journey concept artist

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Matt Nava and the playable art of ‘Journey’

Despite these humble beginnings, the game went on to collect scads of awards, landing on almost every “best of” gaming list imaginable. It became the fastest-selling game on PlayStation Network in North America, and even landed a Grammy nomination for Best Score for a Visual Media category, the first video game to ever receive such an honor. The game was a hit, but beyond the commercial and critical reception, Journey was clearly a work of art. Roger Ebert be damned.

But with a project like this, developed by a small team of around 12, it needed to work on all levels to succeed. Austin Wintory’s soundtrack had to be memorable. Jenovah Chen’s direction needed to be perfect. Nicholas Clark, Bryan Singh, and Chris Bell’s design needed to be spot on. But before any of that could happen, the art design needed to be exceptional. It needed to convey the message and melancholy mood of the world, and it needed to do so in a way that made the full use of the PS3 hardware without costing the independent developer more than it could afford.

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Somehow, all the pieces came together. The look of the game borders in iconic, fitting seamlessly with a brilliant multiplayer mode that doesn’t allow you to speak with the other player or communicate with them beyond the most rudimentary ways. It also has several distinct visual areas that all come to life. It all worked out. Of course, that’s easy to say now that the game has been released.

As the art director of Journey , Matt Nava was responsible for much of the look and flair of the game that went on to receive such high esteem. He made it look easy, as if the game was always in his mind, begging to get out. The truth is far less poetic, and far more grueling.

“It was a real big, blank canvas,” Nava says, looking back. “We didn’t know what it was. All we had was this basic idea of making this multiplayer gamer where the point wasn’t to kill each other, but to work together and have this bonding experience with people online that you don’t even know. Beyond that, it was kind of an amorphous thing, and we had no idea if it was going to work, so there was this kind of ambiguity.”

During the design process of the game, Nava created hundreds of different designs for the character, the world, you name it. Only a small portion of the early concept art actually made it into the game, which recently prompted the release of the book, The Art of Journey .

Written by Nava with a foreword by author Chris Melissinos, it chronicles both the development of the game and Nava’s artwork. It is a must-own for any fan of the game, or anyone interested in one of the fastest growing – and most often overlooked – forms of art being produced today.

While nongamers may not grant Journey ’s art the same level of respect that they might a classical painter along the lines of Rembrandt or Van Gogh, the approach those masters of old took wasn’t that far removed from what game designers are doing today.

Regardless of the time period and medium, any artistic endeavor exists to tell a story. Sometimes that is derived from conveying an emotion, or simply by striving for beauty, but there is a story to be had, even if it is a very singular and personal one that the artists embed in the work, and the person experiencing it re-interprets to fit their own sensibilities. Modern audiences certainly take away a different message from Renaissance art commissioned by the Church than the people of that era did, but neither interpretation is right or wrong.

“Those classical masters were making art that had to communicate, it had to convey a message, it needed to tell a story,” Nava said. “A lot of it was for the Church, showing scenes from the Bible for people that couldn’t read and things like that. But because they needed to communicate, their art needed to be refined in a certain way and they developed these amazing techniques for doing that. Video games do the same thing.

“They need to convey a message, they tell a story or they communicate gameplay with visuals and audio. So that kind of tradition of having these art techniques and using these tricks to create depth or motion with imagery and poses of characters translates directly. So I think it is kind of this continuation in a way, of that same tradition, of creating imagery that has meaning and message.”

From an early age, the younger Nava was a student of art. American illustrators like Howard Pyle became influential as he developed his own style, and he took inspiration from all sources, including video games. Fumito Ueda, the designer of Shadow of the Colossus and Ico , was one influence for Nava, as was the relatively primitive art style of Nintendo 64 games, in all their polygon-drenched glory.

Following high school, Nava was accepted into Otis College of Art and Design, one of California’s most prestigious arts schools. With a list of alumni that reads like a who’s who of 20th century artists, fashion designers, and experimental designers, the school is well known for its ability to change with the times.

There Nava met Jenova Chen, co-founder of thatgamecompany, which had recently released the game Flow . Chen developed Flow with Nicholas Clark as part of his master’s thesis. It was as much a concept as a game, but it quickly went on to be the most downloaded game on the PlayStation Network in 2007 and won several awards for best downloadable game.

The two remained in contact following Nava’s graduation, and after a few animation gigs, Nava was invited to join thatgamecompany as the art director for the studio’s second title, Flower .

“ Flower was starting to get some really good reviews – there was a lot of hype about it, and it was kind of casting this big shadow on us,” Nava recalls. “Could we make something bigger than Flower – better than Flower – that would satisfy the people who enjoyed [it]? And how could we make something even more meaningful, or different. How could we make something that would feel like it was part of the TGC franchise, but also new and exciting? It was a big challenge.”

