I would like to add to my previous thread Japan, Korea and China are very good place for a job in Game industry today.
But the main barrier is not 3D but the language!
I am french but I first leaned English with my 3D job for a better job.
It helped a me a lot.
But today I am living in Japan cannot find any job in the Japanese Game Industry.
And hell you cannot imagine how many company are looking for 3D artist here.
then I learn Japanese. this is damn difficult because I do go out and then work all the time.
Browsing more on internet, also in Korea.
If you do not want to work on a REALISTIC WAR NEXT GEN HI POLY GAME, etc....
Try Asia.
They create very lot of beautiful MMO game with a Fantasy style, next gen or old school.
But yeah. this part of the planet is difficult because of the language!
But maybe some of you should try the adventure!
This is my own opinion then I am ready to receive some stones
Hey sama. As far as i know, Japan would be just as impossible for me to get a visa because they're also demanding a bachelors. Probably even more impossible since not only would they need to go through a ton of legals to get me through. Also my japanese is nowhere near functional for a workplace, plus that's a huge relocation for them to pay for.
If my own continent isn't deeming me worth an interview, I couldn't imagine Japan going through all those steps for me.
But yeah i would love to experience working in japan. Since i was a kid that was my dream and that was just my first dream about this industry to be crushed when i found out it wasn't gonna happen without that goddamn bachelors. With just about every other dream about it being crushed right about now.
As for korea I know nothing about it.
Glad i sparked some nice discussion thats helping eveyone out here. I would like to reply to all the things people have said but I'm so sick of thinking about this BS situation right now, I dont have the mental energy to go through and quote it all.
@ ArtMachine - for heaven sake dude your work is really good and you have an abundance of talent. I even have your work bookmarked for inspiration, I feel depressed because if your struggling there isn't much hope for the like's of myself.
But from what I can see from your portfolio you have a wide array of skills have you considered going back into illustration your drawings are quite solid and you also have a glutt of technical skills and experience these things can all be seen as transferable skills, have you looked at other sectors of the 3d industry that might entice you for at least a temporary time?.
I think you will be picked up for sure it's just a matter of time, personally I would join a mod or indie just to keep the juices flowing.
Are you applying to any US studios or just pre-disqualifying yourself? Your portfolio looks very MMO oriented and there are a bunch of studios in the US ramping up production.
Are you applying to any US studios or just pre-disqualifying yourself? Your portfolio looks very MMO oriented and there are a bunch of studios in the US ramping up production.
I approached the Blizzard recruiter as my last US attempt last year. I told him about my lack of credentials, showed him my stuff etc, and basically figured "If you guys can't get me a visa nobody can." . I figured with all the people constantly telling me to hit up Bliz, they might be willing to fight to get me across.
He replied with something like "See you later then." So i guess it's not doable in my particular case.
It seems pretty straight forward to me. Say you want to have a job @ company X, so you make something that looks like what they are working on right now to show them you are interested and can do that sort of stuff. You could maybe even try and find someone who works there and show it to them etc, its typically better to come as someone who's recommended by an existing employee than to just apply out of the blue.
This sort of situation can be discouraging but you shouldn't have alot of problems, you're a good artist and i think its really just a matter of gearing your website more towards landing you a job somewhere and then just getting to know people at local studios or studios where you would like to work.
Maybe you should just throw your stuff at him and say. Hey mate. Hope you like it and I hope to hear from you soon. Instead of telling him how useless it his for him to try (That's basically what you're doing when you tell him you lack stuff).
It's like getting a hot girl. You don't go up and tell her your faults and "shortcomings". Instead you show your strong sides and woo the shit out of her. "Yo baby, look at this shit. Yeah i did that. Not many can do that cause you see, I'm special... *bedroom eyes*"
Then you slip something into her drink and hey it's on. Oh wait. Forget that part.
I don't want to waste anyone's time by interviewing and stuff while knowing that sooner or later it will have to be revealed that they can't acquire me. I don't know what the ethics around that are, but i chose to be upfront about it.
I'd love to go around interviewing to all these studios in the US that expressed interest. But I get the feeling it'd leave a trail of black lists and pissed off people after they all ended up having to pass on me because of something i didn't tell them right away... I dont know...
I approached the Blizzard recruiter as my last US attempt last year. I told him about my lack of credentials, showed him my stuff etc, and basically figured "If you guys can't get me a visa nobody can." . I figured with all the people constantly telling me to hit up Bliz, they might be willing to fight to get me across.
I think your basic logic is wrong, here. Blizzard can pretty much cherry-pick from the industry, they can afford to pass on a badass artist if there's a hurdle in the way, even one as easy for them to jump as your visa.
You want to be hitting up the other studios, smaller ones who need art gods to help sell their studio and product.
I definitely wouldn't give up just because Blizzard rejected you. Like Justin said, there are tons of mmo's ramping up, I'd hate to see you disqualify yourself.
Either way, good luck! your portfolio looks great.
I really don't see how it's ok to go and interview without mentioning the visa issue. To me that seems like going in and interviewing tomorrow to be a doctor and just hope they don't ask me for my degree. Sooner or later they'll realize whats going on and I'll look like a really dishonest person, no?
I'm not disqualifying myself, it's the law that's disqualifying me. When i approached Blizzard it was in hopes of finding out they had some way to get around it. That's why i was forward about it..
Am I really going to have to be dishonest and crooked to get a job? This is the kind of idea that's making me want to give up, if things really are that bad now where someone can't get a job without lying anymore.
Over thinking it. Your resume should clearly outline your education and experience. From that the company can figure out if you qualify enough to be brought across borders.
Let HR figure out the paper work, you just land the job.
After going through masses of applications coming our way, I can say this:
We need to see that your skills may be useful to us.
....Please let that sink in.
To elaborate:
-So you designed some fancy colourful creatures. Cool. But unless you want to work as a concept artist that isn't all to relevant.
-Again with the colourful creatures: We'd prefer to see vehicles, buildings, humans, weapons, you know, stuff that is actually found in most games, not just a particular sub-genre.
-Again with your own designs: We need to see that you can work according to concepts, with a previously defined art style. It doesn't help up to see your art is all in your very specific personal style and subject matter, no matter how beautiful.
-Character artists: Most of you want to be one, but it won't happen. The competition is way too fierce, the market is too small, and it's evident that you want to be a char artist in the first place because your mechanical modeling skills are poor and you think you can get away with basing your career on doodling in zbrush.
-Lack of professionalism: 3Point in particular are interested in artists who treat their job like an actual profession, not day dreamers who have the attitude that they will "get paid to have fun".
-Think like a craftsman, not an "artiste" and you're much more likely to land a gig.
I think there's a misunderstanding, nobody is saying don't mention it. Your resume says you're from Canada and you don't have a degree, either HR will toss it or say "we need this guy" and look into it.
I was told EA would be able to get me into Canada despite only having about 2.5 years of experience. I had to pass for personal reasons and the opportunity fell through anyway. I don't know the details though, it could just be super easy to get into Canada.
Another thing you might want to consider, I don't know if it is applicable for your financial situation, but maybe try to get that BA, or equivalent even at a community college or something.
