mood concept artist and asset and design concept artists. The former are often outsourced talent that create maybe a few pieces very early on in development, whereas the latter are staff of the company and will spend a lot of time drawing the same thing with slight differances in design. Before putting this into my essay however, I want to get this information from a current games company. I plan to e-mail Bioware with this question as I know that they have internal concept artists and have also hired the company Massive Black for some early concepts on Dragon Age: Origins.
Michael Barclay's job description bears more relevance to my essay. He described his work on Crysis 2 and how the designer's job is to create a rough level in the engine using a technique called "whiteboxing". The level then goes to the artist who puts in the meshes and textures. Michael also described the close relationship between the designer and artist and how communication between them is absolutly essential to make sure that the level both plays well and looks good.
According to Paid to Play: An Insider's Guide to Video Game Careers, a designer "...plans and implements game mechanics and double checks each new build of the game." This just goes to show that the specific job descriptions varies from company to company.
Thursday, 2 February 2012
Sean Millard: Creative Director
A short while ago, we were presented a talk by the Creative Director of Sumo Digital, Sean Millard. Unlike the last speaker we had, Sean, instead of going through a prepared presentation, answered questions from the students at NUCA. Instead of going through every one of his many points, I will be going through the ones I found the most interesting, useful and memorable and discuss them.
The first question he was asked was about how he got into the industry, to which he then explained that it was all by chance. Whilst doing his Masters degree, he had the choice to either write a dissertation, or get work experience. He chose work experience at a games company. A select few of the staff of this company eventually went on to form Sumo Digital, of which Sean is now Creative Director. Sean also mentioned that one of the ways Sean gets work for Sumo, which is a hired games company, is through, what Sean calls, "The Beer Net". He meets people in the pub and shares ideas over a pint. To me, at least, this suggests that, in order to get a job in the industry, I should be an open, outgoing, opportunist.
Another point he brought up was what it was like working in the industry. He described the working in the industry as being a lot of hard work, and yet "somehow" still fun, and that we will spend most of our time embellishing other people's ideas. I already expect this from a large, booming industry such as the games industry. On a film set, there are only a few people responsible for the "vision" of what the film will be with one person, the director, that vision is conducted through. Everybody else is just bringing that vision to life. This is what I expect to be doing for a large part of my career maybe one day moving my way up to being "the conductor".
When asked about the different types of concept artist Sumo employ, he mentioned a concept artist who worked for them that spent every minute of her time drawing. Even when she is not working she works on her own stuff. Sean used this to make the point that everyone needs a passion which they pursue constantly.
Frustratingly, my passion is still to just "make games". However, I realise that if I want a job in the industry, I will need to decide on a specific part of the team that I want to be in. I enjoy the entire process of the games development cycle, however, bar programming. Thankfully, Sean also mentioned that there is still a place for the "all-rounders" in the indie industry.
The first question he was asked was about how he got into the industry, to which he then explained that it was all by chance. Whilst doing his Masters degree, he had the choice to either write a dissertation, or get work experience. He chose work experience at a games company. A select few of the staff of this company eventually went on to form Sumo Digital, of which Sean is now Creative Director. Sean also mentioned that one of the ways Sean gets work for Sumo, which is a hired games company, is through, what Sean calls, "The Beer Net". He meets people in the pub and shares ideas over a pint. To me, at least, this suggests that, in order to get a job in the industry, I should be an open, outgoing, opportunist.
Another point he brought up was what it was like working in the industry. He described the working in the industry as being a lot of hard work, and yet "somehow" still fun, and that we will spend most of our time embellishing other people's ideas. I already expect this from a large, booming industry such as the games industry. On a film set, there are only a few people responsible for the "vision" of what the film will be with one person, the director, that vision is conducted through. Everybody else is just bringing that vision to life. This is what I expect to be doing for a large part of my career maybe one day moving my way up to being "the conductor".
When asked about the different types of concept artist Sumo employ, he mentioned a concept artist who worked for them that spent every minute of her time drawing. Even when she is not working she works on her own stuff. Sean used this to make the point that everyone needs a passion which they pursue constantly.
Frustratingly, my passion is still to just "make games". However, I realise that if I want a job in the industry, I will need to decide on a specific part of the team that I want to be in. I enjoy the entire process of the games development cycle, however, bar programming. Thankfully, Sean also mentioned that there is still a place for the "all-rounders" in the indie industry.
Saturday, 21 January 2012
Drew Castalia: Freelancer
Over two sessions the first year games group were presented a talk from the freelance scriptwriter, Drew Castalia. Considering, as artists, we will spend a lot of time after uni freelancing before we find ourselves settled in a job in a large game studio, I found Drew's talk to be one worth remembering.
