All the briefs that were given to us by Atomhawk, Ubisoft and Dreamworks showed a level of complexity that in turn asked us to work to industry standards.
When working within any industry as a concept artist, there will times where one will have to follow and work to briefs set by the client one is working for. This may be in a studio or freelance basis. I feel that for this module I have addressed the briefs given to me by Atomhawk, Ubisoft and Dreamworks successfully, making sure to consider the main tasks and challenges that I was set without deviating from the original art style of the chosen IP that I was asked to base my work around. Being also able to properly understand and communicate ideas effectively as a concept artist shows that you have not only understood what has been asked of you on the brief but that your ideas will (hopefully) be commercially successful.
Being able to work efficiently to the brief you have been given is also another issue that concept artists have to think about when creating work. When working for clients who need to meet strict deadlines, working quickly and correctly becomes an essential skill that many artist should naturally aim for. Spending hours on a piece that another artist can create in half the time means that the clients would much rather hire the artist who works faster.
I have learnt so much within this module by having a number of outside influences not only critique but also set our course work. By having a different input on the work I created throughout the module from other sources I found that I tried to push my work in different directions than I normally would. In particular, the Dreamworks brief (to redesign a famous character in an old and young form) forced me completely out of my comfort zone to work on solely character design. I feel that the creative process for this really taught me about my own ways of confronting character design problems in the future, allowing me to think through design by using silhouetting and iterative processes to reach a final image I was really happy with.
The feedback I received from Ubisoft was very clear in that the setting I had chosen was not very successful. This was incredibly useful to hear as the design process throughout this part of the project was very difficult to concept due to the complete lack of planning I had taken prior to starting with my ideas. The idea of using wartime Berlin was not the strongest setting to place a mostly hand-to-hand combat orientated game. I have learnt from this from how I needed to instead take time to hone down to a setting that would allow for the brief to grow into a much more successful set of artworks. The artworks I did create were held back by poor planning on my part.
The Atomhawk brief challenged me to create a set of environment pieces that I felt incredibly comfortable with to begin with, only to find that my poor planning and lack of thumb-nailing again lead me to having trouble with my final piece. I have learnt from this the importance of trying out a number of ideas first before jumping straight into a final piece that might not necessarily work. I feel that my work was successful in the end, but the time it took to get there was far too long.