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  1. #1
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    Question about portfolios

    Hello everyone,

    I´ve been thinking about enter in the industry in a few months, so the first thing I must do is to make a personal portfolio....

    Ok, I´ve been watching Feng Zhu videos about this thing, but despite of this, I´m still doubting:

    - I know how must be an Illustrator´s portfolio, the aspect of the different illustrations must be impressive and the better of you. But, what happen with a concept artist´s portfolio?? It must show all the different ideas of your concepts or only the best images you choose?? And, what level of detail and rendering must show them?? What´s the best way to obtain a contract with a client, thanks to your portfolio??



    Well, I hope I have explained myself clearly, sorry, I´m not american/english


    Thank you. Greetins

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  2. #2
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    The important thing is to show that you're capable of repeating a design.

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  3. #3
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    Thank you Hitsu San for your response.

    So, do you mean that I should show a design in different angle views, poses and all of this, or multiple variations of one principal design??


    Thanks !!

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  4. #4
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    Well, you have to be capable of doing both of course

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    Thank you again for your help !!


    Ok, I´ll have this in mind. Do you think that my artwork must be high detailed or this is a secondary skill ??


    Greetins !!

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    Details are important in order to make believable things. Something to be believable must have a certain amount of details cause our brain is aware that details are there (it's not so good to remember them though). I think that being able to detail something at a certain degree is a must for this kind of job because of that, and another important fact is that details redirect our view in the page (cause our brain is attracted by high density details).

    The short answer is that details are very important but you must know how they work in order to use them properly cause just adding lots of details anywhere it's wrong for lots of reasons.



    Anyway this thing is starting to feel like an interview guys, come on, participate!

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  8. #7
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    Yeah, this is like an interview . Ok, I think you´re right, the doubt came to me because I know that this kind of job requires to be fast on the art-making to make all the different ideas that would be possible....


    Thank you Hitsu San

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    Sure you need to be fast but as i said the brain doesn't remember details but only major forms so when you're drawing details you don't need to be precise or hyper realistic... Oh my, this is a big secret about concept art, i'm not supposed to talk about this lol.

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    Yeah, I´m agree with that. I asked about the detail on paintings because sometimes I have the impression that I´m a little bit slow during the paint process...

    Usually It happens to me when I´m painting characters or vehicles.... I´ll show you an example:



    This is an artwork that I´ve been doing this last days, and I arrived to the number 3 after about four hours........ The last hour was for detailing.

    The question is: Is this an enough detailed painting to show a client or to include in my portfolio (yeah, I know that It must be colored, and textured...but I´m referring to the light&value work) ?? And more important: Am I too slow working on this ?




    Thank you

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    Things don't must be nothing, you can show your client what you want to show but it's your responsibility to meet the client requirements and to a work that you client must like. If you think you piece is good enough to be submitted in b/w with no texture (texturing is overestimated and underestimated at the same time) and your client is going to like it then you don't need anything else (of course if your client ask you to submit everything colored and textured then it's another story).

    Talking about your work, an average concept artist is able to do this kind of thing in 30m - 1h or less than 30m (it depends if you have to do the design or not), I can go from step 2 to step 3 of your design in something like 30seconds or 1 minute with a similar look. I think you don't know yet how to paint properly and you loose a lot of time fading out your attention to the painting gesture itself (it's very common, sometimes happens to the best too but it's something you have to learn to control). Another problem is that you lack detail knowledge (it's not much of a deal) and to avoid this problem it's better if you find some reference to see what kind of details an armor like this can have.

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  13. #11
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    Thanks for your help again Hitsu San.

    Yeah, I have problems with the way I use for painting. I have no much time at this moment, and I supose this makes me to be slow. For now I´m trying to learn my own art method to speed me up.

    In adition to this, maybe I tried to do this character in a too big canvas ( 3508 wide, 4961 high). I don´t know what´s the best size to do characters.

    Well, I think I´ll must do hard work for the next months !!!

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    The canvas size is average for a concept design but be sure to not zoom in unless you have to pain something very precise (in this case there's nothing worth a zoom in). I'm saying this cause if zoomed in you tend to loose the overall picture feeling and you start working on rendering the zoomed point loosing your focus on the design.

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  16. #13
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    Yeah, That´s one big reason because I´m too slow doing my artwork. This has opened another path for me. Thank you Hitsu San. I supose that the zoom in must be done for parts like the face, am I right?


    Keep the conversation active ,guys, there is only two on this and It´s too interesting, participate please !! ; )

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    You're right but only cause is our nature as animals to look at the face and if you know that you can play with perception. Knowing that we tend to look at the face (in everything even vehicles) gives you the opportunity to add detail where it matters and make feel your drawing more detailed than it is in reality. This cause we can focus only one thing at time.

