Concept Art/Vis. Development
Where passion meets utility. My creative journey as an artist and creator led me down a route that married two of my favorite things - movies and art. I was bewildered by the fantastical and otherworldly since I was little, loving "The Lord of the Rings" trilogy, "Alien" (yes even the third one), and "Terminator" (...yes, even the bad ones). I think these films are laid in our cultural fabric in such a way that it instills the sense to create in all of us. And to create is to truly be free.
Art for Film/Games/Media
Freelance
The Why
There's a few reasons to make concept art or art for film/animation/games. It can be for marketing materials, to create hero banners, splash art, and other key art to distribute. Another could be to assist the writers to illustrate and form concrete depictions of their thoughts. But by far the most important reason to create concept art is to aid the 3D artists to visualize and create assets, develop the world-feel and facilitate the vision of the art director.
The Process
Every project starts with a couple lines and lot of ideas.
This part is messy, but the freedom allows me to iterate upon thoughts quickly and painlessly. I don't worry about it looking polished, I focus on utility, function, and shapes. I come back to this whilst collecting references, rehearsing and redrawing based on the references gathered. You can go on and on with references, so I try to stay lean and really gather what I need to make the idea possible.
From the initial concept, I build upon the design language, established references, and go to the refinement stage of the design. I start implementing 3D (Blender, 3-D Coat, etc.) to build a basic composition for the keyframe/hero shot as well as a rough block-out of the main asset.
The scene then gets built in 3D, textured and modeled in 3D-Coat, Blender, and rendered and built out into Unreal then exported into Adobe Photoshop. From there it's just a matter of refinement. Ensuring a concrete value structure, fixing 3D oddities, adding effects, photo-bashing textures like a photo card for the sky and mountains. Depending on fidelity and whether I'm choosing to opt into photorealism or stylized, I continue rendering, adding little touches until the feeling is just right. I love to implement things like camera focus, chromatic aberration, and particle effects to really sell the image.
The Outcome
This is the general process with which I craft images. Through the process, I'm constantly applying feedback from stakeholders, reinventing my ideas to fit new ones, and ultimately these images are a culmination of hours of effort.