HOW TO BECOME AN ARTIST IN THE VIDEO GAME INDUSTRY for E. R. Sabin- October 26, 2001 Copenhagen Copyright 2001 ARLADEAN ARNSON
[Short clip] [Introduction]
Good Morning!
My name is Elise Sabin.
I am a professional animator in the video game industry. I
presently animate characters in American Football based
video games for play on Sony’s PlayStation 2. My
company is RedZone Interactive in San Diego, California.
Our sports titles are published by our parent company,
Sony Computer Entertainment of America, SCEA.
For some perspective on the video game industry, I have a
few numbers to illustrate the popularity.
In the United States, it is estimated that 145 million people
play video games.
Software sales in the year 2000 reached 6 billion dollars.
This figure is almost twice the number for sales just five
years before in 1995.
The current European sales figures reach 5.7 billion dollars
and worldwide figures suggest the entire market for video
games reaches 17.7 billion dollars.
With worldwide sales figures so high, we can imagine that
there is consensus among all that, as Goethe once said,
“Science and art belong to the whole world, and before
them vanish the barriers of nationality.”
And being a part of this industry, I will not lie, IS quite
exciting.
Artists, while in school or otherwise, can easily have
misconceptions of what a career in this field entails. They
think that a job in this industry is all fun with games and
most of the time, it is.
Let us look, for a moment, at one of these artists that gets a
job as a modeler. He’ll want to model what ever he wants,
whenever he wants, and then move onto the next idea he
might have floating around in his head. Yet an artist must
be realistic and stay true to the content or style of the game
if he works at a company.
Many factors come into play.
His bosses want the model to be formatted a certain way,
and the model must be finished in a certain amount of time
allotted by the schedule.
At RedZone, as I have stated, we make American Football
based video games. In one of our football games, for
example, there are 7 character models and approximately
75 football stadium models. Let’s not forget that all these
models must have several versions based upon day and
night, the weather, and of course, lighting.
Take this description; multiply it by the number of models
needed for the video game, then divide it by the number of
modelers you have on the Art Team, and the result is what
our example modeler must accomplish for his job, for that
game, that year.
Our team has 9 modelers. Do the math!
Of course, the reality is that the work is not evenly divided.
Each modeler has his own instructions and deadlines and
some of the models might be harder or easier than someone
else’s.
It’s not always fun and games. However, some people who
like football think it is all fun!
This industry is a business, first and foremost. If you are
not willing to work toward these realities and be prepared
for some hard work, you might be in for a shock on the first
day of that new job.
This now, brings me to my topic today, “ Tech Savvy: An
art career in the video game industry.”
“Tech savvy?” you might be asking yourselves. Yes. Most
people, when asked if video games are art, will probably
say no. We all know this is not true, but as an artist, I
would have to say that it is the technology and the tools that
make us a different type of artist. This is what I wanted to
highlight today.
We will look closely at all components of the artist’s
position in this industry as well as review industry
standards required in the educating of artists and even visit
a typical workday.
I will be taking questions at the end of the presentation.
- [Process of Creating Games]
We first should be looking at the process of creating Video
Games.
A quote from the author William James:
” Truth happens to an idea. It …is made true by events. …the process, namely, of it verifying itself….”
The process of verifying the creation of the game, as you
can imagine, is a difficult and drawn out situation that
holds importance for both the publisher and developer. The
developer needs the money to bring the idea “to life” while
the publisher wants it on time and under budget.
The needs of both parties are met with the development of
a schedule and the defining of staff roles in piecing the
game together. It this way, both parties are able to chart
progress and critique the results.
The schedule in creating video games, in as simple as I
could explain, has two major components: the Game
Design Document and the Milestone Calendar.
In grasping the scope of what might be needed for the
project, for the game, one must start with a Game Design
Document. A Game Design Document outlines every
aspect of the game including game play elements, AI
(artificial intelligence) needed, control details, background
story lines, level and screen layout, other art assets (models,
textures, and animation) and licenses. It is the blueprint. It
is intrinsically tied to the second component, the Milestone
Calendar.