Even if you solve this problem now with some company there is no garuntee they hold on to you and you don't have the same issue a few years down the road.
I would try to figure out the best workaround you can do to solve this problem now and in the future and don't put all the pressure on the companinies employing you.
Just thought I should try to point that out, maybe it's not what you want to hear, but if this is a problem now there is a large chance it will be a problem in the future should the industry enter another recession like this.
I thought for a visa, experience was also considered if you didn't have a piece of paper. If you really need that piece of paper go get it. Enroll in a university and get a degree. Maybe by the time you get out the economy will have recovered. You can be crazy like me and join the military. Although I must say it's not for everyone.
Art Machine send your stuff in and see what happens, if they like you they will hire you. Like Stimpack said you are over thinking things. If your resume says I live in Canada, and the company is in the USA, the need for a visa is probably a given. I also thought there were laws between the US, Canada and Mexico to get work visas easier...
Actually I just googled the work visa bit
H-1B Work Visa Eligibility Requirements: The H-1B Non-Immigrant Work Visa may be issued to applicants seeking temporary work in a "Specialty Occupation" which requires the skills of a professional. "Specialty Occupations" include: accounting, computer analysts, programmers, database administrators, web designers, engineers, financial analysts, doctors, nurses, scientists, architects and lawyers. The petitions are submitted by employers based on their need for the non-US.-resident employee. H1-B Visa holders must posses a minimum of a bachelor's degree. However, requisite experience can substitute for education, depending on the individual case
So if you have enough experience you can in theory get a work visa. the problem might be that management doesn't want to deal with it though.
I really don't see how it's ok to go and interview without mentioning the visa issue. To me that seems like going in and interviewing tomorrow to be a doctor and just hope they don't ask me for my degree. Sooner or later they'll realize whats going on and I'll look like a really dishonest person, no?
.
I think this is because it's illegal to discriminate against job applicants because of their visa status. If you mention that you might not be able to get a visa then you are exposing them to a possible lawsuit later. It's the same as mentioning marital status or age during an interview.
Besides. In most countries you need a job offer before you can apply for a visa. And usually they'll get the visa for you. So it's not your position to say that you can't get a visa. They can make up their own minds.
I agree with the part about professionalism and being a craftsman part but I look at Art Machine's portfolio and it's a perfect fit for any of the big MMO studios that aren't making modern or sci-fi games (like 80% of them)
I did read perna's reply as i read everyone's. He's being brutally honest and i appreciate that, and out of respect i'll respond as honestly.
He does make a lot of good points although some are delivered a little ass-ish-ly. I'm sorry but refrering to organic character modeling as simple 'doodling' is insulting to everyone that work hard to develop those skills and create some of the most amazing character work in games. And to be honest it sounds to me like someone that can only do tech's opinion of zbrush artists. I hear it all the time from those guys, how useless and untalented zbrush artists are.
My opinion lies in between, you need skills in both and be well rounded. I can model both ends of the spectrum and the fact that i choose to make fantasy work on my own time doesn't mean I can't do anything you ask of me. It does mean that I put too many eggs in the fantasy basket, but i was working with what ideas i was coming up with, since i was not allowed to have my Ubisoft portfolio taken out of the building.
I wouldn't have been put on the variety of projects that I was on if i was useless to any project but fantasy (on which i have never worked professionally). Anyway, I'm currently working on some mechanical work to prove that i can do hard surface modeling so don't worry. But it's not a tank or an ak47 so I doubt it'll make a difference to impress that kind of rigid mindset.
Also mistaking passion or artistry for lack of professionalism is a very simplistic way to look at things and very narrow minded. All the best artists i've known throughout my various jobs have always been the passionate dreamers. All of them professionals that know their industry and don't mess around when it comes to business. If companies saw being 'an artist' type as a disqualifying factor, Ubisoft montreal wouldn't exist period. But i guess they don't count as a professionally successful studio?
Actually I'd say a lot of perna's post is showing exactly what's wrong with the industry right now and the kind of rigid uncreative attitude that will likely kill it from stagnation.
BUT
I agree he is completely right in describing things as they are right now. And i definitely know that I need to adjust my samples more to that current reality. Thanks for the post Perna.
Despite being self absorbed and an asshole, per is a pretty badass character artist -- he's being a dick because he's a dick, not because he doesnt understand what goes into sculpting.
Well then i hope he doesn't take it too personal that i was a little dickish back. Just feels like some of that insulted a lot of coworkers i respect. I'm not the most patient these days and prone to that kind of stuff.
Art - Machine, its easy for us all to assume a post specifically aimed at us however I feel the usefulness of the post is that it applies to nearly everyone on this forum myself included. We all like to make art we are interested in our free time, however as you point our yourself you have yet to work on a game that matches closely your interests.
Demonstrating required skills is key to landing most jobs. As people have pointed out having a portfolio of art aimed at specific styles/genres is a great way to sell yourself to a studio who is looking for just that. Of course it would be an ideal world if we all did exactly what we wanted and we got there by doing exactly what we wanted.
Everyone is busy, new hires take time to adjust. Training takes time and so impacts existing staff so its ideal that a studio/team find a candidate that demonstrates exactly what they are looking for. Why should a studio or team be any less selfishly motivated than an individual?
We all work as artists (in some form or other) so its a visual medium that we work in/communicate in. Visually demonstrating a diverse range of work is more likely to result in a greater range of interest from studios/teams. A resume or cv is nearly always an after thought after identifying an interesting applicant via their portfolio so its best to speak to the potential employers/shit filters in a language they understand. Pictures.
You said it yourself that being well rounded is key.
Its self explanatory that the industry requires professionals. We are being paid to provide a service, develop a game and the art required to make it a viable product in an highly competitive market. I think its a good point that is often overlooked by younger artists rather than developers who have been through multiple production cycles. We cant just all make art the way we want to at work, we need discipline, consistency as well as creative drive and passion for what we work on. Aspiring artists in particular should take note that no one wants to work with a primadonna artiste. Development is a team process and we all have to work with the clear understanding that the self is not greater than the whole.
Again, Art - Machine you make great Art and it does surprise me that you havent found work. However this post is not just intended for you, i hope its relevant to everyone participating in this thread.
Hey Pierre, your work is good, everyone said that, I repeat just to confirm.
I think the visa issue becomes secondary if the studio really wants you. You're not stealing, cheating or being dishonest in any way if your resume clearly states you're Canadian and what's your education. Putting a wall between you and the examiner bringing up the visa thing even before showing your work is just as shooting in your foot before starting a running competition.
The portfolio is another matter. I've read the whole thread so far and I got the impression (maybe wrong) that you think the portfolio is some sort of soul mirror. Something where you show your inner desires and feelings for art, where you can let your creativity flow and disclose who you are. I wish it was right. It is a mere tool. It is a place where you show to a buyer the stuff he could like to give him a reason to pick you up. Like a customer entering a jewelery and asking for rings. What would you show him? Rings or those fine and highly crafted necklaces? Of course, if you can do them, it's obvious you can do rings too, isn't it? No, it isn't obvious. The customer leaves your shop and go to the next one showcasing a full set of good and even not so good rings.