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  19. #15
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    Well, I usually like to make a conclusion about this types of conversations. What can we say? Mmmm, maybe I can try to define concept art with an (I hope successful) own definition: " A kind of "speed-paintings" with the purpose of transmit a visual idea"


    Thank you, and continue participating, please !!

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    ugh, I've been trying contribute to this for a day and half but the site kept logging me out when I tried posting...
    [sigh]


    Anyways,

    Visual communication and information hierarchy

    Concept design is about effectively communicating an idea or concept through drawings to a client (customer, development team, model render etc). It doesn't need to be super polished, it just needs to present enough information that they get the gist of the personality, mood and/or purpose.

    Illustration is storytelling through a limited setting, you get one image to explain it all. Concept design is also storytelling, but it allows a broader level of detail to be examined, since it is not limited to a single scene.

    When it comes to details, what's expected will vary on the nature of the project (a 1st-person racing game will have different deliverables than a 360° 3rd-person adventure game).

    Information hierarchy is how you determine what are the key factors, what is essential to convey the idea so that a client will 'get it' by looking with little to no verbal explanation.

    This is true in all Design, not just Concept but don't limit yourself to digital medium. Inspiration can strike at any moment, and conversations with clients might not always happen near a computer. The ability to quickly and visually communicate an idea with them can be as simple as a pen & napkin drawing.

    If you're concerned about rapid ideation, that it takes you too long on a concept sketch, try this: it's a drawing exercise to teach how to prioritize core details of an idea or object versus the polish that can bog us down (like drawing every scale on a mermaid character).

    Do a still life/drawing study of an object in your house (not an apple, something with a little more detail like a car or a shoe), or take a previously refined concept you have.

    Take 3 hours to render it up, use whatever medium your comfortable with and give us as much detail as possible.

    Next, draw it again, but this time in 30 mins.

    Do it one last time, but only in 3 mins.

    The commitment to detail should get simpler with less time, but it should also make you consider what is essential in conveying this idea or object to us.

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  22. #17
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    Thanks Inferno for your participation. I´ll try the exercise you´ve proposed me.

    I´ve been trying to paint without too much zoom in and you are right, there´s no reason to zoom in at 200% in all the painting because this takes too much time that could be used to make more visual ideas and variations


    Thank you guys and continue !!

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    On the primary details that you're really pushing its ok to polish and make them look good. Things like faces and hands are usually good to linger over a little longer also. But when you zoom in to get the detailing right, make sure to zoom out to see if the overall effect is consistent and working for you. If it doesn't look good zoomed out you've got a problem. The thumb sized view allows you to check the overall design elements. If the design is off your work won't be convincing.

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  24. #19
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    Yeah, I´ve been noticed about that, thank you for your collaboration

    I want to talk again about the portfolio topic..... If I want that my Photoshop artwork looks good on a printed page, what zoom percentage should I maintain generally along the painting process ??

    I don´t want to work on a page at, for example, 28% pixels of zoom and once printed, see that the image is not enough detailed because It´s smaller than I believed.
    I tried to test it on my own screen. I printed the image I posted above, and making a right click on the PS workspace I observed that the printed page and the image on the screen are the same when I select " Fit to screen". Maybe It would be the answer to my question but I want to be ensure that It´s not a coincidence related with my screen size.


    Thank you !!

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    There really isn't a good answer for this. I'd suggest making whatever you're painting as large as possible on the screen, but small enough that you can still see the whole thing. That is for roughing everything in.

    When it comes time to polish everything up then you zoom in. The amount all depends on how tight you want it to look when you're finished. However you still need to check the thumbnail view often to make sure that you're helping not hurting the overall impact of the work.

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  26. #21
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    Someone might answer to always use a resolution of 300dpi at least and then choose the format in height and width (based on what you've been asked to do or what format you need). Some others (like me too) might answer to not bother about this (unless your customer is giving you a specific input about) because of their working habit.

    You have to learn what kind of details you can achieve in specific resolutions and when you need to res up for very tiny details. The worst thing you can do is to start a piece with a huge resolution for no reason because of course that is going to slow down your workstation (raising the potential risk of crashes) and more important a huge resolution for no reason can distract you from the overall aspect of the image (cause the more you can zoom, the more you'll be tempted to), fading into painting little details when you haven't finished the composition yet (i have a post it to remember this bad habit on my screen ).

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  27. #22
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    Yeah, thanks guys for your continued help. Ok, I´ll try to maintain myself far away from the "zoom in too much" temptation.

    I´ve been making variations of the image I put few days ago, and working without too much zoom in, and you are right. The three images look similar, but I made the new ones in 20-30 minutes (considering that I changed only the upper part):


    Question about portfolios


    Thank you

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