Whether you’re into concept art, illustration, character design, comics or storyboards, I’m constantly pushing you to create personal projects and pursue amazing collaborations.
Why?
The success of concept artist Robert Simons is why.
Previously, on the ArtCast, I interviewed the director and composer of Project Arbiter – an indie sci-fi short film with a big-budget look.
Robert Simons’ concept work on Project Arbiter demonstrated a surprising level of maturity (He was only 19 years old at the time). Unsuprisingly, his career now includes concept work on huge films like Ender’s Game and The Amazing Spider-man 2.
In this interview, we hear how Robert’s career evolved, his attitude toward criticism, obsession and creating art with meaning.
…and in the Q&A segment, my good friend Matt Kohr joins me to respond to a listener question about whether you need to move to the west coast of the United States in order to become a concept artist…
Listen To The Interview With Concept Artist Robert Simons:
Read the transcript for this episode here.
Episode Highlights:
- How to find the value in a harsh critique.
- Are artists inherently obsessive?
- The advantages of dyslexia.
- Robert’s relationship with mentor Scott Robertson.
- How Robert and his team turned an unrealized personal project into a fully-funded Kickstarter campaign.
“I want to leave messages behind… I feel like with filming and directing, and even with comic books, you can leave so much for people to take in.”
– Robert Simons
Connect With Robert:
Follow Robert Simons on Twitter
From The Q&A Segment:
Submit a question for The ArtCast.
Learn More:
Designing The World Of Project Arbiter with Concept Artist Robert Simons
Robert’s redesign of 20,000 Leagues Under The Sea
Is Your Concept Art Portfolio Versatile Or Just Confusing?
Why Your Concept Art Portfolio Is Being Ignored
Will Your Personal Project Make Money?
Let’s Continue The Conversation!
What did you find most inspiring about the interview or the Q&A segment?
Wow! I was literally opening a text message from a friend who is ready to set up a collaboration on a piece of artwork by mail! Twas meant to be.
What really struck me was the moment where you two were discussing feeling like your art is for fun and entertainment, but won’t really impact the lives of others in a serious way. I can absolutely relate to that feeling with my personal work. Really inspired me to keep digging into telling the best story I can with any of the work I do. Maybe it really Will make a difference someday!
Thanks, Abrian.
Although, just to clarify, it’s not that we feel like our art *won’t* impact the lives of others in a serious way.
On the contrary, we want to spend more time creating art and telling stories that *does* have a meaningful, long-lasting effect that will help to heal the world in some way.
Specifically, for me, I’m interested in The Golden Theme: http://www.amazon.com/gp/product/0984178678/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=0984178678&linkCode=as2&tag=chrioatl-20&linkId=M2EEKKWVPAX7SVGX
…and what stories can do to help heal the cultural divides created by violence, materialism and xenophobia.
I think what Robert and I both were trying to communicate is that through doing concept art for movie studios, we don’t feel that connection as strongly, if at all.
…which is just one of the many reasons personal projects are so important, IMO.
So, we’re actually all in agreement here.
With a positive attitude like yours, I have no doubt that you’re going to achieve exactly what you’re going for. …telling meaningful stories and knowing that they will affect positive change in the world.
Yes I’m sorry, I probably should have phrased that better! It actually reminds me of the chat with Brett Bean where he says that “appeal is truth from the artist.” Why is it so hard to do something so easy?!
The Golden Theme is definitely on my list of books to read. Thanks for continuously crafting inspirational content and offering amazing advice. You guys are Definitely positively affecting the world.
Thank you, my friend. No worries. I just wanted to make sure what we were trying to communicate was, in fact, communicated clearly.
You’re gonna love Golden Theme! One of the best books I’ve ever read.
How inspiring is Roberts story. His honestly and outlook was really inspirational, and I also was left thinking, sounds like his Dad was an amazing support system for him to follow his dreams, which is super cool. On the whole moving locations for a possible job topic, I am in a scenario that I would need a company to give me a VISA, but one great piece of advice I was given by a recruiter was, “Just make your art the best and location doesn’t matter.” Top work as always Chris
Thanks, Tegan.
Yes – Robert’s story of his relationship with his Dad only grew more inspiring after hearing it several times throughout the editing process.