Over the course of his visit to NUCA he talked about a variety of different experiences he had encountered as an independent contractor and presented his views on how each of them have developed his approach to his career.
The first experience he shared with us was his involvement in the The Young Sherlock Holmes Adventures comic book. Castalia wrote the original script for the comic book only to discover he was not credited for his work on the final book. The people who contracted reasoned that they had changed the script just enough for them to call it their own. Drew then reflected to us that he did not see the case worth following up because of how this might damage his reputation. He states that, if you, as a freelancer, have a history of taking the companies that hire you to court, you are less likely to get hired. He also made a point of showing us the contract which he was made to sign to be a part of the project. It is commonly known that when working for a studio or company, you will often have to surrender your right of ownership of the work over to the company or studio you are working for in order for them to use it. However, I believe you should also make sure that you are guaranteed a credit in the contract with only a few exceptions. This sort of situation is likely to happen to any contractor numerous times throughout there career, it is only when a contractor has become experienced and sought after enough that he or she can completely avoid such situations.
The next experience Drew discussed was his application for a place writing for the very prestigious games studio, Bioware. Over the better part of a year he was asked to submit, resubmit and resubmit again, his script for an in-game mission as way of application, which he was eventually denied. One of the main lessons I took from this experience was that, even when rejected, you should continue to get your work out to as many authorities as possible, if not with hopes of actual acceptance, then with hopes of constructive feedback, which Drew received in abundance from Bioware.
Drew has also attempted to Auteur his own games. He taught himself to program and spent a year on an RPG game in the UNITY game engine. His game was extremely text heavy and lacked aesthetic grace. After this he then decided to produce a game that put less emphasis on art and more emphasis on gameplay and story. Although the game, this time, came out OK he found that it just was not fun. He justified this by saying that he was, first and foremost, a writer and that trying to produce an entire game by himself was a mistake. He then went on to stress the importance of collaboration. I completely agree. According to Chris Crawford, author of The Art of Computer Game Design; although it is important to have a general knowledge of how a game is put together and what each person does in the production of a game, you should never stray from your specialisation unless you are capable of being a good programmer, designer and artist with any of the above skills suffering as a result of being a "Jack of All Trades".
If found Drew's talk to be extremely helpful and shall make note of it as reference for when I, myself, am working freelance after university.
Over the course of his visit to NUCA he talked about a variety of different experiences he had encountered as an independent contractor and presented his views on how each of them have developed his approach to his career.
The first experience he shared with us was his involvement in the The Young Sherlock Holmes Adventures comic book. Castalia wrote the original script for the comic book only to discover he was not credited for his work on the final book. The people who contracted reasoned that they had changed the script just enough for them to call it their own. Drew then reflected to us that he did not see the case worth following up because of how this might damage his reputation. He states that, if you, as a freelancer, have a history of taking the companies that hire you to court, you are less likely to get hired. He also made a point of showing us the contract which he was made to sign to be a part of the project. It is commonly known that when working for a studio or company, you will often have to surrender your right of ownership of the work over to the company or studio you are working for in order for them to use it. However, I believe you should also make sure that you are guaranteed a credit in the contract with only a few exceptions. This sort of situation is likely to happen to any contractor numerous times throughout there career, it is only when a contractor has become experienced and sought after enough that he or she can completely avoid such situations.
The next experience Drew discussed was his application for a place writing for the very prestigious games studio, Bioware. Over the better part of a year he was asked to submit, resubmit and resubmit again, his script for an in-game mission as way of application, which he was eventually denied. One of the main lessons I took from this experience was that, even when rejected, you should continue to get your work out to as many authorities as possible, if not with hopes of actual acceptance, then with hopes of constructive feedback, which Drew received in abundance from Bioware.
Drew has also attempted to Auteur his own games. He taught himself to program and spent a year on an RPG game in the UNITY game engine. His game was extremely text heavy and lacked aesthetic grace. After this he then decided to produce a game that put less emphasis on art and more emphasis on gameplay and story. Although the game, this time, came out OK he found that it just was not fun. He justified this by saying that he was, first and foremost, a writer and that trying to produce an entire game by himself was a mistake. He then went on to stress the importance of collaboration. I completely agree. According to Chris Crawford, author of The Art of Computer Game Design; although it is important to have a general knowledge of how a game is put together and what each person does in the production of a game, you should never stray from your specialisation unless you are capable of being a good programmer, designer and artist with any of the above skills suffering as a result of being a "Jack of All Trades".
If found Drew's talk to be extremely helpful and shall make note of it as reference for when I, myself, am working freelance after university.
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