Interview with Creature Artist & CGMA Instructor Bobby Rebholz
Interview with Creature Artist & CGMA Instructor Bobby Rebholz
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Artist Bobby Rebholz is a master of creature design. You can see this all over his ArtStation packed with amazing and ferocious beasts.
Yet he wasn't born with this talent and information technology'south something that anyone could develop with enough work.
In this interview Bobby shares his journey every bit an artist & how he become an instructor for the incredible CGMA.
No affair what your goals are or how long you've been practicing art, there's plenty to have abroad from Bobby's advice & experiences in the art earth.
Tin you share a fiddling well-nigh your history with art?
I got into art at the very immature age of 4!
My mother would bring me to my cousin's habitation for babysitting while she went to work. Both supplied me with plastic army men and dinosaurs. I would attempt to draw them every 24-hour interval and became obsessed with dinosaurs (what little kid isn't?!).
I knew it was something I really wanted to do one time I hit kindergarten because I was drawing on everything in the classroom.
I haven't stopped since.
What's your educational background and what are your thoughts on modern fine art education?
I accept a Available's of Science in Design with a focus in transportation. Industrial pattern was a great way to learn the fundamentals of design.
There is a huge stigma with education costs nowadays.
Debt is soaring and online courses are becoming more popular, specially with art.
My communication is to really look at what you want.
I loved the schooling considering of the camaraderie I had with agreeing people in the classroom. We pushed each other. There is a peachy energy you tin can just feel in a physical classroom setting that you lot can't with online courses.
However, if yous have the subject field, online courses are fantastic and tin can offering just as much.
In that location are tons of resource online for achieving well-nigh any skill you desire in art with a massive drop in costs for the students. Also with online courses yous get access to industry veterans that yous normally wouldn't make it a physical school because of location.
Regarding your freelancing career, how did yous get started with that side of fine art?
I'll exist honest: freelancing is difficult!
Most artists don't simply autumn into it and suddenly become awesome with a list of dream clients. No, it commonly starts out irksome and quiet with a hint of depression.
I began by being active online and in social media. I posted my piece of work constantly and congenital a following that way.
I as well remained active in searching for freelance gigs on several sites such every bit ArtStation. Even if I got turned down or didn't hear annihilation back, I never took information technology personally and moved on.
As far as scheduling goes, freelancing tin can be rewarding and draining. The hours tend to exist longer but you have the freedom of working whenever y'all desire.
Subject field is your best friend… so is a calendar!
Always go on rail of your clients and due dates with a agenda or some grade of documentation such as spreadsheets and even Word documents.
Keep clients happy by hit the due dates.
I admit that I've missed due dates from fourth dimension to time merely every bit long as I let the client know ahead of time it'southward usually okay. Life happens and sometimes you need to accept care of YOU, regardless of what that might be.
What were some of your biggest challenges while studying fine art & working to get a professional artist?
1 of the biggest hurdles of studying art is taking criticism constructively.
Artists are stubborn. It'due south our expletive.
But when young artists need to improve they ofttimes take criticism personally or but think they don't demand to meliorate in an area and wonder why they can't get jobs.
This often forms in high school because you're used to being the best in the class or school, then when serious contest hits or you're critiqued, firsthand backlash happens.
My advice is to stay humble and realize that you lot might suck in an area where you lot actually thought you were adept.
Realizing this and being eager to abound is key considering competition to state freelancing jobs in the real earth is fierce. As Wyeth Johnson from Epic Games e'er says "You need to terminate comparing yourself to the peers around you and start comparison yourself to the industry."
Can yous take us through a typical twenty-four hours-in-the-life while you're working on projects? Any tools or software that are must-haves?
The majority of my work is pencil and paper simply I also balance it with digital work.
I have Photoshop CS6 and I employ a mid-sized Intuos 5 tablet.
I attempt to spread my projects out through day considering I can't work on only 1 project. Usually I do my best piece of work in twenty minute sprints and then I switch or accept a break.
Going outside is cardinal to your mental health because freelancing tin be very time consuming.
I also teach in physical buildings so that helps break the cycle of staying in all 24-hour interval without any human interaction. I always have music on while I sketch and I make sure to go on my function make clean.
Speaking of offices, information technology's adept to gear up upwardly a designated area for you to phone call your role. Information technology helps yous feel more than professional.
There's no demand to buy super fancy desks or filing cabinets. Instead have a comfortable chair and a nice monitor. It goes a long way.
How did yous connect with CGMA and first working there every bit an teacher?
I actually contacted them first.
I had known about CGMA several years before messaging them. I was interested in taking an surround design class and decided to e-mail them.
As I did that, I included a link to my portfolio.
They saw that I focused in creatures and immediately asked if I was interested in teaching a creature pattern course for them. That's literally how it happened!