And yes, you certainly don’t need a VISA to be a concept artist!
haha true no need for a visa to be a concept artist, but just need a visa to work in the lovely United States 🙂
There are some great great points in here. I found Robert’s story about his father taking the time to take him to Saturday school especially powerful here. I feel like it’s almost essential to have a person or people in your life that believe in you *that* much. That part really really speaks to me. It’s like that support group you always seem to talk about. Those ones that you know will be there for you no matter what. This speaks to not just art, but for life as well.
I have some experience with moving (military brat), so most of the points you guys made ring true. My family did, at one point, live in Northern California. And it was so gosh darned expensive. Gas was nearly $4 in 2008! I felt like half my paycheck paid for the gas to get to work and school! Another thing to think about, that wasn’t really mentioned, is the weather. California… you can’t really beat the weather. But right before living in Cali, I lived in Washington State. Where it rained. Constantly. 9 months out of the year. It affects artwork. It affects how much you go outside. What you think about. How you feel. Weather, man. Weather does things to people. But anyway, great cast Chris! Inspiring as usual!
GREAT points, Britny! Thank you so much for your perspective. I love that you have experience in both California AND Washington.
And you’re exactly right re: gas $. Recently, I have found west coast gas prices to be similar to the prices in the midwest (maybe just a tad higher on the WC) but I spend wAAAy more time in the car when I’m in California.
For Robert Simons:
Yep. I even had an interview set up with a game company in Canada but the very second they realised I lived abroad they rejected me and apologised for wasting my time.
Granted they gave their reasons: “Client can’t afford to relocate you” It was a smaller indie company but still interesting for you perhaps.
Great artcast, missed them so much. In a way you have answered one of the questions I emailed you.
Best,
Gabe
Hi, Gabe! Yeah, lots of folks have been asking about relocation. I LOVE that freelance opportunities are increasing. Now, more than ever, it’s time to just focus on making great art and cultivating meaningful relationships online. THANKS!
Amazing Interview, I learned so much from this interview and especially the Q&A.
Regarding Justin Goodrich’s question as an artist who also lives in middle Georgia and has had interactions with most of the big game and animation studios in Atlanta.
I tried to get in contact with Justing Goodrich but I was unable to find a website for his work, Would you happen to have a link to his website or his email Chris? I would love to reach out to him and talk as I have dealt with a similar problem recently.
For me I decided to stay in Middle Georgia for the time being until I feel that my portfolio is to the point that I am confident in taking the risk, all the while I have been saving up to take trips to California for conventions like CTNX (i’ll let you know how that turns out) Thanks! 😀
Nicholas!
I’ll write Justin now and ask for his permission to post his link.
I’ll follow up here in the comments and I’ll also add it to the post above.
Thanks for asking!
I’ll get back to you on this asap.
Hey, Nicholas!
Justin can be reached through his website at:
http://www.goodrichgalleryonline.com
Thanks So much Chris!
This podcast was balm to my soul! Today, I’m releasing the first pages of my personal project I’ve been developing for years (because Chris Oatley told me to, haha!): http://scottwiser.com/VanishingInk
It has been an immense struggle, but so rewarding. I’m still addressing editor notes on the final half, which is still very humbling. Even though the editor loved my project, there have been TONS of notes to address.
I’m also working SO hard to put the kickstarter together. Thanks Robert for sharing your stories, especially your insights on Kickstarter! Your project looks so inspiring. I currently have a deeper respect for anyone who has successfully funded. Can’t wait to see the results!
Dude! SO AWESOME!
Please tell us more!
Thanks Chris, you’ve been a huge part of the process so I’m glad you like it. I’ll give you more details when we catch up at CTNX, but the screenwriting books you recommended played a huge part. And I couldn’t have made leaps and bounds in the illustrations without Painting Drama / Magic Box! Oh, and the whole project’s inspiration came from my entry to the Paperwings Podcast contest.
Like I said, you’ve been a huge part of this journey. I can’t think of a single element that you didn’t somehow influence.
YAY SCOTT! The cover and first page looks fantastic! Can’t wait to keep reading. 😀
Thanks! I can’t wait to get it up on Kickstarter (hopefully November) so I can get hard copies in your hands. 🙂
Scott I see big things in your future!