The Milestone Calendar is easier to define. Based upon a
timeline, it helps to schedule all necessary steps the team
must take to insure a finished product. It provides focused
goals and a clear vision for the team to follow. It will
easily warn of upcoming difficulties so that they may be
addressed before major problems occur.
And, as mentioned earlier, this is the major tool used by
both the developer and the publisher for measuring
progress on the game.
Now, if we direct our attention once again to the overhead,
I have placed an example of a Milestone Calendar. This is
the actual list of July, if you will, from last year’s Game
Day video game from my studio, RedZone Interactive.
As you can see this is what we call the “Broadcast
Enhancements” portion of the Calendar. These are the
extras, the fluff; we needed to place in the stadium models
to create a realistically detailed environment.
Each page includes the detailed work that needs to be
completed, a paragraph description of that work and then
bulleted points highlighting exactly the scope of detail. Of
course, at the top is on what date these items are “due”.
When the Game Design Document is completed and the
Milestone Calendar agreed upon, each team of Producers,
Programmers, or Artists, then meets to discuss and
schedule their deadlines for each “milestone” on the main
Calendar. This Deadline Schedule is what each team
member works from on a daily basis.
This brings us to the second important aspect of the process
to create video games, recognizing the staff, themselves.
Though each member has the responsibility of his or her
part in piecing together of the game, they work in smaller
groups or teams based upon the products they create.
To understand each position on a project or game, we must
first see that within the constructs of the larger team, there
are certain management personnel who oversee those
below them.
The topmost are the Executive Producers, who are in
charge of the overall design as seen in the discussion earlier
on the Game Design Document. They also take charge of
all managerial aspects and paperwork for the team.
On the second level, the Art Director, the Technical
Director and the Tools Engineer work closely with the
Producer to establish that the goals of the project are being
met.
The Art Director is in charge of the artists, their goals and
problems, and the overall “look” of the artwork in the
game.
Technical Directors deal mainly with the programming side
of the game. In charge of the programmer’s goals and
problems, he is the one with the knowledge of what,
technically, can and cannot be done in the game.
The Tools Engineer works closely with the Technical
Director. This position oversees the actual game-to-
hardware conversions and keeps an eye out for the
limitations to which all parties must adhere during game
development.
On a side note, at RedZone Interactive, we are currently
making a racing concept game and because of this we do
have Concept Artists. A concept artist would create
traditional storyboards and character designs. This position
is important at all game companies, by combining the
traditional ideas of the sport and integrates them right into
the Game Design Document.
The other untitled artists on the team are responsible for
developing artwork based on the original concept. They
are described by the job they do: Modelers, Texture
Mappers, and Animators.
First are the Modelers. These artists are capable of creating
entire 3D environments as well as 3D character figures. By
using geometry and their aesthetic eye, they create the very
“look” of the game. Modelers currently primarily use the
two software packages 3D Studio Max and Maya to create
their visions.
Texture Mappers are artists whose primary job is to place
2D textures upon models to enhance 3D art. These artists
can create everything from shadow effects in clothing to
realistic fur. To do this they primarily use PhotoShop
software however there are many painting software
packages available.
Animators are the artists that bring the environments or
character models to “life”. Some artists use the information
edited from motion capture studios to recreate realistic
movements, while others create movements frame by frame
using such software packages as Maya or Filmbox.
Last, but surely not the least, are the programmers. Without
the technical magic of these guys, we could not have game
play or even piece our worlds together.
There are usually three levels to programming a video
game. The first, usually called a Lead Programmer, works
closely with the Technical Director to help schedule all
detailed work for the game. This position also gets the
hardest programming problems such as AI to solve in the
game.
The second programmer usually is in charge of the “bulk”
of the game. He programs character movement and world
or level properties.
The last level programmer usually helps with the
peripherals such as the opening, interface design, sequence
and other touch-ups for the game.