Having years of feel teaching definitely helped in their determination to hire me. It was a cool, unexpected coincidence.
Tin you share your experience working with CGMA? Whatsoever thoughts on their teaching methods & which types of students might benefit near from their classes?
CGMA does an amazing job at structuring their classrooms with assignments, lectures, live Q&As, and feedback.
Students have a lot of areas to choose from such equally character blueprint, environments, and dynamic drawing only to proper name a few.
It's been a lot of fun didactics with them though considering the diversity of students signing up gives you a fresh look on how people are learning art around the globe.
If yous're serious most getting better and if you take practiced discipline then CGMA is very beneficial. The classrooms and assignments are set up much like you would experience if you were in an actual school.
How would you compare studying from a teacher online vs. studying with someone in person?
Studying from a teacher definitely has its advantages.
For example, the teacher tin can exist there in person to correct your form as you try to draw a line or shade. We can't do that online, merely recorded videos are the next all-time thing.
Studying online is nifty because you can repeatedly watch recorded videos even after the designated form time is over. You can't do that in an bodily classroom because the teacher is gone for the residue of the day.
With both, y'all all the same get to collaborate with other students but a lot of times, online classrooms tin can affect artists who are shy.
They might never mail their piece of work for feedback whereas in an actual classroom with a teacher, they have to.
The downside to online courses is the lack of a physical presence from a instructor or student. It'southward an energy that but won't be online. Simply don't permit that deter y'all from your educational activity.
Choose what you lot feel is the best method for you.
If someone wanted to pattern creatures at your level, how would y'all recommend they practice? Let's presume a complete beginner wants to design awesome creatures but isn't sure how to go on; whatsoever thoughts or suggestions on a learning path?
First things first: Study real life animals from Earth!
Too many times, young artists retrieve reference gathering is actually cheating.
Just in reality they're cheating themselves because the anatomy of their creatures is off. Study real animals and sketch them showtime.
Practise this loosely without focusing on details at first. Thumbnail sketching is very of import and you tin do this by timing yourself at 2 minutes per sketch.
Let yourself scribble a creature shape and then stop. Look at the shape and build a brute from it.
Information technology's all about process and not jumping to a final pattern right away!
Many artists talk nigh the importance of drawing from life. Can you share your thoughts on why life cartoon is such a crucial skill to practise?
Life drawing is important because y'all're witnessing the forms alive in 3D space.
You can move around the object/figure to come across how perspective changes instantly.
This will get your mind accustomed to drawing the aforementioned object but in different views which is a skill in & of itself.
Concept artists work a lot from their head just as well translate ideas from real life. How much should an aspiring concept creative person depict from imagination vs from existent life?
Reference cartoon is the most important matter to focus on because imaginative drawing only happens when we pull images from our head.
Well, if you pull images from your head that are anatomically incorrect, you lot can make up all the fine art you lot want but in the cease it's going to be wrong.
Once you report plenty reference, then you tin can start using your imagination and manipulate what is real and what isn't but nevertheless have it be believable.
Being a concept artist, you must do both. But when y'all're given a projection yous almost always commencement with reference gathering.
If you lot're given a week to design a character or creature, spending the start two days simply gathering reference is normal.
Information technology's never too late to learn how to draw, simply life does go busier with less free time as we become older. Any tips for people who want to start practicing fine art later in life?
Y'all don't need to sit down for hours every day to get ameliorate.
Only information technology is good to at least spend 20 minutes a day practicing. No thing how hectic our lives get, we always discover time for the things we love and there's no excuses for it.
If you truly love cartoon and want to improve you volition detect xx minutes out of your twenty-four hour period to practise information technology. I know many concept artists who work normal solar day jobs that aren't fine art related and still find fourth dimension to draw during their lunch breaks.
Chris Oatley from Oatley Academy said before he became a visual development artist at Disney, he worked at Guitar Heart and literally drove home during his lunch breaks to pigment on canvass, then apace drove back to work.
Any final words for all the aspiring artists out there?
Learn the fundamentals earlier anything else.
Clients and game companies will spot bad fundamentals in less than ten seconds and that is no joke. Information technology's literally 10 seconds or less.
Just focus on what area of concept fine art you lot want to pursue. Put your time and energy into getting good in one area considering your chances of getting hired will exist greater.
You can practice other areas but you need focus in at least one then you get one of the best in that specific area.
A big thank you to Bobby for all of his time for this. No doubt his feel is worth listening to and if yous're looking for some online written report fabric cheque out his course on CGMA.
Yous can find a ton of work on his ArtStation along with his social accounts like Instagram and Twitter @bobby_rebholz.
Source: https://conceptartempire.com/bobby-rebholz-interview/
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