Thanks so much, Britney! Tegan, I hope your predictions are accurate!
Thank you Robert for sharing your story. I can’t wait for part two!! 😀
I feel the move-issue intensely right now – I was saving up with my
significant other to move this month to the WC, but money got tight
due to family issues and neither of us were very confident in our chances of making it work within the time frame of our existing funds, so we opted for moving across town for another few months to save more. (It’s been a LOOOOONG weekend of making 1130sf fit into 630sf)
Even though I now have more time to work towards my goals in
*relative* cheapness and I don’t have to worry about moving AND preparing for CTN at the same time, it is still a bit soul crushing. It’s made me seriously re-evaluate my position on freelance versus doing my own thing versus studio job versus hiding in my cube until the sun dies (at which point my position in the solar industry would be void).
Anyways, I have heard from a few people now the difficulties of obtaining work/making a move when a visa is involved – that is can take a year or more unless it’s a bigger company who has enough clout with the necessary agencies to “import” you and your skills. I’m casting my vote with Tegan. Keep working hard and keep aiming high. The best way to fail at something is to opt out of doing it in the first place.
Great, great points, Beki. Such grounded wisdom. This is why you are awesome.
Beki can not wait for CTNX and I’m sure your table will blow peoples socks off!
Hi ,I am Roberts Mother . I can’t even begin to tell you how very proud I am of my son Robert. I can truly say that Robert has had a pencil in his hand since he was 3 years old. Dyslexia has never held him back ! Roberts Dad played such a BIG part in his education , making it possible for Robert to stand on his own today. Its sad that he isn’t hear to see all the good he did for our son. I know that he would also want you to know how proud he is of our son. Sorry I am writing this thru tears ,tears of joy ! Thank you for this Wonderful interview !
Thank you for sharing, Mary!
While editing this episode, there were many points at which I just sat back and marveled at what a wonderful family you have.
You and Robert’s Dad have set an example to which those of us who dream of being parents can aspire.
From the bottom of my heart, thank you.
For the first question in the Q&A: Game studios will pay to relocate you if they want to hire you, but I’ve found that being local is more important than you would expect. It will often get you interviews that you wouldn’t get if you live far away. Plus there is the networking you’ll find in a “gaming hub”. I would highly suggest moving west. Either California, Seattle or Austin. There are a handful of studios in other areas, but if one goes under you are screwed. I’m freelancing now, and live in Portland, but the experience gained in studio was invaluable.
Really appreciate you sharing this Mac! Thank you very much!
Thanks, Mac!
You’re right, yes, there are definite benefits to being local if one is willing and able to take the risk and move with no job offer.
However, it would be irresponsible of me to generally advise that anyone do this – especially if I don’t know them personally.
Definitely depends on the person’s situation. I will say that Austin is still fairly cheap (though its getting more expensive every day). LA, San Fran and Seattle are all very expensive.
That really was an awesome interview Chris! Thank’s to you and to Robert. I really appreciated the candid story he told of his life. It’s really inspiring. Can’t wait for Part 2.
I gotta repeatlisten to your podcasts more often Chris because while listening to this I found myself reminiscing on the days where I would go on bike rides, see nature and really appreciate the art that is our world which would really drive me to make something more honest even though I was terrible at art back then.
Unfortunately it’s something I’ve done in a long time, but thanks again!
Thanks, James!
You’re awesome!
I have been insanely busy (big surprise) lately and have had many moments of feeling completely overwhelmed. So I’ve been trying to zoom out every single day – walk my dog, spend time with my wife and spend time alone in silence – just to try and clear out some mental breathing room. I’ve experienced some amazingly healthy and productive results…
I loved this episode! Congrats to Robert, he clearly has so much drive and passion to back up his talent. It’s great to hear about all that hard work paying off:) Love hearing from Matt Kohr as well!
