The Coolest Things Already Exist – Concept Art Inspiration

Concept art is  a very closely related profession to technical illustration. Concept artists are responsible for designing vehicles, props and environments mainly for the entertainment industry, including film, television and video games. These designs require a high degree of precision, and an amazing grasp of three-dimensionality since their designs will be manufactured either to scale, fullsize or in 3D. The designs often reference actual vehicles, objects or environments to imbue a sense of near-reality. In fact, a rule of thumb is 70% reality, 30% fantasy.

Soviet Ground-Effects Tank

Soviet Ground-Effects Tank

Sometimes, though, that formula can be 100% reality.

Pictured is a Soviet-built cold war era “ground effects” tank. These things were like proto-hovercraft. They would be pushed along by jet turbines and use airfoils to force a pocket of air underneath the craft. This would allow the vehicle to hover above water (and potentially land), move with very little friction — and as an added bonus, be undetectable by radar.

Soviet Ground-Effects Tank

Soviet Ground-Effects Tank

Where do you find inspiration for your concept designs? Let us know in the comments.

Source (via Boing Boing)

Contracts – You Want WHAT?

I was recently approached by a publisher of several software/tutorial magazines about doing a 6-page technical illustration primer. The pay was laughable, but the contract was downright insulting:

3.2 Anything that you […] produce or invent for [us] as part of, or in connection with, the Contract shall be [our] property absolutely and you shall assign or procure the assignment of all Intellectual Property in such things (whether existing now or arising in the future) free from all encumbrances to [us]. You also agree to obtain all releases that are necessary to enable [us] to exploit the Work as it sees fit. If you provide any of your own pre-existing Intellectual Property as part of the Contract you hereby grant [us] and, if relevant, Clients to whom the relevant Work has been provided, an irrevocable, perpetual, royalty free licence to use such Intellectual Property in relation to Work similar or equivalent to the Work.

Worse, still:

3.3 Where you are the author of the Work, you waive absolutely your right to be identified as the author of the Work […] and your right to object to derogatory treatment of it (granted by section 80 of that Act) and, so far as is legally possible, any broadly equivalent rights you may have anywhere in the world. Where you are not the author of the Work you undertake to obtain equivalent waivers from the authors.

…and in case they missed anything:

7.6 This contract may be reviewed and/or amended at any time by [us].

[Emphasis is mine]

Even if I was ready to work for next to nothing, even if I was willing to hand over all rights to whatever I created, even if I convinced myself that the exposure from a project like this was worth the work involved, they wanted me to waive my right to be identified as the author of the work. Oh and they could modify the contract at any time.

Illustrators — Read your contracts. Understand them. If they have bogus clauses, ask for changes or reject them outright.

What bogus clauses have you gotten on contracts? Let us know in the comments!

Haiti Earthquake Infographic Contest

Aftermath of the Haiti Earthquake by Emily Schwartzman

Web-magazine GOOD, well known for their Transparency infographics, recently held a contest for readers to visually communicate information about the tragic earthquake in the Republic of Haiti. The scope and content was up to the contestant, and the prize was simply recognition.

The winning entry is above. You can see all the entries at higher resolution at GOOD.

What do you think? How can technical illustrators use their talents for good? Is this philanthropic or shameless self-promotion? Let us know what you think in the comments.

ICON Illustration Conference

ICON The Illustration Conference

Troy Doolittle (featured yesterday) is on the board of directors for ICON The Illustration Conference taking place in Los Angeles, California, July 14-17, 2010.

ICON6 delivers a compelling and provocative program with over 50 speakers who bring their unique take on the industry and professional practice. Representing the brightest minds from many creative fields including publishing, advertising, galleries, film, animation, fashion, design and retail, each guest speaker offers their experience, knowledge and insight through main stage speeches, roundtable discussions, hands-on workshops, exhibitions and networking events over a 4-day period in July 2010.

The conference schedule will be posted in the coming weeks, but from the list of speakers, there is sure to be no shortage of talent, experience and wisdom present.

Outsourcing

outsourcing

Outsourcing is a pretty hot topic, especially for those of us working in-house in a corporate environment. Obviously most illustrators aren’t too excited about the idea of losing their job to someone overseas charging 3 bucks an hour. Upper management loves it; they save on wages, benefits, computers, office space, etc. At the same time they will only pass those benefits on to the customer if they really have to.

I used to be pretty dead set against the idea of sending work overseas. I had it in my head that they were just lowly factory worker types out to get our jobs. I always thought a better compromise  would be to start up satellite offices in rural America, where land is cheap and unemployment is higher. Americans having a hard time finding work would be happy to work for even $10 per hour, but the jobs would stay in the country.

My attitude changed a bit with a trip I made to China last year to train a group of 10 illustrators there, which I commented about in this post. Who I found there weren’t sneaky job stealers out for American jobs – they were young, hungry illustrators who were lucky to get an education in illustration and not have to work in factories. They wanted desperately to learn and get good at their jobs, something I’ve rarely seen with the people I’ve worked with in the US.

Advantages of outsourcing

  • They work while you are sleeping
  • Low cost
  • Quick turn around times

Disadvantages of outsourcing

  • Communication can be difficult at times.
  • Training, either by traveling to their location or late night conference calls.
  • Getting the quality of work you expect.

How to be competitive with low cost countries

Develop a diverse set of skills. Be able to execute any project your client or employer needs, be prepared to learn how, or involve yourself in it in a meaningful way. Pay attention to what is going on in your industry. Be more than just hands, be their go-to person.

Pay attention to the warning signs. If your company starts up an office in China, chances are someone is going to lose a job. Start working on a Plan B or an exit strategy.

Stay ahead of the game, our field is constantly evolving, and we need to change and adapt along with it.

As a freelancer would you consider or do you already outsource some of your work during peak work loads? Tim Ferriss, author of The 4-Hour Work Week advocates the use of outsourcing as a way to automate your life by working less and making more. If I picked up a huge contract I can’t say I wouldn’t consider it. Though I haven’t tried them, I know there are many sites out there to get you in touch with illustrators all over the world.

Honestly, I’m still on the fence about the whole thing. Of course I would like to keep jobs in the United States but the world is a different place, there are skilled, talented people all over who need jobs. Most of the stuff we own is made in china anyway. I think if it came down to it and I needed help with my work, I would try to go local first, if that didn’t pan out I would considering having the work done overseas.

What do you think?