Job interests

Digital Painter

Digital Painter is an entry-level role, usually employed in 2D Drawn Animation, but sometimes required in 2D Computer and/or 3D Digital Computer Animation.

Digital Painters add colour to the line images created by Animators. They may scan the drawings they receive from the Animation department and, when required, clean up the line work on a computer before colouring. Digital Painters usually work as part of a team, under the supervision of a Head of Digital Colour and Compositing. The team may include a Colour Stylist, Scanners, Painters and Compositors although, depending on the size of the production, the roles may be combined. Digital Painters may progress into work in compositing and post-production.

Responsibilities

Digital Painters are responsible for scanning artwork and adding colour to Animation, using one of several available programmes, e.g. Animo, Toon Boom, Opus, Toonz or Photoshop. They must follow the references they are given and be aware of continuity requirements.

Skills

Digital Painters need a good eye for both detail and colour. They must be methodical and conscientious about follow up, have good computer skills and be able to adapt quickly to new programmes. More senior artists need to understand the Animation process and should be able to use the relevant software, but new entrants can expect to be trained on the job. They must be able to take direction and to work as part of a team.

Qualifications/Experience

No degree qualifications are required, although this can be an entry-level role for University graduates who want to work in Animation. Good IT skills are essential, and a working knowledge of programmes such as Photoshop and Illustrator are often required.

Artist - Computer Games

Artists create the visual elements of a game, such as characters, scenery, objects, vehicles, surface textures, clothing, props, and even user interface components.

Artists also create concept art and storyboards which help communicate the proposed visual elements during the pre-production phase.

Some games try to look as realistic as possible while others aim for a more stylised or fantastical look and it is the Artist's job to model and texture characters and objects to achieve the desired result. The look of the game and its graphical detail is often a significant factor in a game's success, second only to its playability.

There are various specialisms within the art department, including 3D object modelling, character design, textures, environments, and so on. Each has responsibility for the creation of particular art assets with a game, but there is also a lot of movement between roles.

Artists are employed by development studios, both independent and publisher-owned. As well as producing graphics for the game itself they might create artwork for packages, promotional materials and websites.

What is the job?

Artists work under the supervision of the Lead Artist. They create art assets for the game according to the specification and they are usually responsible for managing those assets.

Some Artists specialise in the design of human figures and characters, others in buildings and landscapes, and some in textures for 3D objects. Artists must be aware of the technical constraints and capabilities of the platform that the game will be played on.

They must also take on board feedback from testers. Artists do a range of jobs which have different responsibilities and techniques, including:

Concept Artist – usually using traditional materials (eg pen and paper) rather than computer software, the Concept Artist sketches ideas for the game worlds, characters, objects, vehicles, furniture, clothing and other content. They also suggest level designs, colour schemes, and the mood and feel of the game. They are usually very good at perspective drawing and architecture. Although not involved in creating the actual game art, their concept will determine the look of many aspects of the game.

3D Modeller – builds the characters, objects and environments of the game, including life forms, scenery, vegetation, furniture, and vehicles, etc. They need to balance visual richness and detail with the constraints of the game's technology.

2D/Texture Artist – creates and applies textures to characters, environments and game items, such as the surfaces of walls and floors of buildings. This is also a highly skilled area, which requires considerable knowledge of lighting, perspective, materials, and visual effects.

Typical career routes

For most art roles, an art background and education is required. New entrants should also have some knowledge of the technical side of the work and fluency with appropriate software packages.

As most game art involves 3D graphics an understanding of the basic mathematical concepts involved is also often a prerequisite. A work placement undertaken during a degree course is a useful way to gain the industry experience that could lead to a first job.

Artists start off in junior roles and an important early decision is whether to specialise in 2D or 3D work. Artists may eventually progress to a team leader, Senior Artist or Lead Artist role.

Essential knowledge and skills

An art portfolio is a prerequisite and should demonstrate a range of work and originality of style.

Companies will also be looking for the ability to draw from life; knowledge of anatomy and architecture; the ability to convey facial expressions and emotions; and a flair for colour, composition, perspective, lighting and mood. Comic book art and/or storyboarding skills are useful for Concept Artists.

Key skills for all artists include:

•   art and design skills

•   Awareness of colour, modelling and texturing techniques;

•   the ability to work as part of a team and independently;

•   imagination and creative talent;

•   attention to detail and observation skills;

•   good communication skills;

•   ability to work to a style guide;

•   knowledge of the requirements of the relevant Health and Safety legislation and procedures.