I wanted to weigh in a bit on the Q&A: I was funded to relocate to Canada when I got an animation TV job recently. It may not be as common in LA with all the talent down there, but so many companies have popped up here in Vancouver all at once that the pool is a bit tapped. My previous studio in Portland also helped a bit as well, even though I was just an intern:)
I do definitely agree that being near the people and the social events of a hub like LA can be a huge deal. These days though, if that’s too expensive– you can make social connections with people in your industry on twitter/tumblr/facebook. This is a free way to really get to know and build a relationship with professionals. You can begin to learn who’s out there, what people are interested in… It’s also just a lot of fun:) The trick is to be consistent.
Of course things like CTNX are also WELL worth the effort if you can work it out financially. I can honestly say that that was the best investment I ever made in my future. CTNX has ripple effects that go on for years.
<3<3<3
Jenn
I wonder if it’s because Canada and the US share so many workers in other fields too? Kind of like NZ and Australia: I know my friends in New Zealand don’t have any difficultly finding work in Australia or even the UK, but they struggle getting over here.
While I was talking to my teachers there (Many of them former Weta) they repeated over and over again that they would NOT relocate someone unless they absolutely had to and only temporarily – that they had to be the ONLY fit for the job. (ie. Alan Lee for LOTR and Kong)
This interests me greatly – not because I specifically want to leave the country right now (Though I would not turn down a job offer in Japan 😉 ) but because I have so many friends who are invested in this issue.
I’m learning a lot from reading both your comments! Thank you.
Just sharing what I’ve heard too. It seems if you’re outside the US, it’s going to be very difficult to get in unless you are, as you say “the ONLY fit”. The main reason I’ve heard is that Immigration is a b****. Apparently the US government is incredibly tight when it comes to allowing anyone from outside in, so the company wanting to hire you really has to put out a case to get you in. But though I’ve heard it’s really rare, I have also heard of a good number of cases this has happened.
Hey Beki!
Yeah, I mean– this particular job was for a Dreamworks show, and I know they were the ones who found my work and ear marked me for the project even though it was for a position at technically a different company working on the show.
Funny story though, our matte painter is from New Zealand (he came from Weta also!) and he was compensated for relocation here to BC. However, this project is a 3 season gig already, so because of the long term nature, I think they’re a bit more willing to bring in far off folks! Also he was more willing to relocate because of the 3 year contract.
It’s definitely interesting. It’s a shame when something like location keeps you from getting a gig, but I think it all ultimately comes down to working hard and making art that cannot be ignored:D
Boom! Great feedback, Jenn! Thank you!!!
I learned from the best;)
It’s always inspiring to hear about passion projects that get off the ground. The problems I find with my own are having maybe one too many ideas and trying to remain focused on a couple to actually finish. I’m doing better, I’ve managed to make significant progress on a webcomic and a game idea or two. But I’ve always got that list of ideas for art pieces and story tidbits that I’m eying.
Also, it was really cool hearing from both you and Matt Kohr in this cast, I’ve eaten up his Ctrl+Paint videos. My wife and I are relocating to another state (tomorrow, actually) for the first time, and it’s pretty scary and stressful. I’m still working on whether I should troll for some freelance or get a day job so I can work on my portfolio–It’s always this vs. that. It’s reassuring, though, to hear from people who are experienced in things like that.
With all that happening, I thought there may be no way I could afford going to CTNx, but I managed to get in as a volunteer, so maybe I’ll see all you guys there!
Keep up the inspiration!
-Connor
Definitely find us if you come to CTNX, Connor!
Good luck with the move and definitely keep us posted on your evolving career!
Hey Oats, great podcast. While most animation studios are not relocating as you mentioned there has been a significant movement toward Vancouver, Canada. Sony animation and Imageworks, MPC, Method, Zoic, and more than a dozen others ARE relocating folks to work in Vancouver. It is not a cheap city, nor is the work generally permanent. Work is being moved due to easier visa application processes, government subsidies and competitive contracts for animated TV production ( all of Dreamworks TV production is in Canada for now). There is a great deal of entry level work – but people MUST be qualified in their portfolio/reel – and be prepared to work their tails off with little compensation. Sounds nice doesn’t it. 🙁
Thanks for the info, Dave. Do you mind shedding a little more light on “nor is the work generally permanent”?
