{"id":159368,"date":"2025-11-25T19:52:17","date_gmt":"2025-11-25T19:52:17","guid":{"rendered":"https:\/\/www.newsbeep.com\/ie\/159368\/"},"modified":"2025-11-25T19:52:17","modified_gmt":"2025-11-25T19:52:17","slug":"how-storytelling-gives-digital-artists-a-competitive-edge-in-hollywood","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ie\/159368\/","title":{"rendered":"How storytelling gives digital artists a competitive edge in Hollywood"},"content":{"rendered":"

The work of a concept artist in the film industry extends far beyond using the best digital art software<\/a> to dream up fantastical creatures, machines, costumes, and environments. At heart, you\u2019re a storyteller and a problem-solver, whether or not you’re using the best drawing tablets<\/a> or traditional brushes and 3D art software.<\/p>\n

Keith Christensen<\/a>, a concept artist who worked on both Dune films, The Batman, and Avatar: The Way of Water, tells us he has always had a strong urge to make images that are driven by story: \u201cA landscape is nice, and a landscape with a cabin is better. But the overgrown, burned\u2013out ruins of a cabin with someone \u2013 or something \u2013 crouching in the shadows: that\u2019s the kind of thing that\u2019s fun for me.\u201d<\/p>\n

Good concept artists, says Matt Hatton<\/a>, whose recent projects include Furiosa: A Mad Max Saga and Kingdom of the Planet of the Apes, can \u201cthink holistically, like a director\u201d. He explains: \u201cUse that angle, that length of lens \u2013 or indicate it in the distortion of the image \u2013 and use those colours, that shape language, to relay the story. Or you\u2019re just doing \u2018cool\u2019 pictures that don\u2019t tell people anything.\u201d<\/p>\n

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A concept for Alien: Covenant by Matt Hatton, who also contributed to Alien: 40 Artists 40 Years, published by Titan Books. (Image credit: Mathew Hatton)Be a problem solver<\/p>\n

Beyond conveying narrative, a concept artist\u2019s job is to solve the visual problems presented by a brief. For example, an environment might need to look claustrophobic, but there still has to be room for all the action to take place. A costume might have to tell a story about the character and express their personality, but it also has to be practical for the actor to wear and appropriate for the time period of the film.<\/p>\n

Concept artists work within these constraints to produce visual solutions that satisfy the requirements of the filmmaker\u2019s vision. No two sets of constraints will ever be the same, and this is what keeps the job interesting. Every project brings a brand new challenge. Keith tells us he loves this constant change: \u201cThere\u2019s always a new problem to solve,\u201d he says.<\/p>\n

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Keith Christensen says: \u201cI\u2019ve always been into movies and television. I was born in 1974, an amazing time in film history: Star Wars, Indiana Jones, The Goonies, The Dark Crystal, Tron, Conan\u2026 the list goes on.\u201d (Image credit: Keith Christensen)<\/p>\n

Keith\u2019s advice for breaking into the industry is to identify your strengths and find where they fit. \u201cTry to understand what it is that you specifically have to offer, what sets you apart, and then figure out how that melds with the industry standards and expectations of potential clients. It\u2019s a strange balance to combine the expected with the novel, but that\u2019s ultimately the job. Brace yourself for struggle, chaos and absurdity.\u201d<\/p>\n

He adds that a broad range of interests and experiences beyond the art world is useful. \u201cI\u2019ve always been interested in history, anthropology, archaeology, etc. and no matter how obscure the reference, a job will come along that brings it to the surface.\u201d<\/p>\n

Daily design news, reviews, how-tos and more, as picked by the editors.<\/p>\n

Matt recommends developing as wide a skill set as you can. \u201cBeing able to work in different styles, across different disciplines, and in different departments will give you a better chance at a long career,\u201d he says. Even at the start, you should be building your knowledge of the visual elements of different time periods and types of architecture, as well as your understanding of the art fundamentals that will give you confidence in your abilities as you take on bigger challenges.<\/p>\n

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\"FilmKeith\u2019s designs for Dune\u2019s Harkonnen desert battle costumes. (Image credit: Keith Christensen)\"Film\u201cMy childhood was spent drawing, painting, sculpting and fabricating things from whatever movie or show I was into at the time,\u201d says Keith.(Image credit: Keith Christensen)\"FilmConcept for a Sardaukar warrior, created for Dune: Part One by Keith.(Image credit: Keith Christensen)Understanding core art skills<\/p>\n

Matt explains: \u201cSome people say, \u2018I just wanna design monsters\u2019. Well, don\u2019t we all?! But your monsters will be much better if you know anatomy, even if you\u2019re departing from the real stuff. And it will be in context.<\/p>\n

\u201cWatch tons of movies, and don\u2019t just look at the visuals but ask yourself, why did they do that? Turn the sound off so you can concentrate on what they\u2019re doing visually if that helps. Martin Scorsese did that. It works.<\/p>\n

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\u201cAll this will also help immeasurably, not just to be ready for your first job, but so you can take a brief from your boss. Or be able to understand the director when they use cinematic shorthand to talk about what they want.\u201d<\/p>\n

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\u201cIt\u2019s exciting to adapt to different genres and directors, and to shift the style and dynamics of the images like a chameleon, depending on what the film requires,\u201d says Kamen. (Image credit: Karmen Anev)<\/p>\n

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Kamen\u2019s render of a 70s-style spaceship. (Image credit: Karmen Anev)<\/p>\n