For TGC, when approaching a game, before they even begin to consider things like gameplay or story, the first step is deciding what it wants the gamer to feel.  Everything then comes from that genesis.

“The main thing that we want is to convey a message, or to convey a mood or a feeling to the player,” Nava said. “I think that is the most important thing to begin with.”

Once the main themes and goals for Journey  were established, the work fell to Nava, who was responsible for all the concept art, as well as all the texturing. Working closely with the team from the start, Nava and TGC came up with the general idea, and then he went to the drawing board – quite literally. From there he created dozens of conceptual pieces by hand. Most were sent back, but little by little, piece by piece, the game began to take shape.

“We found what the limitations were, and we designed the game around them and spent our time working on the things we could do really well,” Nava said.

Of course, those that have played Journey will know that the game is very much left open to interpretation. There were certain guideposts to help you along and to give you a few ideas as to the nature of the world, the character, and what your quest is, but the game – like any good art – allows you to fill in certain blanks and inject your own interpretation of what it is. This was very much intentional, and solidifies the reputation that TGC has earned.

This concept was so ingrained in the making of Journey that it even infected the developers themselves, and led to several spirited debate.

“Even on the development team itself there were different interpretations about the game, and that was something we were OK with. That is what we wanted our players to experience.”

After three years of development, Journey was released on March 13. It was immediately greeted with near universal acclaim, further increasing the reputation of thatgamecompany, enough so that Sony even released the  Journey Collector’s Edition , a collection of the developer’s three games on a single disk, as well as a handful of games designed as part of a competition. The collection even features commentary tracks for the games.

Nava hopes to continue in games and further expand into animation as well. At some point in the future, he’d like to create his own IP with friends. For now though his focus on gaming, even as the industry seems to be pushing away from artistic design and more towards photo-realism.

In a way, the photo-realistic approach is almost easier. The more realistic something is meant to look, the more it can be judged as a success or failure on a technical level. Building a world based on a creative, abstract vision requires an intense amount of teamwork, as well as a group all working on the same page. Striving for photo-realism in a game is something that can be measured by anyone working on the game, but to create a world based on creativity and imagination requires trust throughout the team.

Hyper-realistic titles remain the lifeblood of the industry, and the driving force that continues to challenge developers. But on the fringes, away from the traditional gameplay, there are games like Journey that point to new possibilities, new ways to play, and even new ways to think about gaming.

Journey is potent ammunition in the battle to establish games as legitimate art. It may be one of the best examples that video gaming has potential as a medium for artistic expression, not just thrills.

The success of Journey has shown that there is an audience for games like this. They enrich us as gamers and improve the overall industry. They may also be some of the most compelling art being created in any medium today.

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Ten Years Ago, ‘Journey’ Made a Convincing Case That Video Games Could Be Art

Creative director Jenova Chen conceived ‘Journey’ as an act of rebellion against commercial games. The decidedly emotional titles it inspired forgo violence and point scoring for matters closer to the heart.

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To borrow internet parlance for a moment, Journey is a video game designed to hit you right in the feels. You play as an androgynous character dressed in a sweeping red robe, dwarfed by stark landscapes of sand and snow. Pushing the PlayStation controller’s left analog stick, you move forward, slowly at first, and then, later in the game, with exuberant speed, as if you’re surfing. Most of the time you’re alone, but if you’re lucky, you’ll come across another figure, its silhouette fluttering in the distance. You might travel together for a few minutes and then part ways, or perhaps you’ll reach the end of the game in one another’s company. Regardless, this time will feel almost miraculous—a chance encounter at the very edge of the world.

The game’s setting gleams with flecks of Gustav Klimt gold while a single towering mountain dominates the horizon. The game is called Journey for a reason, and its deliberately allegorical story curves toward tragedy, as if this is the fate awaiting us all. Unlike most games, you die only once. Rather than a cheap metaphor for failure, it’s something heavier—a crescendo, an act of self-annihilation.

Now, it’s widely accepted that games can move us in ways similar to novels, movies, or music, but in March 2012, when Journey came out on PS3, this simply wasn’t the case. Sure, there were the works of Fumito Ueda, Ico and Shadow of the Colossus —stark, artful games of the aughts from Japan that tugged more on the heartstrings than the itchy trigger finger. So too had the rise of independent games from 2008 onward given birth to a slew of newly personal titles such as Braid . Journey , however, felt different—a video game with levels, an avatar, and enemies, but that, mechanically, eschewed almost all else to focus entirely on movement. The game had cutscenes, but these were reserved for establishing shots of glinting sand rather than moments of genuine dramatic thrust. What Journey achieved—which few, if any, video games had before—was giving you a lump in your throat while you actually interacted with it. This was a big deal.