Training and qualifications

Most Artists in the games industry possess a degree or HND in an art subject, such as fine art, graphic design, or illustration. Some courses offer work placements, particularly in areas where there is a lot of games business activity and a university or college course will also provide access to some of the high-end software packages.

Artists in the games industry work with 3D graphics packages, such as 3D Studio Max, Maya, Softimage, etc., and 2D packages such as Photoshop. They might also use software tools that have been developed in-house.

A lot of training is done on the job and there are also some short courses available. Creative Skillset's regional training partners can advise on local opportunities.

Where to go for more information
Creative Skillset is the Sector Skills Council for Creative Media. The first sources of information for all jobs in the industry are the National Occupational Standards. Browse Creative Skillset's website for links to our network of training partners, information about training and access to the comprehensive Creative Skillset/BFI course database. Finally, Creative Skillset Careers is UK's only specialist media careers advice service; for detailed media careers information and advice, visit http://www.creativeskillset.org/careers/.

Storyboard Artist - Animation

Storyboard Artists interpret scripts and sketched ideas in order to create storyboards. They work closely with the Director and, possibly, with the Scriptwriter, Producer, Client or Storyboard Supervisor, to visualise and tell the story.

Responsibilities

Storyboard Artists illustrate the narrative, plan shots, and draw panels to demonstrate action and maintain continuity between scenes. They may need to revise and update their work to reflect a changing script or comments from the Director, Producer, Client, etc.

Storyboard Artists may be required to prepare the storyboards for production, including indications of dialogue, character performance and camera moves, and could be asked to produce their work either as rough or cleaned up drawings, depending on the requirements of a particular production. For example, clean panels are less likely to be required for a Computer Generated film, where tight drawings of a character may not be relevant; however, on a television project where all the animation is being produced overseas, it may be necessary to present the characters very accurately. Storyboards being produced for animation overseas must usually be on model (in style), and include absolute attention to detail and very clear written directions.

Storyboard Artists need to be aware of any relevant technical or budgetary restrictions related to the production, and they are responsible for delivering the storyboard on schedule.

Skills

Above all else, Storyboard Artists must be able to tell a good story. To achieve this, they must be film literate, with a good understanding of layout, composition, sequential drawing and editing. They need to be able to work either independently or as part of a team. They should be able to take direction, and also be prepared to make changes to their work.

For certain projects Storyboard Artists need excellent drawing skills and the ability to adapt to a wide range of styles. They must be able to follow established designs and produce consistent work, drawn on model.

Good communication and presentation skills are essential. Depending on the project, basic computer literacy and familiarity with relevant storyboard software may be required.

Qualifications/Experience

Storyboard Artists come from many backgrounds and their talent is often instinctive. Many have graduated from Animation degree courses, during which they will have acquired a basic understanding of film theory on which to build as their career progresses.

All Animation courses, regardless of any specialist technique, should include storyboarding as part of the syllabus; and a student will have gained some understanding by producing a storyboard for a personal or graduation film.

While still at college, they may have already discovered that the part of the animation process that interests them most is storyboarding during the pre-production phase, or they may discover that this is their preference as they progress through various animation roles. Many Animation Storyboard Artists have been Animators, or they may still alternate between the two roles; others come from the layout department.

It is unlikely that a new graduate will find work immediately as a Storyboard Artist; it is more probable that they have worked their way through part of the animation studio system. Graduates from Art courses, such as Graphics or Illustration, who have an interest in film technique and story telling, could follow the same career path. Some live action Storyboard Artists move into animation, but it should be noted that the skills developed for commercials do not necessarily apply to longer format productions.

Runner (Animation)

This is usually an entry-level role in Animation studios. Runners are employed on low salaries, and are expected to cover a multitude of, sometimes menial, tasks. They are often a combination of handyman/woman, production office dogsbody, relief receptionist and messenger. However, many people with successful careers in all aspects of animation started their careers as Runners.

This route into the animation industry has nurtured the potential of many individuals, and produced some very talented practitioners who may otherwise never have had a chance to progress in the industry. While working in this role, Runners can demonstrate their abilities, prove that they have a good attitude, and discover where their main interest or talent lies.

Depending on their aptitude, skills and interests, Runners may be promoted to junior or training roles in Editing, Camera, Animation, Model Building, Scanning, Digital Colouring, Digital Compositing, Rendering, or in the Production Office, among many other departments.

Responsibilities

Runners provide support and backup wherever it might be required within the studio, but particularly at the request of the Production Office or Editing Department, and it can be very varied work. They check and, where possible, maintain studio equipment, including carrying out 'housekeeping', or office management duties, such as replacing batteries or light bulbs; fixing chairs; hanging pictures on walls; keeping track of materials and ordering new supplies; keeping the kitchen and other areas clean, tidy and well stocked; making tea or coffee, etc.