- [Process of Creating Game Art]
Now that I have given a broad outline of the necessary
components of creating a video game, I would like to take
the next several minutes to expand on the function of the
artists focussing on those positions I have held.
My first job in the Game Industry was working at a start up
designing texture maps. I was a contract artist and I had my
own graphic design company, which allowed me to get the
job.
I would work on a computer that they had provided for 40
hours a week. In this small office, I created very detailed
texture maps and learned about the restrictions for creating
game art.
There were specialized skill sets I needed to learn to
progress in the industry. Also, learning new attitudes about
my work as a part of a team mentality gave me a new
outlook and self esteem.
My goal was to learn how to model both characters and
items. I accomplished this by staying late each night and
working through tutorial books.
Several months after my initial start in the video game
industry, I started at RedZone Interactive in an internship
position. After one week of being an intern I was offered a
full time position as a Texture Mapper.
Here I continued my quest for continuing education.
As a texture mapper I learned how to create illusions.
I learned an art style akin to impressionism by ways of
seeing and studying materials as a 3D artist. Through this, I
gained a proper mindset to study and reproduce details
from real life.
Video game texture artists must be aware of light, color and
texture, and must know how to draw and render with
photographic realism, and to utilize real-life photos to
increase the speed of production.
My first position was a great introduction, covering the
steps of assembling my texture maps for a real 3D
animation project, making tiling maps, painting
displacement maps in Photoshop, adding procedural
textures in Maya, and applying different decals and details
to the model.
My goal was to understand the look of textures and how
they are affected by their surroundings as in the lighting,
the environment and the mood I wanted to create.
After working at RedZone for two years I had expressed an
interest in animation. I love movement and the study of
motion realizing that I could combine my love of dance and
what I was doing at work!
I was fortunate to learn traditional animation techniques at
RedZone with the help of a mentor. These techniques
included skeleton and character set-up basics, animation
timing, making a head turn and eyes blink, a walk cycle,
speech and body language, squashing and stretching
characters, working out timing issues, and arranging
characters on screen as effectively as possible.
My current goal is to create the quarterback animations for
next year’s game. If you don’t know, the quarterback
position in American Football is not only the most popular
with the fans, but a strategically important part of the sport.
I have brought a short film to illustrate the teamwork that
goes into making a game. In this film you will see more
than just the artist will at work. This film is a short study in
the making of the American Football video game my
studio, RedZone Interactive, creates once a year.
Please enjoy “The Making of Game Day”.
III. [MOVIE: Making Game Day]
- [Industry Standards]
In the next several minutes I would like to speak on the
subject of education and foundations for such an art career.
Education as we all know is the foremost activity we all
need for success in any field in the 21st century.
I suggest that a broad arts and humanities education is a
great start for any computer artist weither in animation or
graphics. After first exploring, one could then concentrate
on that which most sparks the creativity and heart.
I have spoken with many artists throughout the video game
industry and have compiled a general list of techniques and
concepts that every artist should master.
The first techniques to master are the traditional art
techniques. These include sketching, pen and ink drawing,
life drawing, painting and brushwork, sculpture, and
modern craft arts. Also film and video and photography
skills are desired.
My fellow artists and I use these skills everyday. Of
course, the skill needed depends upon the project for that
day.
For example, the stadium modeler would find that it helps
to have an architectural background in addition to
traditional painting skills.
For a character modeler, obviously one should study life
drawing, animal drawing, and other related real-life
drawing subjects that might be related to one’s field. For
example, character modelers at RedZone, like Liam and
Ed, would work with American Football Player models and
should have strong human form drawing skills.
And, someone making alien creatures might want to study
animals.
Secondly, it is suggested that a spatial understanding of 3D
needs to be mastered. This simply means that in 3D art,
you are working in a “true” 3d space, unlike traditional art
where you are trying to portray the look of 3Dimensionality
on a 2D surface.