So in the end what does it mean? Do you have to cut your artistic veins and become a cookiecutter zombie? No, you don't. But looking for job is really a supply and demand game and you have to play your cards accordingly:
First step meet the requirements:
- "We want you to model some AK47 / barrel / anyThingSuperDull"
- "OK dude! Here they are, my wonderful AK47SpecialBadass / AmazingBarrel inspired by some Caribbean Pirate lost Galleon, do you want to hear its story too?"
Once they know you can do the job they're asking for, they feel reassured, and get open to the second step. Show what you can really do:
- "So that barrel is good, fits perfectly in our game and matches our style, what's more?"
- "Well, that's only to give you a taste of what I can actually do. Here is the rest, if you mind to take a peek." (well this is playing cool, maybe a little too much)
Third step the formalities:
- "Alright I think I have got a clear idea of your potential and I'm interested in you. When could you start working for us?"
- "I'm running some freelance work right now, but I think it could be settled in a short amount of time, it will for sure before the necessary papers for my visa are filled in and processed."
At this point they cannot blame you if they didn't read your curriculum. It's their job to pay attention to these things, and you're not being dishonest in any way. If they want you, and now have a clear reason for that having seen your work, they'll reach for you.
Of course you must substitute AK47 / barrel with everything is the meat and potatoes of the studio you're applying to with wide margins, say fantasy, sci-fi, realistic warfare, old west, and so on.
Sorry for the long post, I hope this can help a little. It's based on how things worked in a lot of meeting with different clients in my industrial design job, during the development of new products. The underlying idea is always the same: meet the expectation to reassure the client, then feed him your vision and let him become greedy and want more, in this case you literally. Good luck, and keep confidence in yourself!
Not to argue for Per, but I really agree with him - Not in your case specifically, but in a general 'i'd like to work with that guy' way of thinking:
A lot of companies will want to see that you are fully capable of catering to a wider audience rather than a sub-genre. You may know you can do that, but the first impression of your portfolio may have others guessing. It doesn't have to be AK-47's and Nazi Tanks, unless you want it to be. you could easily just do some nice looking regular people, beat up soldiers...you have the talent and ability to breathe 'character' into something that's otherwise plain. It doesn't have to be this cookie cutter piece where you're just forcing yourself through it.
A lot of people I've met, wanting to be character artists, think that it's ALL Zbrush. That their work is only the 'fun parts,' sculpting all day. In my experience, that's never the case - you need to balance your artistic abilities with your technical ability to get something working in game to spec. That may be tedious and disheartening to many people that think that's all 'creative.' I've met plenty of people who could only do 'one thing' and a lot of the times it ends up becoming a liability in a game dev team, at least in my experience.
Also, I think the ability to realize that this is a 'job' and that there are clients and customers is fairly important - I mean, if you can't listen to feedback and make changes from publishers and such, that's going to cause a lot of conflict for people. Some may see that as 'falling in line' or some other kind of 'fuck the system' sort of thing - but it isn't. Everyone can't just be allowed to express themselves, rules need to be followed and everything needs to be consistent. Games need to be made on time, art needs to be made on time, changes come - always. If you get your back up about that kind of thing, you're going to slow everyone down and - really - probably make yourself not learn/progress as you should.
I just think that he was saying, and I agree if this is the case, that you can't rely on the idea that you'll just get to make what you want to make, for as long as you want, whenever you want and that a big part of the job is implementation, revisions, problem solving, etc. I think it's actually something that makes a lot of new comers to this profession jaded and not something that is taught to them early on in schools and such. The ability to understand that what you are creating is a product and that it needs to appeal to a certain audience in order for your entire team, which you will co-operate with, to get paid - sometimes at the sacrifice of your artistic integrity - is pretty valuable to me. Again, not directed at you - just a general thing..
Gav
EDIT> Argh, two good post in the time it took me to post mine. Tim has said a lot of what i wanted to say but better.
I love the points being made in this thread. It makes me feel good, because I have no artistic integrity and what makes game art ~fun~ for me is the all-encompassing craftsmanship of it. What makes it a valuable career path to me is knowing that I am able to contribute towards a team effort. Being able to learn from each experience, and share bits of my own insight... a rewarding feeling, no matter the project.
I don't think anyone is trying to bash you personally, Art-Machine. In fact, I think that point is long since settled: so you're diversifying your portfolio. I feel you on the negativity, though. Posts like perna's can have a tendency hit home hard, but you just have to take that sort of criticism / honest advice and ignore the negative tone, 'cause you know you're fine; it is this confidence that will allow you to maintain your individuality without becoming bitter as you 'pander to the audience', as they are saying.
But hey, it looks like there is yet another massive post to read, above! I shall read, wistfully.
About perna's post, I wasn't taking it personally for myself as much as for the ton of artists I know. Plus I'm not in the best of moods and like i said prone to irritability these days.
I could go on forever trying to explain how my portfolio ended up so uniform in theme. But long story short is i only recently realized how fantasy heavy is comes off. I spent the last year with my nose to the grindstone only focusing on my next piece and what kind of texture or substance I didn't cover yet. I wasn't so much looking at the themes as a whole because what I was focusing on was demonstrating ability...
I only recently realized how it was looking as a whole and was already brainstorming some pieces to mix it up.
A lot of companies will want to see that you are fully capable of catering to a wider audience rather than a sub-genre. You may know you can do that, but the first impression of your portfolio may have others guessing. It doesn't have to be AK-47's and Nazi Tanks, unless you want it to be. you could easily just do some nice looking regular people, beat up soldiers...you have the talent and ability to breathe 'character' into something that's otherwise plain. It doesn't have to be this cookie cutter piece where you're just forcing yourself through it.
This is something that concerns me with my new piece. I'm working on something that's a ton of hard surface modeling. To me this will be plenty of proof that i can model anything hard surface. But as you say, I'm breathing personality into it that will probably make it come off as 'cartoony'. And I worry that once again I'll be back at wasted effort because now it wont be enough that i proved hard surface skills, but they'll still be typecasting me as 'cant do REALISTIC'. So in short i feel that I DO have to make a literal and boring tank or gun because they've already shown themselves to be too narrow minded to see past the theme or style of my current work to see demonstrated abilities so far. There is a ton of ability and control of my tools and process showcased on my portfolio, and that's given me squat because of theme.
No, they really do just want a literal ak47 before they think i'm worth a damn. Talk aboue being a craftsman? I've got craftsman pasted all over my work, they dimiss it just because it's the wrong style. Whatever.
Also don't get the impression I'm thinking I'll get to make anything I want in games. I have worked for companies for 10 years now I know that once I'm at work I do whatever they ask and that experience alone should be a clue to them that I'll do so. I have no fantasies about what happens once you get a job, this is why i was enjoying my freedom and personal tastes on these personal portfolio pieces.
I have so much more to say but again am so sick of thinking about it for now. Carry on.
