Sam Hogg

The se­nior Atomhawk artist on the joys of col­lab­o­ra­tion

ImagineFX - - Atomhawk -

Can you tell us how you come to work at Atomhawk?

I started my ca­reer in graphic de­sign but made the move to con­cept art to ful­fill my life­long dream of de­vel­op­ing video games. I ap­plied to Atomhawk af­ter I’d been work­ing for Play­ground Games on the Forza Hori­zon brand for a year and a half.

What does your role in­volve?

I’ve worked on a huge range of projects: ev­ery­thing from char­ac­ter de­sign for a big up­com­ing AAA games ti­tle to some re­ally stylised projects such as LEGO. Un­for­tu­nately, ev­ery­thing that I’ve worked on re­cently is su­per-se­cret stuff and I won’t be out for a while yet, so I can’t go into any de­tails. As a se­nior artist, I’m ex­pected to be pretty self-re­liant and I of­ten have to give feed­back on the work of ju­nior and in­ter­me­di­ate artists.

What’s been the big­gest hur­dle you’ve had to over­come?

I’d say it’s ris­ing to the chal­lenge that comes with work­ing in so many styles, on what can of­ten be pretty tight dead­lines.

What’s the work­ing en­vi­ron­ment like at Atomhawk?

It’s cool be­ing able to work among such a large, 2D-fo­cused team. For most of the day we usu­ally have our heads down work­ing, but be­ing able to see such a wide va­ri­ety of work be­ing done is in­spir­ing. I do re­ally en­joy the ideas that come out of col­lab­o­rat­ing with col­leagues, be­cause of­ten you end up in places that you wouldn’t have found on your own.

Do typ­i­cally work on one or mul­ti­ple projects at one time?

We tend to get one project at a time, though oc­ca­sion­ally you get some over­lap while wait­ing for feed­back, so you have to jump be­tween projects. It’s one of the chal­lenges of work­ing for a stu­dio like this; be­ing able to switch ways quickly be­tween artis­tic mind­sets.

What ad­vice would you give to a young artist wish­ing to fol­low in your foot­steps?

I would def­i­nitely rec­om­mend do­ing some re­search into the var­i­ous as­pects of con­cept art. Ideation and it­er­a­tion are re­ally im­por­tant – equally as im­por­tant as your tech­ni­cal abil­ity to paint and draw. Spend some time de­vel­op­ing your de­sign sense as well as your fun­da­men­tal art skills, be­cause it’s of­ten that de­sign sense that newer artists lack. Be­ing able to do mul­ti­ple in­ter­est­ing de­signs within the same brief is key to be­ing a good con­cept artist, in my opin­ion. An unashamed Bl­iz­zard fan girl, when not cre­at­ing art­work for her per­sonal projects, Sam can be found play­ing Di­ablo and War­craft.

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