[flow_default] Transcription for 3. What Is Concept Art.wav

3. What Is Concept Art.json

@@ -0,0 +1,7 @@
+{
+  "audio_file": " 3. What Is Concept Art.wav",
+  "text": "So first of all, I guess many of you may be asking, what exactly is even concept art? Concept art is most often part of the pre-production pipeline for the entertainment industry. Meaning it is one of the initial stages for film, video games, commercials, advertising, and more. However, concept art is also used throughout the production process, especially for next-gen games to help flush out placeholder designs, proxy models, whatnot. Maybe part of a level is to bland props or details. Details for props are too generic. In these cases, we will often redesign assets, facades, even lighting to make space more impactful. What we'll be learning in this course is used in both pre-production concept art and production concept art. So it'll be super beneficial. I'll explain more about this later. What you need to know now for the job of the concept artist is that we visually communicate elements of the game. So we are used to help pitch a project and also to communicate and showcase the look and feel of the game. We'll be going over concept art for video games as that is what we do here at Class Creatives, show the process of making a game from scratch. Now concept artists wear mini hats and the most important tool a concept artist should have is to be a problem solver. So let's go over a quick scenario. Let's say a vehicle needs to be large enough to drive over small cars, but it must also be able to shrink somehow. You fit into a compact space like the trailer of a semi, let's say, when you use the cooldown or recharge. It is a concept artist who must design a way to make this possible. At least to fake it, not to look too unreasonable. An example of this would be transformers as they go from a truck to a humanoid robot to make that look realistic enough. So with that in mind, the focus will be on design instead of art or mood scenes. Our goal would be to answer this question. How do we utilize space to match the story and communicate the ideas the directors are trying to convey? This all starts with a brief. Brief, either in the form of a PDF or maybe in discussion with a lead where you're taking notes or a meeting. But if you're not given a PDF, then taking notes is very imperative. Make sure you get it all down. So let's pull up a brief here. The first step in a very crucial one to being a concept artist is thoroughly reading and understanding the brief. Imperative information like styles, objectives to be used, assets to be designed, layout is limited to by a three dimensional scale and so on. Something isn't completely clear, then ask. If a lead doesn't know, well then maybe it's part of your job to make it clear. It's often, it's not often we're afforded the freedom of a blue sky concept art where the whole game world is blank, this open sky above and we get to fill it in with our imagination But sometimes elements are a left vague where they haven't directors leads haven't figured out themselves and they're looking for their artists to blush out an idea to come up with the ideas themselves we will come up with the ideas and they'll Decide I will try to go later Maybe they have an idea in their head, they can't really communicate it. Well, let's make sure our designs are at minimum, up to par with the foggy idea they have in their head. But better yet, let's blow them away with what the space could ultimately be. So after initial passes, often presenting multiple variations of concept art, directors will come back with changes and the process of iterations will occur. So as a concept artist, you have to be following the failing, basically. Failures in everyday occurrence and part of the process. As long as your failures are narrowing the scope of the design, then they were worthwhile. You must also be proactive and try to negate the amount of failing. The best way to doing this is to completely understand the brief and create several early stage designs instead of just sticking with one. With multiple, say, I usually do three designs to showcase. The leads can pick and choose what they like and don't like about specific designs, then makes a match and kind of Frankenstein a piece together. We can move on from there. So if we're going to create three designs, then best to make each design different. I like to create a safe design that has shown example. So these guns for example, I like to create a safe design that relies heavily on the real world, but may feel a little generic. So this one may be a typical gun. It's bound up with accessories like a knife. That's it. And then one that kind of pushes the boundaries you may not see. Like a super ornate one may not be found in the world. You may not find a slashing blade like this off the end, the handle here. And then the third one, and often one that's most chosen, or I do at least, is the middle ground where it is pretty relatable, but is still more entertaining than the basic one. And then sometimes just shape variation may be good for your three designs. So now that we have a plan, let's look at our own brief.",
+  "language": "en",
+  "confidence": null,
+  "duration": 402.88
+}