Contracts in Vancouver generally range from 3 months to a year. The longest I’ve seen is at Bardel with a 3 yr contract (DOE) but they work people to the bone. Several studios that have roll-over policies that try to keep folks on board, they generally retain 30% of the crew. Nerd Corps offers long term stability but with low compensation. There is LOTS of work but it’s important to be choosy.
Another great podcast! I was especially struck by Robert’s dedication to Project Arbiter. Like he mentioned, there’s always the danger of getting burned out on a project. That’s probably one reason why artists just have to truly love what they do–personal and studio productions, from comics to games to movies, take a /lot/ of time to make, and you could easily be working on the same project for several years. I think people often underestimate just how much time these sorts of projects take–something I myself have been realizing firsthand. I recently went to a very small local convention and talked with some guys from Wither Studios, a small indie video game company based in Pittsburgh, and one of the things they mentioned was basically “Everything will take longer than you think it will.” And while that can be disheartening, especially in our society where we want everything to just happen NOW, realizing it can also feel kind of freeing.
I’ve actually been thinking about those sorts of ideas over the last few months as I’ve been trying to figure out my own artistic direction. Can I maintain the dedication and discipline it takes to do personal projects and freelance work? I used to think that my dream job was working on my personal projects, but lately I’m been not so sure. I was nodding my head during a lot of this podcast, especially the Q&A when you guys were discussing studio vs. freelance work. Lately I’ve been realizing that while I have tons of ideas for my own comics and stories and characters, I really thrive best in a team, bouncing around ideas with other people and feeding off their energy, which makes me more focused and productive. Having the accountability and expectation of other people improves my work ethic tenfold, whereas I’ve found that I become lazy and distracted if I’m creating alone. This realization has made me really think that I’m more geared for studio work rather than freelancing, and honestly it’s been exciting to have that feeling of “I think I know what direction I want to go in, so now it’s time to start working towards it, one step at a time.”
Also, really loved the segment at the end about moving west. Though it’s something I know I’ll likely have to do eventually, I’m also glad that for now I can live out here on the east coast, work on my portfolio, and submit it remotely to game studios when I think I’m ready. Meeting people in-person is undoubtedly the best way to make an impression and connections, but it’s good to know that a strong portfolio is still the most important aspect of landing an interview or job–and nowadays that can (and usually is) done digitally.
Wonderful post, Annamarie! Great to see those mental gears turning!
I was so happy to see a new podcast in my inbox this morning! I really appreciated a lot of the talk about studio life vs freelance.
I just put in for my last weeks at my cinematic artist position after months of consideration (and more months of careful paycheck saving). Some of my friends were baffled by my decision to ditch a steady paycheck. But I knew I was hitting a plateau, feeling bored and stressed, plus doing 60 hours a week and commuting was leaving me too exhausted to come home and work on my own projects which left me feeling depressed.
Fortunately I have a few clients as well as a strong likelihood that my old job will commission me for more work down the line… so I can leave with the assurance that I’m not going to starve immediately, haha. But what you discussed about freelance and studio work being two different jobs really stuck with me. For me, the idea of hopping over to another studio right away sounds a little exhausting, and I’ll be happy to contribute to more varied projects. And also get back to my own project which I’ve been chomping at the bit to work on. AND prepare for CTNX!
Really excited to go, and I would love to be able to meet you and all the other fantastic artists I have discovered thanks to the blog! My hope is to have some new awesome work to share by then!
This all sounds GREAT, Michelle! Looking forward to meeting you at CTNX!
I first have to say that I am SO happy to have stumbled across these amazing podcasts a couple of months ago. They’re immensely encouraging and inspiring, and seem to have such a realness to them. Both them and all the supportive comments from listeners have considerably helped to de-fog my brain regarding artistic lifestyles and careers. Thank you thank you!
One thing that really struck me in this interview was Robert stating that his earlier, detail oriented approach to art was continually critiqued. This is very much how I approach pieces myself; a bit ago when I took an outdoor painting class, I thought I discovered a painting technique that I really enjoyed and was most proud of, but my professor critiqued those pieces as being much too detailed and ‘OCD.’ That a stung a bit, and led to a lot of thought as to whether unique approaches are a means of masking techniques one is not comfortable with (since this is so very hard to admit), or if they are really something one is invested in and sees potential for.
