Tuesday, June 20, 2023

Digital Landscape – Lanzarote Study with Infinite Painter


This digital landscape was painted after a trip to Lanzarote, one of the most visually striking places I’ve visited. The island’s unique volcanic terrain, muted color palette, and wide open spaces make it an inspiring subject for quick studies.


I used Infinite Painter for this piece, working on a simplified interpretation of the landscape rather than a detailed rendering. The app’s brush engine allowed me to focus on blocking in large shapes, soft transitions, and the contrast between rocky textures and open sky.


As with most of my digital studies, the goal wasn’t to recreate the scene exactly, but to capture the atmosphere and structure of the place with a limited set of tools and gestures.


This was painted in 2023, and it still reminds me how rewarding it can be to revisit locations through simplified visual notes. A good reminder that not every piece needs to be polished, sometimes, clarity comes from restraint.

Wednesday, May 10, 2023

Quick Digital Portrait - Infinite Painter


This one was quickly made, but I like the emotion coming out of it. 

Thursday, November 17, 2022

Why Most Aspiring Concept Artists Focus on the Wrong Skills

The first challenge as an aspiring concept artist is understanding where YOU fit and what studios actually need from artists. This differs largely from your expectations, and your choices can make you irrelevant or redundant in the industry from the very start.

It’s easy to get caught up in the glamorous side of game development: the iconic characters, the epic keyframe, the cinematic moments. But if you want to position yourself effectively as a concept artist, it’s critical to take a closer look at how production really works and where the true demands lie.


What Are the Needs in Video Games Production

It is pretty clear:

  • ⬇️ Characters, while being the most visible and striking elements, make up a small fraction of the total assets.

  • ⬆️ Environments and props, on the other hand, represent the majority of what gets built. These assets cover vast worlds and need to be produced in large volumes to create believable, explorable spaces.

Characters require a significant investment of time and resources; they are complex, central to the player’s experience, and heavily polished. But in sheer numbers, environment and prop assets dominate any large production pipeline.


Competition Between Artists & Most Crowded Fields

When reviewing Resumes and Portfolios over the past few years it is obvious that a majority of concept artists are competing in the same areas of expertise.

  • Character design portfolios is the most crowded field, with nearly three up to four times more participants than environment design, and more than four times as many as prop design.

  • VFX and prop design, despite being critical to game development, are significantly less saturated.

This shows that while many artists aim to work on characters, there is much higher competition for a relatively smaller number of opportunities.



Finding the Right Place for Your Skills

Honestly, this isn’t about discouraging anyone from pursuing what they love. But if your goal is to build a sustainable career in the video game industry, it’s important to think strategically.

Ask yourself:

  • What do I genuinely enjoy drawing?

  • Where do my strengths lie?

  • And foremost: Where is there real demand for what I can offer?

In my own experience reviewing portfolios, I often see talented artists struggling to find opportunities simply because they only focus on character work. Yet, studios are constantly looking for strong environment and prop artists, areas where it’s possible to specialize, stand out, and build a professional-quality portfolio faster.



Final Thoughts

Understanding the production needs behind the scenes helps you not just improve your skills but also position yourself smartly in an evolving, highly competitive industry.

There’s room for passion, of course, but there’s also wisdom in adapting your focus to where opportunities exist.

In future posts, I’ll dive deeper into each major area, characters, environments, props, and VFX, to give a better understanding of how they fit into real-world production pipelines.


If you’ve got thoughts or experiences on finding your path as a concept artist, I’d love to hear them.

Let’s keep the conversation going.

Related Article: Video Games Industry: How to Get Hired as a Concept Artist

#ConceptArt #CareerAdvice #VideoGameIndustry #PortfolioBuilding #GameArt #SimonLocheArt


Wednesday, October 5, 2022

Game Art Challenges: Can You Draw Under Pressure?

A Zen Approach to Speed, Focus, and Simplicity

In the practice of concept art, just as in the discipline of Zen, true mastery lies not in rushing or forcing results but in acting with clarity and purpose under pressure.

Deadlines will come. Revisions will test you. Expectations will shift without warning.

A clear mind and steady hand will always be stronger than hurried work.

Every professional game artist must embrace the discipline of learning to create quickly and efficiently without fear, hesitation, or distraction.

It is not about perfection. It is about readability, intention, and flow.

In large and complex projects, clear communication is critical. Concept art serves as a shared visual language across development teams, helping different departments align with the game’s creative vision. Through visual guidelines established early in production, concept art directs how various game elements should be designed and realized.

Everyone involved in the pipeline—from 3D modelers to animators and programmers—relies on concept art to maintain consistency across disciplines. It acts as a bridge between artistic intent and technical execution, ensuring that designs remain both creative and feasible.

