[Naeem]

Hey guys,
I know there's something along the lines of this going on right now, but this topic isn't exactly about that.
I'm talking about, you know, graduating college, having a major in Illustration or something, and finding a job in the game and/or the movie industry.
My question, after research on the web with no direct results, is that how well off is a digital artist in the movie/game industry?

I know success is relative, along with money, etc. But in your opinion, is the job relatively well-paid or does it barely support you? Yes, there is the thing about demand, etc. Considering that you are in a bit of demand and a half-decent artist, how well off are you(this isn't meant as a 'diss' to the people answering. i'm only giving a situation here... after re-reading this, i thought i may point that out)?


Thanks in advance.

[eyewoo]

hmmmm... is it for sure that artists will continue to be needed in the gaming industry, an industry in which - in your lifetime - computers themselves may be doing the artwork... even the creative conceptual work...

I'm sure creative artists will always have work, especially if the business is viewed in a wide scope - think about all areas of our planet where artwork is used and is essential.

Guess that doesn't really answer your question... maybe just broadens the scope of the question.
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[Japong]

If anything, the games industry needs more creative and concept artists. Games are supposed to look as good as hollywood movies, and every aspect of every scene has to be hand crafted... while computers can help with the grunt work, more and more creative work has to be done to keep up with ever-increasing beauty standards.

Doom 3 for example, spent an additional two years in creation after the engine was ready to ship, simply to accomodate the artists and give them time to finish up.

[Odds]

eyewoo; i don't think a computer's creativity will ever be as good or as beautiful as an individual artist's.. maybe that's just me though

[jo]

A computer won't get drunk and smoke weed before hitting the canvas, it would be the downfall or originality and symbolic/metaphorical art as we know it :<

I believe theres alot of work in the games industry too, just look all the spots openings at gamasutra.com or something. Some requires relocating and might not even bring in maxxximum pay, but I believe most will give you a decent buck. I guess pay is somewhat based on skill, approve and apply elsewhere if you don't get a raise. ;)

Most artist are either preoccupied (pros), not interested (hobby artists), or not "ready" (studying artists). Those who actually know something and wants to find work usually do, I don't think it's that hard. (Even I managed to find work in the game industry back when I'd barely learnt how to hold my pen straight.)

It's just the thumb in arse factor that stops many from trying. :>

[Matthew]

jo, how does that work in Sweden? I assume you work at starbreeze with Mon, do they wanna have portfolios or is it something like you build your way up there starting out with maybe freelance for them or any similar?
Mostly I am just curious how these things work since our small country is mostly never mentioned in here.

annis, sorry for hijacking your thread here, I hope it is ok.
Matthew

[Godwin]

I live on an island called Singapore... I'd like to do something in the gaming industry, but have no idea where I should head in terms of art education, or if I can even get out of here to begin with...
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[eyewoo]

I guess my point is, things are moving along pretty fast, decade by decade. In the games industry, the first game - Pong - was born by Nolan Bushnell just about 35 years ago in 1971. Pong, a little thingy getting slapped back and forth in a flat space.

One of the profound aspects of a lifetime's or career's time frame is the societal and technical change that takes place. When I was born, there was no TV widely available. We didn't have a TV until I was about 8 years old. Pretty amazing - and the rate of change hasn't changed much or become any less exciting!

Being ready for and being able to adapt to the change as it happens... or being at the forefront of the change is cool...
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[balistic]

The key is definitely to be an artist first, and not get tied too closely to any one tool. If you love 2D, keep a couple toes in 3D and compositing, or vice-versa. With the way the visual effects industry has been off-shoring lately, your most vital asset is experience.

Straight out of school, assuming you go into the games industry, starting salary for an artist is between 25-35,000/yr. Get a few years of experience and you can be more comfortable at 45-70k, depending on the market. Generally to make much more than that, you need to assume a more managerial role and be an art director or department supervisor.

Film is similar, with salaries usually being a little higher just because most of the jobs are in LA, and the contracts are shorter.