I think I know where you're coming from art-machine. You've got great work, enough to show any art director than you're "better" than most of the artists on their team. It almost feels looking at your portfolio that you're "too good" to do standard game art, all of your game characters have a quality about them that transcends "game art", so much time on the nuances of color, and composition of the piece, that the object is a scene in itself. But this doesn't work for game art, your characters should be more muted and look like they're part of a scene. I keep thinking back to that horned creature you did, with the jagged geo popping out of the front and in the calves area. Those hard angles looks like poor geometry that an art lead would ask you to smooth out with more polys, but you were actually pushing for the hard angular look with lots of tris used elsewhere. This has as been fought since the beggining of 3d and is a sign of poor modeling.
I think you should decide which company you want to work for, factoring in your chances of you being able to work there as an Australian, and get a full scene laid out in UDK that fits directly into their art style. You're really good dude, even if you were to focus on making "game art" it would be incredible with your artistic abilities, but as it is you have only a few environment pieces in your portfolio, foliage, which really doesn't make you stand out. As stated your character pieces are very artistic, but not "game art" (i could see that demon in a torchlight kind of game, kinda goofy, but those games don't have this kind of production value, he just doesnt' make sense overall, he needs to be more wicked/ realistic to be in a game like darksiders), and your weapons, well your weapons are incredible, no crits on them, but it's hard to get a job on weapons alone, there are just so many people out there with a few really good guns or swords, these assets also aren't as important to the game's artistic quality as a lot of us would like to think. So yeah, make 1 amazingly killer scene for the kind of company doing the kind of art style you'd like to do, and i think you'd have a great shot dude. I say environments because if you're serious about getting paid for this stuff and not just as a hobby, they're your best bet, learn UDK inside and out, helps having your stuff in engine and modular. Don't give up, and all of these current portfolio pieces are certainly not a waste of time and would compliment a fully realized game art scene very well!
Gonna edit this really fast: Still think your stuff is amazingly good dude, i wouldn't be surprised at all if you got a job tommorow. You could certainly show a few pieces that show a devotion to game art, art that's usable by companies that make games that make lots of money and show that you can spend months on a single scene and that you're not just going to bounce around doing this or that rather than focus on the cohesive whole of a project in front of you. And to be completely honest, I'm a bit guilty of doing this all myself, doing art I enjoy over doing art that's going to get me a job.
*shrug* I say focus on the MMO market, jeeps and machine guns are the exception not the rule in MMOs. The asian market is such a focus right now that crazy stylized stuff is in demand, check out this list on MMORPG.com, each MMO needs about 2-4x the staff of a single player game.
This thread turned out to be very informative for me. Thanks everyone whos contributed. Art-Machine, I think you've just hit a small streak of bad luck. Adding some 'realistic' portfolio pieces(however mundane that may be) would definately increase your chances of landing that next job. Best of luck. Love your portfolio!
I think the visa issue becomes secondary if the studio really wants you.
Be careful man, this is misleading and CAN be completely untrue. Its irrelevant how bad the company wants you if you do not have the requirements for a visa. No games company is going to sidestep immigration and put their ass on the line to bend/break the law. Company sponsorship or not, the individual must meet the requirements that vary from country to country. If they do not, the options become extremely limited. Your art skill means nothing to immigration.
Like I mentioned in another thread, even Marko Djurdjevic had trouble getting a Visa. And hes a concept art god .....for Marvel.
Art-Machine: Keep going man, and send me another WIP!
Art Machine that sucks! I'm sorry you are getting screwed with that, but that's life. People just don't seem to want to use their brain anymore. I have gotten my share of this. I really think though once you show a wider range in your portfolio things will get better for you though. So get on it. Just consider it an art test, or put yourself in your employers shoes. Also keep in mind that it's not the employer that gives you the visa but the government. Some person that hates their job doesn't want to use their brain, just says yes or no. I had this kind of nonsense when I was enlisting in the Army. I had to get a brand new social security card because my name on the card didn't exactly match my name on the birth certificate. When I got to MEPS they told me oh that doesn't matter. You can use any card, we know it's you.
So yeah, with a degree it's easier to get a work visa and also companies now see it as more prestigious to hire people with degrees. My sister got her first job because she had a degree from Yale. That's what got her the job. Everyone told the one in charge not to hire her because she didn't have experience, the usual crap, but the hiring manager wanted to hire someone from Yale because they had never done that before. So he made her an offer. That's life.
The more skills you show the more options you'll have. You have the goods so show them off. Imagine that you do get and offer but it's lower than expected just because you are not showing all your skills, you take it and later you find out they would of paid a lot more if you had shown more work. That would eat you up inside.
I really do feel for you Art-Machine, the industry is very very difficult at the moment, atleast in the UK anyway. Ive been real unlucky so far when I apply to places, I try to make sure I have atleast a few pieces that are relevant to that studio and I always get the same reply. "Your works really good but we are just not hiring at the moment/had to close this position due to ......." theres just hardly any jobs going and the ones I do go for they end up closing and taking down. Wish I was a programmer or animator and I could get a job lickity split!!!! I think my problem is my portfolio is too character driven and not enough prop or environment work, oh and 17 months industry experience.
I cant for the life of me see why you are having a hard time with such a good portfolio though, its not perfect but nobodies is. I can see why people would think you are a stylised artist but thats probably because of all the avatar work you have on show. Find some screens of your rainbow six work from IGn or whatever and get them up there too with a little explaination. You could diversify your folio a bit but I would say make a goal of a few companies and think what they would like to see and make that your next goal.
...they've already shown themselves to be too narrow minded to see past the theme or style of my current work to see demonstrated abilities so far...
get rid of this negative attitude, it's you, who wants something from them, a job. You want to be respected as craftsman, you must respect the opposite side as well. Like any industry, we are in the money making industry. And their "narrow" thinking is simply efficient as you can see with the points that the seasoned people here made. You were frustrated with your situation and asked for input, you got plenty high quality feedback with different options: tweak website, create new portfolio pieces, and even the suggestion to readjust your goal and try as indie, allowing you to pursue your own style.
now it's time for you to act again. You will have to pull yourself out of this. But you can.
get rid of this negative attitude, it's you, who wants something from them, a job. You want to be respected as craftsman, you must respect the opposite side as well. Like any industry, we are in the money making industry. And their "narrow" thinking is simply efficient as you can see with the points that the seasoned people here made. You were frustrated with your situation and asked for input, you got plenty high quality feedback with different options: tweak website, create new portfolio pieces, and even the suggestion to readjust your goal and try as indie, allowing you to pursue your own style.
now it's time for you to act again. You will have to pull yourself out of this. But you can.
I agree as well,this is a brutal industry and you have to have thick skin to make it. Perna's advice may seem brutal but its also true. At my old job i used to sit next to the guy in charge og hiring animators and the cheer amount of time he spent looking through reels and applications was mind blowing.
With as many people looking for work nowadays its easier to be picky because its easier to find exactly what you are looking for. Doing an ak-47 may seem boring work but if thats what they are looking for,the guy with an ak 47 in his portfolio will have an advantage over a guy with fantasy work. So why wonder if one artist is capable of doing the work when the other artist your certain can?
AM the one issue i see with your portfolio is i wouldnt know what to hire you as. Character artist? Environments? Concepts? I think you should pick what type of role you would like to do most and focus your portfolio in that direction.
Or are you being very picky in a very unstable job climate? I have trouble believing you wouldn't be picked up here at A2M, Ludia, or Gameloft here in town.