Either way, as someone who has also been told to relax with the detail, it is nice to hear of other artists that have gone through refining and balancing this kind of artistic viewpoint, and how their careers have developed.
I loved the bit emphasizing how wonderful it is that art can change someone’s view of the world. Awesome interview! Thanks again!
Yeah, Phoebe! I’m not a fan of blanket statements like “your work is too detailed.” As I said on the show, that kind of criticism just seems insane to me.
I would want to find out what’s interesting and unique about your approach to detail. I would want to find ways to help you create art that is both highly detailed and clearly communicated. I would want to help you bring an artful elegance to the work without betraying your fundamental interest in detail…
Hi Chris! Thank you for this great interview 🙂 I really enjoyed the conversation! It’s been a while since I last listened to a podcast, I’d forgotten how much I enjoy them. It truly is, like Scott said, a balm.
I really liked listening to Robert’s stories about his dad helping him out. I’m happy that I have very supportive parents that also drove me for hours so I could take classes or go to rehearsal and whatnot. It’s something I’m thankful for every day and I do realize how invaluable it has been to my life and to my growth.
The part of making stuff that matters also resonated with me. It’s something that is permanently on my mind. Sometimes I even feel I went into the wrong field and I should’ve studied something serious like Law or Economics or Politics to really bring the change I would like to make. Obviously, it wouldn’t have worked out because it’s not what I’m passionate about but I can’t help feeling sometimes that “pretty pictures” and “just” entertaining people is not a proper investment of my time. I guess we are all constantly seeking to find that balance, that universal truth so we can resonate and inspire people or make them understand something. It’s a tough question and probably one that I’ll attempt to answer the rest of my life…
About moving to be an artist: For internationals, this is a pretty tough question. We have visa issues that can sometimes be unsurmountable. I really want to work in a big studio (I thrive in collaborative environments) but I understand that there are bigger issues at work that I can’t control. Meanwhile, I work in what I can control. My first character design gig was this year, for a Chinese company, thanks to a friend, working remotely with a 14-hour time difference. No website, no real experience on the field and I still got it (I’m still quite shocked about it). Now I’m trying to get another one, also remotely. It’s just a matter of putting in the work and look for opportunities. Don’t close yourself off to “I can’t do it because I don’t live there”. Especially now with all the technological advances, there’s really no excuse.
Thanks Chris! This was really helpful 🙂
That’s right on, Maria. Since your very first Painting Drama audition video, I’ve known you were destined for success. It’s only a matter of time, self-discovery and persistence.
And you know as well as anyone that the world changes from person to person and through storytelling just as much (if not more) than it changes because of the larger governing political or economic influences.
This was an awesome interview! Thank you guys!! I absolutely can’t wait for part 2.
Something that stuck with me from the interview was when you both talked about experiencing a period of pointlessness in your art, whether because art is inherently entertainment-driven, or not feeling an immediate connection with the people your art reaches, etc. Once you accepted that those feelings and insights were okay, you used them toward your advantage, and incorporated them into your lifestyle. I think that’s when doors really started opening up for you guys (or at least from what I can tell from the interview.) Robert harnessed the idea of strong entertainment to deliver his messages to an audience, which is clearly evident in the strength and reaction to his work. And Chris zeroed-in on creating a literally closer means to helping people through Oatley Academy, and the community fostered here is a prime representation of how many people you’ve reached since the start.
I’m not sure if you’ve read it, but “David and Goliath” by Malcolm Gladwell talks explicitly about how our percieved weaknesses may actually enable our greatest strengths. In this case, without the struggle of working through that pointlessness, you may not have figured out where it stemmed from and ultimately figured out what was important to you. Pointlessness in my work is something I’ve been wrestling with for a bit now (though I’m making headway! 😀 big thanks to FoP, that’s for sure), and it’s reassuring to hear that, just like how you guys worked through your feelings of pointlessness, that it’s possible to get through, and that we can come out stronger because of it. So, thanks 🙂
Quick sidenote: Malcolm Gladwell actually has a section in “David and Goliath” on dyslexia and how it can correlate to success. Basically, the people he interviewed in the section talked about how their dyslexia forced them to adapt to a world that was not so forgiving towards them and how the ways they adapted gave them a unique set of skills that helped them stand out. One example was a lawyer that, though he has trouble reading, can remember everything auditory, which in a courtroom has been invaluable. Apparently he can remember testimonies like no other, and no one can get a lie past him in cross-examination. It’s a great book! Highly recommend it!