Kamen Anev<\/a>, another artist who produced concepts for the Dune films, as well as Blade Runner 2049 and Star Wars<\/a>: Episode IX \u2013 The Rise of Skywalker, tells us that, on top of your visual and technical skills, strong communication abilities are also essential. \u201cYou need to understand the brief and be able to justify your visual solutions,\u201d he says. \u201cWhat there\u2019s no time for in this fast-paced industry is misunderstanding or ignoring instructions.\u201d<\/p>\n

Like Matt, Kamen emphasises the benefits of immersing yourself in movies. \u201cPerhaps the most important thing of all is a genuine love and knowledge of films, and the ability
to find elements to fall in love with \u2013 regardless of the genre or script \u2013 so you can stay motivated and do your job with passion,\u201d he says.<\/p>\n

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\u201cStar Wars and Blade Runner first inspired me to start drawing as a child,\u201d says Kamen Anev. (Image credit: Karmen Anev)<\/p>\n

It\u2019s this devotion to the medium that will give you an edge and the ability to create exceptional work. \u201cIt\u2019s important to believe in the transformative power of film \u2013 to believe that this work can truly improve people\u2019s lives and ways of thinking,\u201d says Kamen. \u201cThe key is understanding that filmmaking has always been a collaborative process. Our images only have real value if they help streamline that process, not complicate it. This mindset is something that comes across in a portfolio, and it can often be the difference between success and failure.<\/p>\n

\u201cAnother important aspect is to build a portfolio that moves comfortably across different film genres, rather than sticking to just one. The profession itself is extremely diverse and increasingly fragmented. Success often depends on being equally at home with environment, prop and character concepts.\u201d<\/p>\n

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Landing Zone \u2013 a personal study by Kamen. (Image credit: Karmen Anev)Practice, practice, practice<\/p>\n

David Freeman<\/a>, an artist whose recent credits include The Creator and A Quiet Place: Day One, echoes this advice to strive for range in your portfolio. Also, he says: \u201cYour portfolio might not be perfect, but employers can spot potential, so don\u2019t be too much of a perfectionist and put off getting
it out there.\u201d<\/p>\n

To make it as a concept artist in film, David tells us you\u2019ll need to be so dedicated that you\u2019re willing to spend all your spare time improving your skills \u2013 but the rewards are worth it. \u201cGetting to walk around a full-scale set based on the concept model and keyframes that I have worked with
the production designer to create is definitely one of the most amazing experiences,\u201d he says.<\/p>\n

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A pre-production concept showing an aerial view of Tawaret\u2019s barge from Moon Knight by David Freeman. (Image credit: David Freeman)<\/p>\n

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Some of David\u2019s work on The Creator; an environmental concept showing Nomad breaking through the clouds. (Image credit: David Freeman)<\/p>\n

In terms of formal education, it\u2019s not essential to take a course that leads specifically into the film industry, but
it can be valuable. Antonio Niculae<\/a>, who\u2019s produced concepts for Poor Things and A Boy Called Christmas, earned his Master\u2019s degree in Production Design at the National Film and Television School in the UK. \u201cDuring the course, we made a ton of industry contacts, which is one of the most important things in this field, since knowing who to reach out to is crucial for landing work,\u201d he says.<\/p>\n

His advice for getting into the business, beyond getting really good at what you do, is to be persistent. \u201cThis industry is tough, and there are countless talented concept artists, but there\u2019s room for everyone,\u201d he says. \u201cKeep producing work, keep applying for jobs, network relentlessly, and don\u2019t back down. Sooner or later, one of those contacts will call and say, \u2018Come in tomorrow.’ It only takes that one person to give you a chance. Once you\u2019re in, don\u2019t get complacent. Keep doing that extra bit of work, even if it\u2019s just watching a one-minute tutorial online!\u201d<\/p>\n

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\u201cMy advice is simple: get great \u2013 really great \u2013 at what you love to do,\u201d says Antonio. (Image credit: Antonio Niculae)<\/p>\n

Antonio\u2019s determination has led him into a career that surrounds him with fellow artists he loves working with. He explains: \u201cFor me, it\u2019s not just what I\u2019m drawing, but who I\u2019m drawing it with. Whether I\u2019m crafting massive sci-fi cities or a tiny 4\u00d74 room with white walls and a single chair, doing it alongside people you respect and enjoy working with makes every day exciting.\u201d<\/p>\n

Keith shares the sentiment about his art connecting him to other people. \u201cGetting paid to make art every day is amazing,\u201d he says. \u201cBut the best part is the possibility that my work may inspire someone in the way that other artists have inspired me. Dune might be to some people what The Empire Strikes Back was (and is) to me. It\u2019s
the thought that some kid might be suiting up to ride a sandworm in his backyard the same way I trained with Yoda in mine, and I got to participate in that. What a cool feeling.\u201d<\/p>\n

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\u201cNever stop learning, and do something every day toward the career you want,\u201d says Antonio. (Image credit: Antonio Niculae)<\/p>\n

This article originally appeared in ImagineFX. Subscribe to ImagineFX<\/a> to never miss an issue. Print and digital subscriptions are available.<\/p>\n","protected":false},"excerpt":{"rendered":"The work of a concept artist in the film industry extends far beyond using the best digital art…\n","protected":false},"author":2,"featured_media":159369,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[307,304,305,306,308,93,61,60],"class_list":{"0":"post-159368","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-artsdesign","12":"tag-design","13":"tag-entertainment","14":"tag-ie","15":"tag-ireland"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/159368","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/comments?post=159368"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/posts\/159368\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media\/159369"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/media?parent=159368"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/categories?post=159368"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ie\/wp-json\/wp\/v2\/tags?post=159368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}