The Big Bad World of Concept Art for Video Games
The pitfalls and pleasures of defining the look of the next generation of gaming – according to a triple-A games artist
This is a personal guide to the snakes and ladders of the budding concept artist’s lot. Eliott Lilly, who also designed the book, has worked his way up to shaping the look of big names like Doom and Call of Duty, and certainly knows his way around the depiction of enormous guns. But has this new venture been worth his time?
Although not in any way a dense book, Lilly’s text is friendly and honest, and there’s a sense of him looking over your shoulder as he guides you from the front door to the top floor. He shares his failures as well as successes, giving very practical tips on amassing an unbeatable portfolio, working alongside different art departments, and just how tough it can be to make it anywhere as a concept artist. There’s some art advice, but the emphasis is on what Elliot’s learned about the industry over the years, which makes the book more interesting. He’s also gone out of his way to talk to some of his best contacts in the business including David Levy, Stephan Martiniere and Sparth, and their combined knowledge is a handy ‘how to’ for newbies, but also a fresh angle for experienced concept artists.
Eliott’s portfolio advice includes ensuring consistency between the orientation of your portrait and landscape artwork.