Let me tell you about the thought processes that went into creating this piece of concept art. Much of what we’ll discuss is applicable to any example of conceptual art, while some of it will be specific to this design. Taken as a whole it’ll offer insight into how the process might be approached.
So let’s set aside the image at hand here for a brief moment, and talk about what happens before we fire up Photoshop and grab the Wacom pen.
A concept artist will usually receive a brief specific to the job at hand. The accuracy of this can vary widely but it’s really up to you to try to get the most out of whoever is directing you. If the brief is detailed, fabulous – you can launch into it with gusto. But if it’s vague then it’s down to you to at least try to clarify it with the art director.
The only brief here was to create a workshop piece, so I could do pretty much whatever I pleased. I wanted to produce something that would encompass character and environment visualisation, coupled with elements of action and narrative.
I chose some mainstream sci-fi subject matter: a giant robot in a ruined cityscape with our hero winning through against terrible odds. Archetypal stuff, but fun to paint and the kind of action shot that publishers always love.
I always start with a pencil sketch. There’s no substitute for good old pencil and paper for quickly realising ideas and getting things going.
From issue 19.