By providing detailed visual references, concept art helps reduce misunderstandings and keeps development moving efficiently.


The 30-Minute Concept Sprint – A Zen Art Challenge

Approach this exercise not as a race, but as a meditation on focus and simplicity.

The Practice:

  • Select a random subject (examples: “Desert Soldier,” “Cyberpunk Alley,” “Underwater Robot”).

  • Set a timer for 30 minutes.

  • Begin sketching a full concept, seeking clarity over polish. Trust your first instincts.

While working:

  • Focus on silhouette, visual hierarchy, and clarity.

  • Add callouts as you go:

    • Materials (“Worn leather,” “Brushed steel”)

    • Textures (“Rusted metal,” “Cracked concrete”)

    • Design notes (“Simplify armor for easy rigging”, “Cloth needs to flow naturally”)

  • Sketch as if you are guiding another artist who must build your vision without further words.

  • Think of your drawing as a bridge: it must connect your mind to the mind of the 3D artist or art director.

Important:

  • No undoing.

  • No overthinking.

  • No chasing perfection.

  • Every stroke is a decision. Every mark carries intention.


Bonus Reflection

When the timer ends, spend five additional minutes writing a few sentences explaining your concept:

  • What is the function of your design?

  • What is the mood it carries?

  • What design choices shape its identity?

These simple reflections will sharpen your understanding and solidify your practice.


Final Words

The purpose of this exercise is not to create a flawless painting.

It is to train your mind to work with clarity under time pressure, just as a Zen practitioner cultivates calm in the midst of chaos.

Production art demands speed and precision, but it rewards presence of mind.

Each sketch, each callout, each choice should flow naturally, without panic or hesitation.


Master this, and your hand will be steady even on the busiest day.

Your ideas will find the page with strength and simplicity.

The path is clear. Pick up your brush, set your timer, and begin.


➽ My Own Take on the Challenge

To bring this idea into something more concrete, here’s an example from a project I worked on back in 2018. The two concepts shown were created under real production pressure, with speed and clarity as the main priorities.

The first was a quick sketch, meant to help the 3D modeler set up the scene and establish key structures. The second and third one were a paintover of the 3D blockout, refining the style, mood, and color direction to guide the next stages of production.

Both were done quickly but with a clear intention: to give the team what they needed to move forward without hesitation or confusion.




You can also see more concept I made for another project here: 
https://simonloche.blogspot.com/2020/01/talking-tom-sky-run-concept-art-and.html

#ConceptArt #ZenArt #GameArtChallenge #ProductionArt #SimonLocheArt #FocusedDrawing

Monday, August 1, 2022

Motorbike Study in HeavyPaint – Painted at the Design Museum in Barcelona


 

This motorbike painting was done during a visit to the Design Museum in Barcelona, a place that’s always full of visual inspiration. I came across an old model on display and decided to do a quick study of it on the spot using HeavyPaint.


One of the things I really enjoy about HeavyPaint is its minimalist interface. There’s no clutter, just room to focus on shape, value, and color. It forces you to simplify and commit, which makes it ideal for quick studies or stylized explorations.


The brush engine is chaotic in the best way. Some tools feel unpredictable at first, but once you embrace the quirks, they become expressive and responsive. It’s less about control and more about rhythm and instinct, which made it perfect for capturing the energy and form of the motorbike without getting stuck in detail.


This wasn’t about realism, but about feeling, blocking in the silhouette, playing with contrast, and letting the shapes talk. Painting it directly at the museum, surrounded by industrial design and history, definitely added something to the experience.


Looking forward to doing more like this. HeavyPaint continues to surprise me in all the right ways.

Friday, July 29, 2022

Three Digital Paintings – Capturing Different Moments of the Day

 




Recently, I completed three digital paintings, each one focused on capturing a different moment of the day: morning, afternoon, and evening.


The goal wasn’t to overcomplicate the compositions, but to study how light, color temperature, and mood shift over time. It’s a simple exercise, but one that really sharpens your sensitivity to atmosphere.

  • The morning scene was about softness and cooler light, where colors are still muted and everything feels a little slower and quieter.

  • The afternoon painting captured stronger contrasts, warmer tones, and the more direct, clear light that brings sharper edges and deeper shadows.

  • The evening piece focused on the heavy, saturated hues of sunset, and the way light fades into a deeper, more atmospheric palette.


I approached all three using the same brush set and limited layers, focusing on getting the mood right first before adding any extra detail.

These quick studies are a reminder that even a simple subject can completely change character depending on the time of day, and that light really is one of the most powerful storytelling tools an artist has.

Looking forward to doing more of these.

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