I would almost recommend spamming every studio in the cities you'd want to work in.
You can still do cool, creative stuff with boring real life technology!
Like, the year is 2015, and astronauts in hastily modified, armored spacesuits are fighting with modified 70s caseless assault rifleson the moon. You could probably mix dinosaurs in there too. Dinosaurs are real.
Wow, this thread is a dose of tough truth. Makes me feel good to know that there are others out there in the same rut as myself. Good luck to all in finding some work. We definitely need it about now.
I just added a Vegas2 section to my portfoilo, is that any better for breaking up the theme? www.art-machine.com
Thank god for god mode cheats, would have taken a week to take these shots otherwise..
Back to work on my new folio stuff.
my 2 cents, make sure the links you post works.
in this case add "http://" to your link so that it works in all browsers.
there has been countless time when i see some good art posted by someone but they are also sloppy enough not to put their website links properly in their profile.
If a lack of a degree is preventing you from getting a Visa, then perhaps you should start getting back to school. In this economy you probably won't get very far looking for a job so by the time you graduate things should be picking up. Besides a degree in the long term might pay off. My two cents.
I know I definitely had to hunker down and get my degree a long time ago, if only for the fact of getting the damn thing done.
AM: I'd say that the addition of your Vegas stuff helps break it up for sure. Have you considered designing your portfolio in such a way that there is focus on your Avatar and R6 work? I'm not great at website design..so...don't take me too seriously. But what if there were, say 3 or 4 big thumbs that led into your professional galleries and then your personal work galleries?
AM: I'd say that the addition of your Vegas stuff helps break it up for sure. Have you considered designing your portfolio in such a way that there is focus on your Avatar and R6 work? I'm not great at website design..so...don't take me too seriously. But what if there were, say 3 or 4 big thumbs that led into your professional galleries and then your personal work galleries?
I figure the logo thumbs stick out like a sore thumb enough as is, should be plenty to grab first attention if pro samples is what someones watching for. At least I think so.
Sorry AM, I just jumped in and didn't read everything because per was nonstop moaning about polycount etc etc.
I find it a bit weird you're not getting any job, even as remote artist as a temporary state until you can find better. I understadn you want to be a character artist and only a character artist, (maybe i'm wrong though). when you talked about rainbow six vegas I thought youwere making characters and first person weapons there (side note : the weapons don't look very good there, while they are first person, hero type assets, a LOT of love, as much love as a character, should go in this) but that's not the subject.
on your website, all I see from your pro stuff are screenshots, were you level builder ? because that's what it conveys, and badly, except for a few closeup shots. what is the issue if that's not the case ? it looks like you just wanted to quickly slap shit in and you end up with shit presentation of your work, which shows a disdain for it ? I understand you may not have enjoyed working on this, trust me, I do, I've been there too, but don't show it, try to present your stuff nicely, you made textures ? show them entirely, all the passes, so that people can see and judge your work professionally.
your portfolio is badly targetted aswell, you want to be 3d artist or character artist ? show stuff that is in concordance with the posiiton you're aiming for.
I thought you made Aks and military people at work on a daily basis, where are they ? I only saw bad level screenshot with shit lighting not focused at anything in particular, it's really hard to know what you worked on, again.
presentation is very important, I thought someone that works (worked?) at ubi would understand that better than anyone since that's how ubi sells their games.
maybe it's an attitude aswell ? I don' tknow but what reflects from these few posts are a pretty negative attitude and a moderately big ego, which reflects also on your portfolio, maybe it also shows in cover letters you send, way you behave, etc.
there's nothing not good enough for anyone if that one can't do that ting to the highest level possible, man, even Kenneth Scott made toilets and crates, it's just part of the job. with your experience you seem pretty far from the reality of the industry, which is something I find on quite a few people that only worked at ubisoft, unfortunately (as a game industry job, I precise, I know you worked in other places as illustrator).
I hope I don't come as condescending, it's early in the morning and per lured me there again where I shouldn't be so I'm going back to work, whishing you the best things, hoping you'll find what you want - and deserve, whatever that may be.
oh btw, avatar looks gorgeous, so props to the environment/lighting team, not so much to the character team, they look detached from the game I blame the lack of communication there.
Good points by Vahl, especially on the Vegas stuff. It really does come across as you not caring about it, and I also had no clue whatsoever what exactly was your work in those shots. Might come across as harsh but worth considering.
Xoliul, Vahl, website says he was responsible for shaders/environment textures in Vegas and environment props in Avatar.
Btw, I don't want to derail thread but my question is kind of similar to what has been discussed in this thread for past couple of pages.
How important is specialization in game industry? Like Art-Machine, I've been doing lots of characters in my spare time, but my resume suggests I might be better off doing environment art (have worked as lighting/rendering/scene assembly guy in advertisement/archviz fields)
I've checked lots of game artist portfolios - some show wide range of subjects and skills from normalmapped assets to iphone stuff, some specialize in environment props or weapons while others pretty much sculpt fulltime.
Is there some sort of rule of thumb? Looks like too much specialization has hurt Art-Machine's career. On the other hand, can generalist compete with specialist in terms of quality?
Replies
But the main barrier is not 3D but the language!
I am french but I first leaned English with my 3D job for a better job.
It helped a me a lot.
But today I am living in Japan cannot find any job in the Japanese Game Industry.
And hell you cannot imagine how many company are looking for 3D artist here.
then I learn Japanese. this is damn difficult because I do go out and then work all the time.
Browsing more on internet, also in Korea.
If you do not want to work on a REALISTIC WAR NEXT GEN HI POLY GAME, etc....
Try Asia.
They create very lot of beautiful MMO game with a Fantasy style, next gen or old school.
But yeah. this part of the planet is difficult because of the language!
But maybe some of you should try the adventure!
This is my own opinion then I am ready to receive some stones
If my own continent isn't deeming me worth an interview, I couldn't imagine Japan going through all those steps for me.
But yeah i would love to experience working in japan. Since i was a kid that was my dream and that was just my first dream about this industry to be crushed when i found out it wasn't gonna happen without that goddamn bachelors. With just about every other dream about it being crushed right about now.
As for korea I know nothing about it.
Glad i sparked some nice discussion thats helping eveyone out here. I would like to reply to all the things people have said but I'm so sick of thinking about this BS situation right now, I dont have the mental energy to go through and quote it all.
But from what I can see from your portfolio you have a wide array of skills have you considered going back into illustration your drawings are quite solid and you also have a glutt of technical skills and experience these things can all be seen as transferable skills, have you looked at other sectors of the 3d industry that might entice you for at least a temporary time?.
I think you will be picked up for sure it's just a matter of time, personally I would join a mod or indie just to keep the juices flowing.
But if you still feel down listen to this - http://www.youtube.com/watch?v=-Qae_TUTeGo
Don't give up though man!
He replied with something like "See you later then." So i guess it's not doable in my particular case.
This sort of situation can be discouraging but you shouldn't have alot of problems, you're a good artist and i think its really just a matter of gearing your website more towards landing you a job somewhere and then just getting to know people at local studios or studios where you would like to work.
