First Impressions

The video game art director on how he changes his style

Where did you grow up and how has this influenced your art?

I grew up in India, and spent a lot of my childhood surrounded by Hindu stories and images. I imagine that the groundwork for some of my love of fantasy came from there. It didn’t have a direct effect on my art – those influences are firmly in the Western tradition – but I’ve recently started to make more pictures based on those Hindu stories, so it’s come around after a long time.

What, outside of art, has most influenced your artwork?

Games and books. Most of what I do is in fantasy and sci-fi, and those are how I got into both genres. Baldur’s Gate, Homeworld, Deus Ex, the usual with Dune, The Lord of the Rings, Heinlein, Asimov and Clarke in books…

Does one person stand out as being helpful during your early years?

I’m fortunate enough to have had a number of invaluable teachers, but the one that stands out the most is a comic artist named Kev Ferrara. Not from my early years, but he’s been the biggest influence on what I’ve done with my art by far. Talking with him over the years has absolutely transformed my work and creative process.

What was your first commission?

My first proper illustration gig was for a game called Mob Wars. I painted a sleazy mob boss, holding a drink in one hand and a gun in the other, with three scantily clad women hanging off him. It was fun.

What’s the last piece that you finished and how do the two differ?

I just finished an elf for Magic: The Gathering. The biggest difference?

The first one was digital and this one is in oil paint, which is what I’d wanted to use since my first semester of art school, after seeing Greg Manchess’ work in person. My use of colour is worlds apart, and the subject matter is more tasteful. And it took me much longer to paint, which is how it goes nowadays.

Can you describe the place where you usually create your art?

I do all of my freelance work in my tiny Munich apartment. My painting space is a small part of the living room, at an easel for small paintings, or at a canvas taped to the wall for bigger ones, with a small rolling island to keep my palette and brushes on. I have a big softbox for lighting, which my fiancé is infinitely patient with. The biggest challenge about this setup is that the couch and television are right behind me, beckoning.

How has the art industry changed since you’ve been a part of it?

It seems like the skill level has been skyrocketing – it certainly lights a fire under you! When I started, it seemed that heavily rendered digital work was the way of the world, but a more individual and traditional look came back into vogue at some point, which is fantastic. There’s a much broader range of art styles visible online and in what kind of work is commissioned.

The skill level has been skyrocketing – it certainly lights a fire under you

Is making a living as an artist all you thought it would be?

Yes and no. I wasn’t prepared for how much time doing paid work would take away from painting for myself, or how it could make me resent the work sometimes. Which is silly, because this is an amazing job. I have to make an effort to say no to some work for that reason.

Sidharth is an assistant art director at Deep Silver in Munich by day, and spends his evenings and weekends painting for clients or, occasionally, himself. See his work at www.sidharthchaturvedi.com.