Eliott Lilly has been a concept artist in the video game industry for over a decade, and is credited on mega-franchise titles such as DOOM, F.E.A.R, and Black Ops. He currently works as a freelance artist, but he also finds time to mentor thousands of aspiring artists through his books and website.
All that coaching and question-answering has given him unique insight into three portfolio “traps” — fundamental problems that could be sabotaging your job hunt. In this guest post, Eliott discusses how to find and fix the most common art portfolio problems. Read more »
Eliott Lilly is a concept artist working as a freelancer in the video game industry, with credits on heavy-hitting franchises including DOOM, F.E.A.R, and Black Ops. It takes hard work and persistence to achieve success as a concept artist, but it also takes dedicated mentorship (Eliott was personally trained by Donato Giancola) — and that’s why he’s paying it forward by mentoring thousands of aspiring concept artists through his books and his website, BigBadWorldOfConceptArt.com.
We spoke with Eliott to learn how new concept artists can start their careers and stand out from the crowd, and build their own success in the big bad world of concept art. Read more »
“As I review animators’ portfolios, I often look for animators that can wear multiple hats.” Indeed, if Mathias Takacs is as whimsical as the characters in his 3D animation portfolio, he may be wearing actual hats himself — witch hats, pirate hats, or tall furry gorlatnayas.
But when he’s evaluating job applicants, he’s specifically vetting artists for a diverse skill set and stylistic range. Because artistic breadth, not just technical depth, is required to excel in the competitive world of video game art.Read more »
Skill level, originality, and the x-factor. When you apply for a job, those are the three key aspects that art directors look for — and if your portfolio doesn’t have all three (including the “x-factor,” whatever that is!), you won’t get hired.Read more »
“Draw every day.” Those three words of advice appear simple on the surface, but they’re the foundation of a long and successful art career for video game concept artist Caleb Parrish.
Parrish has been creating gorgeous interactive game environments for nearly twenty years. He’s worked on art teams for over a dozen video games, including blockbuster franchises like Spiderman, Assassin’s Creed, and Spore. He’s also been a consultant and technical resource for game teams, to maximize fidelity and performance on resource-limited devices like mobile phones and handheld consoles.Read more »
If you’re an aspiring video game designer or artist, you need to have a gorgeous online portfolio.
Why? Because when game directors open your job application, the first thing they look at is your portfolio. If they aren’t immediately impressed, their next move is to hit DELETE — and send your job application to the trash.
Fortunately, you can easily build your own portfolio website — with your own personalized URL — in under 15 minutes. (If you consider yourself “technology challenged,” give yourself 30 minutes.) Here’s how. Read more »
Marek Makosiej is a professional technical translator and localizer for games and other software. His guest post below is aimed to help aspiring game localizers understand a bit about the industry, without getting lost in translation. If you think a job doing game localization might be for you, then don’t miss this! Read more »
A few weeks ago, I spoke with a group of students at the Academy of Interactive Entertainment, a game and film school here in Seattle. They were kind enough to make a video and share it with the world, I thought you might like it.
It was super fun, because I did an open Q&A with the students. They’re graduating soon, so they asked about everything: interviewing, resumes, portfolios, and whether good digital hygiene means you should “scrub” your social media before employers find those pics of that thing you kinda wish you hadn’t done last summer. Here’s the video. Read more »
Hundreds of new video games are created every year, but unfortunately, most are made by developers who speak a language you don’t. That means unless you learn Japanese, French, Mandarin, and a dozen other languages, you’ll miss out on thousands of awesome game experiences in your lifetime.
That is, unless the developers translate their game into a language you understand, using a painstaking process called localization.
Before the 1990s, if you didn’t speak the language, you simply couldn’t play the game. Some players learned a second language like Japanese, solely so they could play rare unofficial imports. Others took matters into their own hands and made “fan translations” to distribute to other players using dial-in bulletin-board systems (BBS).
Fortunately, game localization has become so affordable that publishers release each game in multiple languages so players around the world can enjoy their creations.
Today I’m speaking with Damien Yoccoz, the founder of Level Up Translation in Basse-Normandie, France. He explains what a translator does, how he got started in the job, and what it takes to succeed as a game localizer. Read more »
For every job in the video game industry, there’s a natural career progression as you gain experience over the years.
For video game programmers (also called engineers) there are typically two options. One path is to become a senior engineer and take on more challenging projects. The other is to become a technical lead, possibly increasing in scope to eventually lead multiple engineering teams and projects.
That second path — the engineering-leadership path — is a job called the Technical Director.
Today we’re speaking with Dan White, a highly-experienced Technical Director in the video game industry. He’s been making games since 1995, and in 1999 he started a game studio that’s still going strong today. We ask him what it takes to become a Technical Director, why management is rewarding, and how you can start your own career in video game engineering. Read more »