It's like getting a hot girl. You don't go up and tell her your faults and "shortcomings". Instead you show your strong sides and woo the shit out of her. "Yo baby, look at this shit. Yeah i did that. Not many can do that cause you see, I'm special... *bedroom eyes*"
Then you slip something into her drink and hey it's on. Oh wait. Forget that part.
I'd love to go around interviewing to all these studios in the US that expressed interest. But I get the feeling it'd leave a trail of black lists and pissed off people after they all ended up having to pass on me because of something i didn't tell them right away... I dont know...
I think your basic logic is wrong, here. Blizzard can pretty much cherry-pick from the industry, they can afford to pass on a badass artist if there's a hurdle in the way, even one as easy for them to jump as your visa.
You want to be hitting up the other studios, smaller ones who need art gods to help sell their studio and product.
I definitely wouldn't give up just because Blizzard rejected you. Like Justin said, there are tons of mmo's ramping up, I'd hate to see you disqualify yourself.
Either way, good luck! your portfolio looks great.
I'm not disqualifying myself, it's the law that's disqualifying me. When i approached Blizzard it was in hopes of finding out they had some way to get around it. That's why i was forward about it..
Am I really going to have to be dishonest and crooked to get a job? This is the kind of idea that's making me want to give up, if things really are that bad now where someone can't get a job without lying anymore.
Let HR figure out the paper work, you just land the job.
Awesome post and great points made.
I was told EA would be able to get me into Canada despite only having about 2.5 years of experience. I had to pass for personal reasons and the opportunity fell through anyway. I don't know the details though, it could just be super easy to get into Canada.
Even if you solve this problem now with some company there is no garuntee they hold on to you and you don't have the same issue a few years down the road.
I would try to figure out the best workaround you can do to solve this problem now and in the future and don't put all the pressure on the companinies employing you.
Just thought I should try to point that out, maybe it's not what you want to hear, but if this is a problem now there is a large chance it will be a problem in the future should the industry enter another recession like this.
Art Machine send your stuff in and see what happens, if they like you they will hire you. Like Stimpack said you are over thinking things. If your resume says I live in Canada, and the company is in the USA, the need for a visa is probably a given. I also thought there were laws between the US, Canada and Mexico to get work visas easier...
Actually I just googled the work visa bit
H-1B Work Visa Eligibility Requirements: The H-1B Non-Immigrant Work Visa may be issued to applicants seeking temporary work in a "Specialty Occupation" which requires the skills of a professional. "Specialty Occupations" include: accounting, computer analysts, programmers, database administrators, web designers, engineers, financial analysts, doctors, nurses, scientists, architects and lawyers. The petitions are submitted by employers based on their need for the non-US.-resident employee. H1-B Visa holders must posses a minimum of a bachelor's degree. However, requisite experience can substitute for education, depending on the individual case
So if you have enough experience you can in theory get a work visa. the problem might be that management doesn't want to deal with it though.
I think this is because it's illegal to discriminate against job applicants because of their visa status. If you mention that you might not be able to get a visa then you are exposing them to a possible lawsuit later. It's the same as mentioning marital status or age during an interview.
Besides. In most countries you need a job offer before you can apply for a visa. And usually they'll get the visa for you. So it's not your position to say that you can't get a visa. They can make up their own minds.
I do, but they don't accept freelance experience, so to them i only have 3 years to offer of which i need 9.
As far as i have been told. USA to Canada = easy. Canada to USA more of a pain but doable. Rest of the world to USA = painful and expensive.
He does make a lot of good points although some are delivered a little ass-ish-ly. I'm sorry but refrering to organic character modeling as simple 'doodling' is insulting to everyone that work hard to develop those skills and create some of the most amazing character work in games. And to be honest it sounds to me like someone that can only do tech's opinion of zbrush artists. I hear it all the time from those guys, how useless and untalented zbrush artists are.
My opinion lies in between, you need skills in both and be well rounded. I can model both ends of the spectrum and the fact that i choose to make fantasy work on my own time doesn't mean I can't do anything you ask of me. It does mean that I put too many eggs in the fantasy basket, but i was working with what ideas i was coming up with, since i was not allowed to have my Ubisoft portfolio taken out of the building.
I wouldn't have been put on the variety of projects that I was on if i was useless to any project but fantasy (on which i have never worked professionally). Anyway, I'm currently working on some mechanical work to prove that i can do hard surface modeling so don't worry. But it's not a tank or an ak47 so I doubt it'll make a difference to impress that kind of rigid mindset.
Also mistaking passion or artistry for lack of professionalism is a very simplistic way to look at things and very narrow minded. All the best artists i've known throughout my various jobs have always been the passionate dreamers. All of them professionals that know their industry and don't mess around when it comes to business. If companies saw being 'an artist' type as a disqualifying factor, Ubisoft montreal wouldn't exist period. But i guess they don't count as a professionally successful studio?
Actually I'd say a lot of perna's post is showing exactly what's wrong with the industry right now and the kind of rigid uncreative attitude that will likely kill it from stagnation.
BUT
I agree he is completely right in describing things as they are right now. And i definitely know that I need to adjust my samples more to that current reality. Thanks for the post Perna.
Demonstrating required skills is key to landing most jobs. As people have pointed out having a portfolio of art aimed at specific styles/genres is a great way to sell yourself to a studio who is looking for just that. Of course it would be an ideal world if we all did exactly what we wanted and we got there by doing exactly what we wanted.
Everyone is busy, new hires take time to adjust. Training takes time and so impacts existing staff so its ideal that a studio/team find a candidate that demonstrates exactly what they are looking for. Why should a studio or team be any less selfishly motivated than an individual?
We all work as artists (in some form or other) so its a visual medium that we work in/communicate in. Visually demonstrating a diverse range of work is more likely to result in a greater range of interest from studios/teams. A resume or cv is nearly always an after thought after identifying an interesting applicant via their portfolio so its best to speak to the potential employers/shit filters in a language they understand. Pictures.
You said it yourself that being well rounded is key.
Its self explanatory that the industry requires professionals. We are being paid to provide a service, develop a game and the art required to make it a viable product in an highly competitive market. I think its a good point that is often overlooked by younger artists rather than developers who have been through multiple production cycles. We cant just all make art the way we want to at work, we need discipline, consistency as well as creative drive and passion for what we work on. Aspiring artists in particular should take note that no one wants to work with a primadonna artiste. Development is a team process and we all have to work with the clear understanding that the self is not greater than the whole.
Again, Art - Machine you make great Art and it does surprise me that you havent found work. However this post is not just intended for you, i hope its relevant to everyone participating in this thread.
I think the visa issue becomes secondary if the studio really wants you. You're not stealing, cheating or being dishonest in any way if your resume clearly states you're Canadian and what's your education. Putting a wall between you and the examiner bringing up the visa thing even before showing your work is just as shooting in your foot before starting a running competition.
The portfolio is another matter. I've read the whole thread so far and I got the impression (maybe wrong) that you think the portfolio is some sort of soul mirror. Something where you show your inner desires and feelings for art, where you can let your creativity flow and disclose who you are. I wish it was right. It is a mere tool. It is a place where you show to a buyer the stuff he could like to give him a reason to pick you up. Like a customer entering a jewelery and asking for rings. What would you show him? Rings or those fine and highly crafted necklaces? Of course, if you can do them, it's obvious you can do rings too, isn't it? No, it isn't obvious. The customer leaves your shop and go to the next one showcasing a full set of good and even not so good rings.