Also helpful is an understanding of the digital production
process, composing, plus information on subdivision
surfaces, image-based rendering, motion capture, and other
current techniques.
A strong familiarity with mathematical concepts and
formula is, indeed, helpful. Concepts like Algebra,
Geometry, Trigonometry, and Calculus are all quite useful
as an artist. The benefit of having this knowledge is that an
artist knows the why and how, the cause and effect, that the
3D software packages have on his art. The programs
themselves do the math but it is great to have a basic
understanding of the outcome before even attempting the
task.
Now, remember, even if you are the best artist on your
Team, BUT your knowledge of computer technology is
limited, you will NOT get far.
Good art is the objective, and the tool used is a computer.
With the computer comes a varied amount of other
technical problems to solve. One must be comfortable with
color theory, light physics, UV coordinate space,
perspective, and camera angles while using the computer’s
powerful imaging systems.
These systems will then help you to easily do complex
techniques like texture mapping, rendering, animating, and
modeling.
Along with this general list of educational items an artist in
this industry will need other great foundations to get the
job.
First and foremost, employers look for a credit from a
certificate program or a traditional degree in Art from a
certified school. For some, this art degree is their second
degree.
My first degree is in Geography, of all things, from the
University of Buffalo, New York. And my second degree
is in Design and Business from the University of
Copenhagen right here in Denmark.
Secondly, a good, well-rounded, portfolio is needed. I
cannot stress this enough: make it well-rounded. Your
portfolio should include many examples of all traditional
art techniques like illustrations, life drawings, and painting;
graphic arts like advertisement design, product designs and
layouts, and all computer game related art. Keep your
portfolio on videotape, CD or have a link to your own
web site.
A couple of more hints: Do not forget to tailor it towards
the career position you would like to acquire. Don’t forget
to include your written resume! Think of it as a necessary
enhancement for your portfolio. And, in this day of instant
communication, do not forget to include an email address.
Do not assume the art director is male. Cover letters
without proper salutations get thrown in the trash.
Another point all artists getting into the video game
industry must know is that if you can’t get a job because of
experience, pursue an internship. It may be the easiest way
to both get hands-on experience and get your foot in the
door at the same time.
When I originally applied to RedZone my portfolio was not
strong enough. Holliday Fuller suggested I take a life
drawing class. I did this and, concurrently, I got a job at
Electronics Boutique, the leading retailer of video games in
the United States, to learn that side of the Game Industry.
After two months I re-contacted Holliday Fuller and she
offered me an internship position, which I was thrilled to
take. After one week of being an intern I was offered a full
time position!
Background reading and a working conversational
knowledge of the subject of game art is also necessary. Be
able to converse about video game history, current and new
video games, and even be able to extrapolate on what might
be on the horizon for the video game industry.
There are numerous web sites devoted to the subject of
video games. As with all genres, this industry has layers of
information: the professional driven, the business driven,
and the retail driven.
A great professional web site is http://www.gamasutra.com .
An example of a business web site is http://www.idsa.com .
A few retail or fan based web sites are:
http://www.fgnonline.com, http://www.ign.com, http://www.gamespot.com,
and http://www.famitsu.com . Famitsu is known to be the best,
but it is now all in Japanese.
Your best strength, however, should be your motivation to
succeed. This, and patience, will get you a career in the
video game industry.
Before I close my statements and show my last feature
today, I would like to quickly mention a quote from the
author Arnold Toynbee. He stated:
The supreme accomplishment is to blur the line between work and play.
This is what every member of each video game team strives
to do.
I will take your questions after this short expose of a day at
my studio, RedZone Interactive, in San Diego, California.
- [MOVIE: RedZone Day]
- [Questions]
I will now take any questions you might have. ******************** Any more questions? If not, I would like to thank everyone here today and my sponsors,______ and ________, for letting me speak. And I would like to finally thank my co-worker, Shawn DePriest, for the film work he has done for me. And, Shirley ____________ for other help with this presentation. Good afternoon.
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