In some studios they may carry out certain administrative duties, e.g. running the petty cash, banking cheques, collecting and checking time sheets, labelling tapes, keeping the showreel and reference library, etc. There may be some overlap with the work of the Production Secretary, Receptionist and Editing Assistant, so that the Runner can provide cover if required. They run errands, pick up transfers from sound studios and facility houses and carry out a multitude of other tasks, but should also be watching and learning all the time.

Skills

Runners must be bright, helpful, presentable, articulate and have basic literacy, numeracy and communication skills. It is helpful if they already have an interest in animation and, to get the most out of their time in the job, they need to develop an understanding of the production process. Runners must be able to cope under pressure, accept instructions from all quarters, show initiative and problem solving skills, respond quickly to requests and know how to prioritise their tasks.

Qualifications/Experience

In general, there are no requirements for Runners to possess degrees or other academic or training qualifications. However, this is often a practical route into a studio for graduates of Animation degree courses or comparable Art, Computer or other technical courses. Most companies are more interested in the attitude and personality of applicants but a promising showreel, or a portfolio which demonstrates their talent and abilities, may improve the chances of success. Working as a Runner offers not only the opportunity to learn how a studio operates, but also the time for both Runner and employer to assess their strengths and to discuss the job roles which may suit them best.

Layout Artist - 2D Drawn

Layout Artists stage every shot and camera set up, and the staging they produce defines the action that will take place within each scene. On larger productions, Layout Artists work closely with the Director, Art Director, Animation Director, Key Animators, Camera and Compositing Departments.

On smaller projects, there may be no allowance for dedicated Layout Artists, in which case layouts may be produced by the Director or Animator. Layout Artists need a thorough understanding of the animation process and the technical possibilities available.

What is the job?

Layout Artists plan the action of scenes and are likely to draw both the background and character elements within a shot. To do this, they take information from the storyboard and translate it into a format and size that can be utilised by the Animation and Camera Departments.

This involves referring to production designs and model sheets in order to produce drawings that are consistent and on model (in style). Experienced Layout Artists will plot the camera moves and give clear technical instructions.

More junior Layout Artists may be hired for their drawing and composition talent and learn the technical skills as they progress. For some productions, layouts may be produced in the UK for work that will be animated overseas; in these cases, it is especially important that Layout Artists produce clear, written instructions to accompany the drawn layouts.

On some occasions, Layout Artists produce background layouts only and Lead Animators will do the character layouts or key poses.

Typical career routes

There is no traditional career route for Layout Artists. It is rare for a college leaver to find a job in the Layout Department although, with an exceptional portfolio, there may be some opportunities. It is more usual for Layout Artists to have gained some professional experience, often in illustration; comic books can be a good grounding.

At the beginning of a project, Directors will often view illustrators' portfolios looking for a filmic style or an appropriate talent for composition and lighting. On larger projects, a Layout Supervisor, with organisational and leadership skills, will head a department of artists.

Junior Layout Artists, without animation experience, need to acquire technical knowledge and may want to do a relevant film course. A lot of skill and experience is required to do good layouts and it can be a fulfilling career. Alternatively, it can lead in many directions including Storyboard, Background Painting and, occasionally, Animation.

Essential knowledge and skills

It will be necessary to demonstrate at least some of the following within a portfolio submitted for a Layout position:

•   excellent and adaptable drawing skills including good understanding of composition and perspective;

•   good use of light and shadow and the ability to create atmosphere

•   ability to follow established design;

•   ability to be neat and methodical;
Key Skills include:

•   understanding of 2D animation process, including camera mechanics;

•   understanding of editing and film structure;

•   understanding of relevant software and post production possibilities;

•   ability to communicate clearly with colleagues and work as part of a team;

•   ability to take direction and a willingness to address comments and make changes;

•   ability to work with a minimum of supervision;

•   ability to deliver on schedule, working under pressure if required;

•   respect for the procedures and requirements of a particular studio or production;

•   knowledge of the requirements of the relevant Health and Safety legislation and procedures

Training and qualifications

It is likely that Layout Artists will have gained a degree in an art-related subject such as Animation, Illustration, Fine Art or Graphic Design. However, the quality of their work will be of more value than an academic qualification.

Copies of Layout Reels are useful to demonstrate experience but it is necessary to keep them short, and applicants should indicate clearly which scenes were their responsibility. In addition to good draughtsmanship, studios look for an understanding of film making and expect applicants to be film literate.