So in the end what does it mean? Do you have to cut your artistic veins and become a cookiecutter zombie? No, you don't. But looking for job is really a supply and demand game and you have to play your cards accordingly:
First step meet the requirements:
- "We want you to model some AK47 / barrel / anyThingSuperDull"
- "OK dude! Here they are, my wonderful AK47SpecialBadass / AmazingBarrel inspired by some Caribbean Pirate lost Galleon, do you want to hear its story too?"
Once they know you can do the job they're asking for, they feel reassured, and get open to the second step. Show what you can really do:
- "So that barrel is good, fits perfectly in our game and matches our style, what's more?"
- "Well, that's only to give you a taste of what I can actually do. Here is the rest, if you mind to take a peek." (well this is playing cool, maybe a little too much)
Third step the formalities:
- "Alright I think I have got a clear idea of your potential and I'm interested in you. When could you start working for us?"
- "I'm running some freelance work right now, but I think it could be settled in a short amount of time, it will for sure before the necessary papers for my visa are filled in and processed."
At this point they cannot blame you if they didn't read your curriculum. It's their job to pay attention to these things, and you're not being dishonest in any way. If they want you, and now have a clear reason for that having seen your work, they'll reach for you.
Of course you must substitute AK47 / barrel with everything is the meat and potatoes of the studio you're applying to with wide margins, say fantasy, sci-fi, realistic warfare, old west, and so on.
Sorry for the long post, I hope this can help a little. It's based on how things worked in a lot of meeting with different clients in my industrial design job, during the development of new products. The underlying idea is always the same: meet the expectation to reassure the client, then feed him your vision and let him become greedy and want more, in this case you literally. Good luck, and keep confidence in yourself!
A lot of companies will want to see that you are fully capable of catering to a wider audience rather than a sub-genre. You may know you can do that, but the first impression of your portfolio may have others guessing. It doesn't have to be AK-47's and Nazi Tanks, unless you want it to be. you could easily just do some nice looking regular people, beat up soldiers...you have the talent and ability to breathe 'character' into something that's otherwise plain. It doesn't have to be this cookie cutter piece where you're just forcing yourself through it.
A lot of people I've met, wanting to be character artists, think that it's ALL Zbrush. That their work is only the 'fun parts,' sculpting all day. In my experience, that's never the case - you need to balance your artistic abilities with your technical ability to get something working in game to spec. That may be tedious and disheartening to many people that think that's all 'creative.' I've met plenty of people who could only do 'one thing' and a lot of the times it ends up becoming a liability in a game dev team, at least in my experience.
Also, I think the ability to realize that this is a 'job' and that there are clients and customers is fairly important - I mean, if you can't listen to feedback and make changes from publishers and such, that's going to cause a lot of conflict for people. Some may see that as 'falling in line' or some other kind of 'fuck the system' sort of thing - but it isn't. Everyone can't just be allowed to express themselves, rules need to be followed and everything needs to be consistent. Games need to be made on time, art needs to be made on time, changes come - always. If you get your back up about that kind of thing, you're going to slow everyone down and - really - probably make yourself not learn/progress as you should.
I just think that he was saying, and I agree if this is the case, that you can't rely on the idea that you'll just get to make what you want to make, for as long as you want, whenever you want and that a big part of the job is implementation, revisions, problem solving, etc. I think it's actually something that makes a lot of new comers to this profession jaded and not something that is taught to them early on in schools and such. The ability to understand that what you are creating is a product and that it needs to appeal to a certain audience in order for your entire team, which you will co-operate with, to get paid - sometimes at the sacrifice of your artistic integrity - is pretty valuable to me. Again, not directed at you - just a general thing..
Gav
EDIT> Argh, two good post in the time it took me to post mine. Tim has said a lot of what i wanted to say but better.
I don't think anyone is trying to bash you personally, Art-Machine. In fact, I think that point is long since settled: so you're diversifying your portfolio. I feel you on the negativity, though. Posts like perna's can have a tendency hit home hard, but you just have to take that sort of criticism / honest advice and ignore the negative tone, 'cause you know you're fine; it is this confidence that will allow you to maintain your individuality without becoming bitter as you 'pander to the audience', as they are saying.
But hey, it looks like there is yet another massive post to read, above! I shall read, wistfully.
About perna's post, I wasn't taking it personally for myself as much as for the ton of artists I know. Plus I'm not in the best of moods and like i said prone to irritability these days.
I could go on forever trying to explain how my portfolio ended up so uniform in theme. But long story short is i only recently realized how fantasy heavy is comes off. I spent the last year with my nose to the grindstone only focusing on my next piece and what kind of texture or substance I didn't cover yet. I wasn't so much looking at the themes as a whole because what I was focusing on was demonstrating ability...
I only recently realized how it was looking as a whole and was already brainstorming some pieces to mix it up.
This is something that concerns me with my new piece. I'm working on something that's a ton of hard surface modeling. To me this will be plenty of proof that i can model anything hard surface. But as you say, I'm breathing personality into it that will probably make it come off as 'cartoony'. And I worry that once again I'll be back at wasted effort because now it wont be enough that i proved hard surface skills, but they'll still be typecasting me as 'cant do REALISTIC'. So in short i feel that I DO have to make a literal and boring tank or gun because they've already shown themselves to be too narrow minded to see past the theme or style of my current work to see demonstrated abilities so far. There is a ton of ability and control of my tools and process showcased on my portfolio, and that's given me squat because of theme.
No, they really do just want a literal ak47 before they think i'm worth a damn. Talk aboue being a craftsman? I've got craftsman pasted all over my work, they dimiss it just because it's the wrong style. Whatever.
Also don't get the impression I'm thinking I'll get to make anything I want in games. I have worked for companies for 10 years now I know that once I'm at work I do whatever they ask and that experience alone should be a clue to them that I'll do so. I have no fantasies about what happens once you get a job, this is why i was enjoying my freedom and personal tastes on these personal portfolio pieces.
I have so much more to say but again am so sick of thinking about it for now. Carry on.
I think you should decide which company you want to work for, factoring in your chances of you being able to work there as an Australian, and get a full scene laid out in UDK that fits directly into their art style. You're really good dude, even if you were to focus on making "game art" it would be incredible with your artistic abilities, but as it is you have only a few environment pieces in your portfolio, foliage, which really doesn't make you stand out. As stated your character pieces are very artistic, but not "game art" (i could see that demon in a torchlight kind of game, kinda goofy, but those games don't have this kind of production value, he just doesnt' make sense overall, he needs to be more wicked/ realistic to be in a game like darksiders), and your weapons, well your weapons are incredible, no crits on them, but it's hard to get a job on weapons alone, there are just so many people out there with a few really good guns or swords, these assets also aren't as important to the game's artistic quality as a lot of us would like to think. So yeah, make 1 amazingly killer scene for the kind of company doing the kind of art style you'd like to do, and i think you'd have a great shot dude. I say environments because if you're serious about getting paid for this stuff and not just as a hobby, they're your best bet, learn UDK inside and out, helps having your stuff in engine and modular. Don't give up, and all of these current portfolio pieces are certainly not a waste of time and would compliment a fully realized game art scene very well!