Wow. Great points, Jessica!
I started D&G when it first came out and put it down in favor of another book I was more interested in at the time (I think that was the Jim Henson biography if my memory serves…)
I’ll definitely dive back in to D&G. That’s great.
Thank you for your comments! Great as usual.
Awesome podcast, can’t wait for part 2!I listened to it on my night shift to keep me up. Though we reading the comments, gotta say I understand the location issues. My area has little graphic design jobs, though the illustration market is growing as more authors pop up here and there being two writing guilds(one covering more adult fiction focused, the other children’s book focused that take in any illustrators and I am in both). Also, my area is really bringing in a lot of traditional artists with studios popping up in the city near here, so art is growing in my area as a career field. Though, I also know too well with needing to save up for unexpected costs. Irony of finally getting a day job to start saving up for reinvesting into improving my art, the tooth I been delaying on getting taken out(due to family financials and doing insurance network musical chairs) finally starts to ache. Thankfully, this week’s check will be able to cover the cost. I will put that check away in savings for that so I won’t have to worry about it when the time comes to pay. I will be practicing basic budgeting the next couple of weeks as I start to properly prepare to work a day job and be an artist in the spare time while in a situation of low expenses that will allow me to build up a good savings in case I do need to relocation in the future(or cover other unexpected expenses).
Glad you liked the episode, Mandy!!! Robert rules.
Great podcast! These are the parts that stood out for me:
1. The portfolio idea of art based on “20,000 Leagues Under the Sea” -very cool idea plus that used to be my favorite ride at Disney World.
2. “10,000 hours” and the message to just keep practicing and moving forward from where you are now.
3. The importance of support from friends and family – e.g.
Robert’s dad helping with driving to art school and the initial art portfolio presentation. That part of the podcast is a good reminder for how much that support can make a difference.
As for moving to California for a concept art career, I can only give the perspective of my career in Information Technology. There have been and continue to be ‘centers of gravity’ in the US for high-tech companies and IT careers; however, the importance of being in any specific state or region seems to be diminishing – at least for someone who wants to get started in an IT career. I hope that’s true for art too – because I really like Rhode Island. And by the sounds of it, the parking situation is better here. 🙂
Thanks a lot for another great podcast Chris 😉
Thank you, Darsy!
I always find stories like this difficult to listen to because they make me feel like I’m so far behind! Robert has such an impressive CV, and it sounds like he knew what he wanted to do quite young and was laser-focussed on getting there. That also includes going to an incredible school with a narrow-sounding scope.
I’m now 28 and have finally found my passion in illustration, but still have a long way to go before I could go pro. I have to keep reminding myself of a few things:
– Can never be too old to draw, so it doesn’t matter that I’m late to the game
– My work and life experience is still relevant and valuable (somehow?). Having worked burger-flipping, forklift driver, police officer, architecture student, industrial design graduate, furniture designer, project manager…
– In terms of finances and time, I’m only as trapped as I choose to be. Which is why I’m planning, budgeting, saving and negotiating with my wife to live more cheaply and free up a few days for art.
– Keep chipping away at those 10,000 hours
Just want to say thanks Oats. Your work here is always inspiring and Magic Box has been a great help.
Hey Chris – Just thought I’d add my two cents to relocation.
About 6 years ago I got hired by a company in Australia as a senior 3d artist in games (Im based in the UK) and I took my wife over and my dog (shes family too) we sold cars and rented out our home. They paid for my visa, relocation costs and flights, I had to pay for my dog and it COSTS A FORTUNE! 🙂 Long story short I got made redundant on my second day! So make sure any arrangements are reversible as you never know! 🙂
It turned out fine. We stuck it out in Australia for a while and I got offered another job and it was at that place I rediscovered my love for concept art and took it up again and now do it professionally.
I dont regret it at all but we were careful. I would do it again but because I have a kid now I’d wait until I got an offer, go out for a month or so then get the family to follow.