That's if you go the 9am-6pm (ha!) day-job-in-a-studio route. If you work as a contractor or freelancer you can make more money in short spurts, but you'll have to maintain as many contacts as possible to keep work coming in. If you get really good, you might be able to sign with an agent, who will do the schmoozing and networking for you, and hopefully not take too much of your money.

So yeah, you can be comfortable as an artist, but you have to stay versatile, and nurture your network of industry connections (something I'm still not very good at). Money will probably be tight the first couple years you start working, but experience is your most marketable quality as a production artist, and once you have some experience you will start making better money.
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[Naeem]

wow! thanks for the replies guys.

eyewoo> perhaps. perhaps not. i don't think humans will advance so far to create something so profound that it can do the creative work and the grunt work... but i'm not totally putting you off either .

Japong> thanks for pointing that out. You're completely right.

Odds> i agree with you. i don't know if anything will ever be as good/beautiful as the human mind.

Jo> LOL. . i'm kind of worried about USA's economy. it seems that the way things are going, the economy could be a bit crippled by the time i'm ready for the world. you're right about the different kinds of artists. i'm afraid i fall under the category of studying artists for the next 4-5 years. perhaps 6.

Matthew> no problem. , dont worry about it.

balistic> thanks. you came closest to answering my question directly . i was looking for estimates to see how rough the waters are. i'll have to learn how to balance my money when I get a job and how to keep a good amount coming in. once again, thanks alot.
thanks everyone . i appreciate it.
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[jo]

annisahmad, lol, I'm sure you'll find work if you work hard enough. If the US market would fail you could always try relocating. English-speaking people are spoiled like that.


Matthew, yeah I'm at starbreeze (again), after being let go due to economical issues a couple of years ago and re-hired recently into another position (after taking an education in 3d/game dev), now I model world objects. Personally I didn't really have a portfolio when I applied the first time, and what little I had what mostly lineart (and sucked). However, since I was young, I only applied for a trainee position, and luckily lineart was just what one of the people at the company wanted at that time. Then I started freelancing, and at the end of school (gymnasium) I immediatly started working fulltime.

That's one way of going about it, sneaking in from the bottom. but that usually only works when companies are small or in a slope (/can "afford" it), and you have lots of free time + no need for the economic bit of work. It was great for getting to know the company and the people there though. Good contacts, especially later when people had to be let go (alot of them), that way there were contacts everywhere, even though the letting go thing was a shame.

However, a portfolio is necessary for applying for work, absolutely. That I got work without one is kind of a miracle. When I was starting the 3d education they contacted me about returning to work, but since everything was already fixed with the edu, I declined. And since Flush was busy elsewhere they asked if I knew anyone else who could be interested. I recommended Mon and the lead artist liked his work, so he asked me to contact him to see if he was free, which he was.

So that's it. You either need to have a kickass portfolio like Mon or Flush, showing a wide variety of quality work and apply, be known by people and have a portfolio freely available (homepage), or know people at the company you're applying to (like I did now). The portfolio way is to recommend though. way less restricting. I'm mostly lucky

[Matthew]

jo, many thanks for the elaborate answer there, I really appreciate it. Not sure I will seek my way into the gaming or illustration industry but it is always good to know how to go about different methods of applying.

thanks again
Matthew

[jo]

Glad to help Matthew, I guess summing it up would be;

If you aren't really "good enough" to work professionally, find a small company and try growing with it (good practice and experience). If/when you reach a professional level (technically // experiencewise) work will most likely find you. Atleast as people know that you exist. So homepage + Sijun = excellent exposure.

For illlustrational work I dunno, you'd need to ask an illustrator, dunno if any swedish ones hang around here though.

(annisahmad, sorry for the continuing hijacking. hehe)

[Naeem]

jo> no problem. you can discuss it all you'd like. i think i've gotten my answer . if anyone else has anything to add, i'd be delighted to read. but its alright if you guys talk about sweden
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