Gonna edit this really fast: Still think your stuff is amazingly good dude, i wouldn't be surprised at all if you got a job tommorow. You could certainly show a few pieces that show a devotion to game art, art that's usable by companies that make games that make lots of money and show that you can spend months on a single scene and that you're not just going to bounce around doing this or that rather than focus on the cohesive whole of a project in front of you. And to be completely honest, I'm a bit guilty of doing this all myself, doing art I enjoy over doing art that's going to get me a job.
Be careful man, this is misleading and CAN be completely untrue. Its irrelevant how bad the company wants you if you do not have the requirements for a visa. No games company is going to sidestep immigration and put their ass on the line to bend/break the law. Company sponsorship or not, the individual must meet the requirements that vary from country to country. If they do not, the options become extremely limited. Your art skill means nothing to immigration.
Like I mentioned in another thread, even Marko Djurdjevic had trouble getting a Visa. And hes a concept art god .....for Marvel.
Art-Machine: Keep going man, and send me another WIP!
So yeah, with a degree it's easier to get a work visa and also companies now see it as more prestigious to hire people with degrees. My sister got her first job because she had a degree from Yale. That's what got her the job. Everyone told the one in charge not to hire her because she didn't have experience, the usual crap, but the hiring manager wanted to hire someone from Yale because they had never done that before. So he made her an offer. That's life.
The more skills you show the more options you'll have. You have the goods so show them off. Imagine that you do get and offer but it's lower than expected just because you are not showing all your skills, you take it and later you find out they would of paid a lot more if you had shown more work. That would eat you up inside.
I cant for the life of me see why you are having a hard time with such a good portfolio though, its not perfect but nobodies is. I can see why people would think you are a stylised artist but thats probably because of all the avatar work you have on show. Find some screens of your rainbow six work from IGn or whatever and get them up there too with a little explaination. You could diversify your folio a bit but I would say make a goal of a few companies and think what they would like to see and make that your next goal.
good luck buddy
Just to clarify.. Are you currently unemployed or just looking for new opportunities ?
Anyways, good luck !
get rid of this negative attitude, it's you, who wants something from them, a job. You want to be respected as craftsman, you must respect the opposite side as well. Like any industry, we are in the money making industry. And their "narrow" thinking is simply efficient as you can see with the points that the seasoned people here made. You were frustrated with your situation and asked for input, you got plenty high quality feedback with different options: tweak website, create new portfolio pieces, and even the suggestion to readjust your goal and try as indie, allowing you to pursue your own style.
now it's time for you to act again. You will have to pull yourself out of this. But you can.
I agree as well,this is a brutal industry and you have to have thick skin to make it. Perna's advice may seem brutal but its also true. At my old job i used to sit next to the guy in charge og hiring animators and the cheer amount of time he spent looking through reels and applications was mind blowing.
With as many people looking for work nowadays its easier to be picky because its easier to find exactly what you are looking for. Doing an ak-47 may seem boring work but if thats what they are looking for,the guy with an ak 47 in his portfolio will have an advantage over a guy with fantasy work. So why wonder if one artist is capable of doing the work when the other artist your certain can?
AM the one issue i see with your portfolio is i wouldnt know what to hire you as. Character artist? Environments? Concepts? I think you should pick what type of role you would like to do most and focus your portfolio in that direction.
Or are you being very picky in a very unstable job climate? I have trouble believing you wouldn't be picked up here at A2M, Ludia, or Gameloft here in town.
I would almost recommend spamming every studio in the cities you'd want to work in.
http://www.gamedevmap.com
Like, the year is 2015, and astronauts in hastily modified, armored spacesuits are fighting with modified 70s caseless assault rifles on the moon. You could probably mix dinosaurs in there too. Dinosaurs are real.
Thank god for god mode cheats, would have taken a week to take these shots otherwise..
Back to work on my new folio stuff.
my 2 cents, make sure the links you post works.
in this case add "http://" to your link so that it works in all browsers.
there has been countless time when i see some good art posted by someone but they are also sloppy enough not to put their website links properly in their profile.
I know I definitely had to hunker down and get my degree a long time ago, if only for the fact of getting the damn thing done.
I find it a bit weird you're not getting any job, even as remote artist as a temporary state until you can find better. I understadn you want to be a character artist and only a character artist, (maybe i'm wrong though). when you talked about rainbow six vegas I thought youwere making characters and first person weapons there (side note : the weapons don't look very good there, while they are first person, hero type assets, a LOT of love, as much love as a character, should go in this) but that's not the subject.
on your website, all I see from your pro stuff are screenshots, were you level builder ? because that's what it conveys, and badly, except for a few closeup shots. what is the issue if that's not the case ? it looks like you just wanted to quickly slap shit in and you end up with shit presentation of your work, which shows a disdain for it ? I understand you may not have enjoyed working on this, trust me, I do, I've been there too, but don't show it, try to present your stuff nicely, you made textures ? show them entirely, all the passes, so that people can see and judge your work professionally.
your portfolio is badly targetted aswell, you want to be 3d artist or character artist ? show stuff that is in concordance with the posiiton you're aiming for.
I thought you made Aks and military people at work on a daily basis, where are they ? I only saw bad level screenshot with shit lighting not focused at anything in particular, it's really hard to know what you worked on, again.
presentation is very important, I thought someone that works (worked?) at ubi would understand that better than anyone since that's how ubi sells their games.
maybe it's an attitude aswell ? I don' tknow but what reflects from these few posts are a pretty negative attitude and a moderately big ego, which reflects also on your portfolio, maybe it also shows in cover letters you send, way you behave, etc.
there's nothing not good enough for anyone if that one can't do that ting to the highest level possible, man, even Kenneth Scott made toilets and crates, it's just part of the job. with your experience you seem pretty far from the reality of the industry, which is something I find on quite a few people that only worked at ubisoft, unfortunately (as a game industry job, I precise, I know you worked in other places as illustrator).
I hope I don't come as condescending, it's early in the morning and per lured me there again where I shouldn't be so I'm going back to work, whishing you the best things, hoping you'll find what you want - and deserve, whatever that may be.
oh btw, avatar looks gorgeous, so props to the environment/lighting team, not so much to the character team, they look detached from the game I blame the lack of communication there.
Btw, I don't want to derail thread but my question is kind of similar to what has been discussed in this thread for past couple of pages.
How important is specialization in game industry? Like Art-Machine, I've been doing lots of characters in my spare time, but my resume suggests I might be better off doing environment art (have worked as lighting/rendering/scene assembly guy in advertisement/archviz fields)
I've checked lots of game artist portfolios - some show wide range of subjects and skills from normalmapped assets to iphone stuff, some specialize in environment props or weapons while others pretty much sculpt fulltime.
Is there some sort of rule of thumb? Looks like too much specialization has hurt Art-Machine's career. On the other hand, can generalist compete with specialist in terms of quality?