Myth 1: Concept Art isn't meant to be pretty.

What it really means: something that looks functional should trumph looking good, this is why concept art doesn’t necessarily need to look aesthetically pleasing in a plasticity sense, the idea is what the client is buying, not the artwork. Think of it this way: Would you sacrifice a house's roof stability as long as it looked pretty from the outside view? Probably not, you wouldn't want it to fall on your head.

Photobashing, was sort of born this way, it can look messy, as long as the idea is there and is approved, as David Carson says: Don’t mistake legibility for communication.

Your image should still be readable to the target audience. Sometimes an art director may be versed enough in graphics for you to get away with a rough sketch, sometimes a board of CEO's needs to be convinced with something more legible as they can't make it out from the same level or lack thereof detail a art director can.

Your image should still be presentable. But presentation isn't cutting it if there's no content to present.

Myth 2: Concept Art is dead now with AI art, like midjourney, dall-e, etc.

It certainly made the guy who was going to pay 200$ for a bunch of splash images for his youtube channel a lot easier, he won't have to hire anyone from Fiverr for it, but it hasn't, and it won't replace human creatives, specially professionals who design. It will however, replace the need for pretty images such as the one mentioned. These images were already something low paid and abundant in the market as far as demand goes. These images make up in artistic render where's they lack in design. Don't take me wrong, an AI can render a lot better and faster, than I can, however, it cannot design. And it never will be. Design is problem-solving, it is an intuitive and spiritual endeavour, an AI can help you research, experiment with ideas, but the end result is up to you, not the AI's imagination.

If you doubt it, picture this: A society where all cars look the same, theater is dead, designers and artists skill-sets are employed to render the trivial: yougurt stamps, invasive advertisement, clickbait. This is what we get from our service providers today, in the 2020's. Sales pitches, junk mail. AI has only brought more of that to table. Nothing new has been seen from it, it is all regurgitated from yesterday. A copy of a copy of a copy.

Note: I've tried myself to use AI to design, and on a client's job where they were open to it. It couldn't, it's amazing at filling up details and getting the render up faster, but the idea, it still needs to be human generated... in a sense, it's like Content Aware Filter's bigger brother, if anything. Helps for sure, but it doesn't do your whole job.

Myth 3: A Concept Artist only stays briefly in production, then moves on to another studio.

This isn’t quite true, a lot of what a concept artist does is pre-production work, which is the start of any project and its groundwork. From there, it depends on the studio, and the personal artist ambitions. A lot of alignment to other chapters come after a game ships or pre-production stops for sure, and it gives enough space for people to professionally bridge to other sectors if they so desire.

Myth 4: If I had the right photoshop brushes, I’d be able to paint like so and so famous artist!

This is analogous to saying: “If I just had the right hammer, I’d be able to be a great blacksmith.”
It’s just not true. The craft’s in the person, not the tool.Myths About Concept Artists

Myth 5: Concept Art Is Just Doodling

Many people believe that concept art is merely the result of random doodles or playful sketches. In truth, concept art involves a structured process of ideation, research, and refinement. Artists begin with a set of constraints, such as project requirements and client expectations, which guide their creativity. Each piece must serve a purpose, communicating ideas effectively, illustrating potential solutions, and exploring design possibilities. It is a deliberate practice that combines artistic skill with strategic thinking.

This in turn, downplays the whole process, the research and iteration of even thumbnail design such as the above is taken as a necessary step in all productions, while it may not always be true. For instance, the above designs may explore how the figure may look as a silhouette, or read from a far, or the blanks in the secondary read, it isn’t done just because and it is not always needed for all projects.

Myth 6: You Don’t Need Formal Education to Be a Concept Artist

While it’s true that talent can emerge from passion and self-teaching, formal education in art, design, or related fields provides foundational skills that enhance an artist's capabilities. Structure in learning helps students explore various techniques, critically assess their work, and understand the industry's standards. Advanced education also offers networking opportunities and constructive feedback from experienced professionals, invaluable to navigating the competitive field.

This is coming from a self-taught Concept Artist. It’ll be much faster if you enroll into a (good) school, such as Feng Zhu Design School, Art Center College of Design or Weta Workshop. Do not enroll into a school just because it is a school, saved those three I mentioned, I’m not sure any other school will give you much, in fact, I regularly get emails from frustrated young students who enrolled into XYZ school and got nothing out of it.

The one thing you have to ask yourself is: Who’s the teacher, teaching at the school I’m considering? Is their work as good or better than the average I see on Artstation front page? If not, don’t bother.

Myth 7: Concept Artists Always Have Complete Freedom in Their Work

Contrary to popular belief, concept artists often work within strict guidelines set by clients, project managers, or art directors. While they may have the opportunity to express their creativity, their designs must align with the overall vision of the project and the target audience's expectations. Artists must be flexible, adapting their ideas based on collaboration and constructive criticism while adhering to brand standards and thematic consistency. It’s more true the earlier the project is in development, where what we call ‘the blue sky phase’ is on and everything or most things are possible to explore, as the project takes shape and styles are set, the less freedom you’ll have.

Myth 8: Concept Artists Only Work on Video Games and Film

Another prevalent misconception is that concept artists are limited to the entertainment industry. In reality, concept artists play a significant role in various sectors, including advertising, product design, architecture, and fashion. Their skills are applicable in any field where visual communication and innovation are essential. This versatility means that concept artists can thrive in diverse environments, contributing their expertise to a broad range of projects.

Myth 9: Once You’re Hired, The Job Is Easy

Becoming a concept artist can be an arduous journey filled with constant learning and adaptation. Once established in a role, the tasks may seem straightforward, but the industry evolves quickly, and technology continues to advance. Concept artists must regularly update their skills, explore new tools, and stay informed about trends. Challenges such as creative blocks, client demands, and tight deadlines make the job more complex than it appears.

A few years ago I remember the trendy tech was what kind of juicy looking Photoshop brush everyone was using, then Photobash came along, then, 3D Rendering, and now we’re talking AI art. Fundamental skills stay, knowledge of anatomy, sculpting, and art history will be your groundwork, but the tools will always be in a constant state of change.

Myth 10: Concept Art Is About Individual Talent Alone

While raw talent is vital, successful concept artists excel not just through individual artistry but also through collaboration and communication. They frequently work with teams full of diverse professionals, including writers, marketers, and animators. Understanding how to articulate their ideas and work cohesively with others is essential. The ability to accept feedback, iterate on designs, and incorporate different perspectives is just as crucial as artistic skill in delivering successful outcomes.

Myth 11: All Concept Artists Use the Same Tools

Many view concept artists as relying solely on specific software or traditional mediums. While certain tools can be popular within the community—like digital painting programs—each artist has their own preferences based on their style, project requirements, and workflow. Moreover, innovation in tools occurs regularly, and keeping pace with advances is necessary. An artist’s choice of medium can significantly influence their approach and the final artwork.

By debunking these myths, we gain a clearer understanding of the multifaceted role of concept artists. This recognition fosters respect for their craft and aids aspiring artists in setting realistic expectations for their careers.

There’s nothing like taking this journey on the ride of someone’s shoulders who’s experienced such paths, so I invite you to visit my marketplace and find many courses, tutorials, and other resources that may help you on your journey, they were all designed to solve problems I faced and answers I wish I had at the time when I was a younger, self-taught concept artist.