Adam Brockbank

concept art as a career option not really embracede enoughh

production paintings brought in right at the startm no director, no designer yet, they need images to attract investors, ring everyone on he same page, you do key moments, keyframes from teh script

ghost in the shell major coming into a restaurant scene (its ni tthe ytrailer)

a combination of show ing the producers the designers idea for a set

almpst entirely done in photoshop, also stuff done in skecthup, not as prescptiev as bigger 3d packages, it's almost like line art for you to work from, you're ot too trapped in the render

  1. buil a crude sketchup model, get reference, find some good angles, digital photos ro get poses, include found imagery, distort it and put it in the image works with adjustment layers a lot before digital you would do lineart, photocopy on coloured paper and work on it with gaouache, marker

first tomb raider was the first crossover to digital thre was never really an argument about using digital

seys as a concept artists you can work in costume, vfx, props department, but hes mostly doen art depatment xombination of normal painting, special brushes (eg leaves) pasted images scorses production designer a 3d nodel allows you to move around, find points of views, lighting etc time wise it takes about the same as doing things analogue, you might be more precise btu perhaps get more life analogue you can do different color ways, scale pbjects, slide a slider to make something darker etd captain america worked from photos of an actul disused cemical factory trabsformed into hydra prison hydra language was already established, quite organic forms but also 1939

podium render for ghost in the shell (podium being the engine) can give you good reflections, lots of broken glass, collage f space

bfg work with jim clay

caracter costume worked in costume for rogue one on big film like star wars you might be working with a dozen other concept artists ni the art departmetn in costume it's only him ans tw costume designer even in costume you might draw a whole scene to get a sense for the place theres a tradition in sw of mixing world war 2 (the new hope www2 flying caps , guns etc, combined with mdoern and historical japanese clothes, unique appraches to tailoring), kit bashing for costumes, you have to go back to clunky shapes

creatures many people specialise in creature design, do it in zbrush back in 2001 it was drawugs, maquette, draw over photos of he maquette prduction mermaids, hal centaurs where there isn't a breal between the two body parts, same skin anayomy etc

vfx work harry potter soells etc more technical

props if the production is smaller the concept artist might get to do a bit f everything bigger projects have their own concept artist just for the props department hp stuff exodus

mezolith comic stone age dreams and nightmares 10000 years ago when engad was joined to the rest of europe, just before agriculture ben haggarty no money in it good to get back to jst drawing a figure, whereas in film work thre might be a lot of photo bashing, modelling etc research you look at hunter gatheresrs that still exist today book of eary man this hungarian dude who did early man paintings joseph cambpell on storytelling