|Featured in the book Exposť 10, by Ballistic Publishing.|
CGPortfolio | Carbonmade | ArtStation|
I assisted to the local fine art university, where I learned several traditional techniques, including: painting, sculpture, photography, videoart, performance. Eventually, I started using digital mediums (3D and photomanipulation), but it wasn't until mid 2008, that I settled for digital painting. Since, I've been doing small personal projects and honing my skills.
Since 2011, I have been working exclusively freelance. My concentration has been on aesthetics aimed at graphic marketing designs in the genres of fantasy, horror, and science fiction, the latter two my particular favorites.
SADM. October, 2011.
Exposé 10. Ballistic Publishing, 2012.
Last Man Standing: Killbook of a Bounty Hunter. Dark Horse, 2013.
"Hello I need some help about a work probably, this may not be the right place to ask for guidance, sorry if it's so, but I got a job offer about doing some concept art for a game, This may be my first experience doing so, and I really want to try it so I can finally do something real in concept art, but they say they can't pay me now until the game get success in kickstarter and I'm kind of afraid to do many work and then be taking by a fool and don't get any recognition, and my art get stolen, I mean, I live in another continent than the team developing the story and coding part, so I may be easier to get fooled, how can I protect the work doing for then? should I do something legal before? or just trust the people. Thanks for your time!"
What they're offering you is called Speculative Work. Basically working for free, with the misguided hopes of landing a job or commission, or even worst "exposure". It's considered an unethical practice in the industry, and many professionals are trying to spread more information about it in order to eradicate it, since it's extremely harmful for the livelihood of all of us as freelancers.
If you want to learn about Spec Work, check out this link, they explain it better.
Now, this is still your personal choice, whether you decide to do it or not. So let's say you go with it, the chances of the project getting founded aren't high. How do I know? Because usually the projects that get founded are done by people who took the right measures to offer quality from the start, that means paying an artist to deliver quality. If they're being "cheap" with the art, you can bet they're "cheap" with everything else. Which means that their campaign will look generic and unattractive for the intended audience.
This translates in the fact that the chances of getting paid are nil.
More so, any freelancer eventually learns that you don't work for any commercial project (movie, game, published books, album cover, any promotional or concept art) without signing a contract. The contract should state clearly when the rights are transferred to the client, what type of rights you hold over the piece, how much are you getting paid, etc.
If you want to learn about contracts check this site out.
Personally, I don't move a finger until the contract is signed and I'm paid the first half of the total payment. And this isn't rare, it's pretty standard.
Honestly, I can tell you that the best you can do right now is turning down the offer and focusing on developing your skills further, the better your skills are, the easier it will be finding serious clients and companies that treat you and your work with respect. My own experience is that you won't regret it, because in this career you'll find this same offer over and over again. There will be a point where your inbox will be full of emails with shady offers like this! And you'll just roll your eyes and delete them. Trust me, I've been doing that a lot the past few years.
With sites like Kickstarter and Indiegogo, a lot of people are trying to push their own projects, so this has become extremely common. Everybody and their mothers are "making a game" or publishing a comic book.
That you need exposure? This platform is giving you exposure, so does Facebook, ArtStation, Drawcrowd, CGSociety, etc, etc, etc. Getting an unpaid gig for an obscure product that will more likely fail to get founded, isn't exactly "getting a lot of exposure", more so, even if the product had a large audience, regular people don't care about the artists, unless they're artists themselves, in which case you'll be known indeed as "the amateur who works for free because she/he doesn't know better".
That you need experience? Focus on developing and honing your skills on your own, then, and while you're at that learn about the business, too, because this is the reason why so many practices like spec work abound in our field, because we, artists, have it hard when it comes to business and finances, we don't want to learn "the boring part" and we think everything is about making the best artworks. But truth is that this is a business, and you need to inform yourself properly before you jump into it, or you'll be conned and exploited.
Also, don't worry that you're not American, I'm not American either. You just need to learn about the legal aspects of the business, so you can tailor the contracts to your situation. While many clients are in America that specifically seek to outsource to other countries (third world countries) because it's cheaper, and many even scam artists in other countries because it's easier for them to get away with it, there are many ways you can protect yourself.
Check out these two sites that have helped me a lot:
Do you have art related questions, maybe need a general critique? I might be able to help! Note me! And be part of my next AYQ.
I still have some ArtStation invitations, send me your email address, if you want one.
Preventing Injuries for Artists...
Preventing Injuries for Artists (and people who work with computers)
Hello there my fellow deviants, time for a new update. It’s a long entry, so go grab a snack and sit tight with a good posture, because there's a lot to learn here - even some anatomy.
I just read about Loish’s injury on her blog, and it’s truly saddening to see a fellow artist struggling with a physical limitation that affects their workflow.
Loish is absolutely right, the body has its limits and we ought to be careful before it’s too late.
Tennis elbow, carpal tunnel syndrome, aren’t stranger terms to me, many artists and people who work with computers for many hours, tend to deal with the same conditions, some let it advance to the stage where the only treatment is surgery, which can potentially reduce mobility and destroy an illustrator’s career.
Ho ho ho I bring you early presents this year, my resources library updated with links to downloads.
-------- RESOURCES -------
Blur's good brush 4.0 by Xueguo Yang
Blur's good brush 4.5 by Xueguo Yang
Blur's good brush 5.1 by Xueguo Yang
Blur's good brush 6.0 by Xueguo Yang
Barontieri (Thierry Doizon)
Texture Brushes by Alectorfencer
Tips for Life Studies
I really enjoy making life studies, it's one of those things that allow you to really observe and understand what you're seeing. I've done way more than you'll find on my gallery, since I'm lazy to scan my sketchbooks, but one of my favorite activities is going out from time to time, sketchbook at hand, and drawing people, buildings, trees, etc.
You learn so much from it, from how different materials work, to how lighting affects the image. And it's more what you can learn from this experience compared to studying photos (which is an absolutely a valid tool, too, that I use as well), but with photography you miss many elements inherent to life study.
So here there are few tips that I learned and have helped me a great deal.
Choose your lighting adequately: more often than not, I choose artificial lighting over sunlight. The reason is simple; you might spend many hours there, meaning the lighting will change.
It's always better if you hav