In this way, Journey helped crystallize the idea that video games could and should be more. In 2007 and 2010, respectively, Bioshock and Red Dead Redemption , games with knotty philosophical questions at their violent cores, had pushed the blockbuster shooter and open-world adventure into newly grown-up territory. But these were also time-consuming experiences that asked you to sink tens of hours into them to get to their narrative payoffs. Journey , by comparison, could be finished in 90 minutes, the length of a film. Certain kids, myself included, grew up convinced of video games’ artistic merit but lacked a work to express this conviction succinctly. Journey was the perfect title to convert churlish nonbelievers—our parents, for example.

I wasn’t the only one who felt this way. Gregorios Kythreotis, the lead designer of 2021 indie breakout hit Sable , remembers it like this, too. Kythreotis, who was 19 in 2012, had just started studying architecture, a discipline perfectly suited to the thoroughly spatial medium of 3D games. He was struck by Journey ’s confidence: It was the rare minimalist game whose carefully chosen elements had been executed exactingly. The “biggest thing” he recalls, though, was the fact that he felt he could show it to people who didn’t play video games. “They would play it and often be wowed,” he says over Zoom. “It was a lot friendlier and [more] accessible in this regard.”

Alx Preston, the creator of critically acclaimed 2016 action game Hyper Light Drifter and the recent open-world adventure Solar Ash , tells me over a video call that it was Journey ’s singular style that caught his attention. “There weren’t a ton of games out there that had this type of look,” he explains. “This type of vibe, these types of color palettes, that wasn’t focused on violence or goofy, silly cartoony things. It was carving out its own niche.”

Clayton Purdom, who was then writing at Kill Screen , one of the era’s hip new video game publications, echoes this point. (Disclosure: I wrote for Kill Screen while Purdom was editorial creative director.) “I remember interviewing someone who talked about it as a ‘dinner party game,’” he tells me over a video call. “I’m never gonna have a dinner party where we all sit around and play Journey , but it makes sense. The game’s this really digestible, concrete, audiovisual narrative experience that’s fundamentally interactive.” In 2013, a month before the game’s release, Kill Screen ran the headline : “Is Journey creator Jenova Chen the videogame world’s Terrence Malick?” The comparison doesn’t really land beyond a shared fondness for stirring panoramic landscapes, but the question speaks to a time when many were attempting to frame video games as worthy of serious cultural discussion—as if you’d talk about them with your friends in the same breath as the latest Sundance hit.

Chen, the creative director of Journey , was held up as the poster boy of this movement, and so he was first in line for criticism. In 2010, film critic Roger Ebert wrote a gamer-baiting piece titled “ Video games can never be art .” At the behest of a reader, Ebert was encouraged to check out a TED talk by Kellee Santiago, a cofounder of the studio behind Journey , thatgamecompany. Santiago made an argument to the contrary, referencing, among other games, the studio’s previous title, Flower , in which you play as the wind carrying an assembly of petals. Flower was heralded as a game changer when it was released in 2009, an emotional, nonviolent title that even a novice could play by virtue of its simple controls. (The player tilts the PlayStation 3 controller to change the wind’s direction.) In 2013, it was added to the Smithsonian’s permanent collection and described as “an important moment in the development of interactivity and art.” Ebert, however, took a different view, batting the game away with a typically terse one-liner in which he compared its aesthetic sensibility, not entirely unfairly, to that of a “greeting card.”

When I speak to Chen over Zoom, he doesn’t mention Ebert by name but references the wider discourse. It was a “sense of rebellion” that drove him to make Journey , the idea that games should appeal to an audience beyond the young men who were interested in fist-pumping shooters like Call of Duty . (These games “weren’t actually mainstream,” he says, “they just had billboards on the street.”) Linked to this was the perception of video games in his home country of China as “virtual drugs” that caused people to drop out of college and neglect their relationships.

During the early years of his pursuit of a computer science degree at Shanghai Jiao Tong University, Chen snuck into art classes. A few years later, he studied digital art and design as part of a cross-university collaboration with Donghua University. At the time, he and a friend would make video games in their college dorms, Chen art directing and his friend programming. There was little information on video game software available in China, so Chen’s partner learned about game-making from books sent over by a cousin in the U.S. Still, even while Chen was making games as a hobby, he didn’t consider it a viable career path. He intended to become an animation director like those at Pixar. “I felt like that was an industry respected by society,” he says. “I could tell my parents that I wanted to be an artist in this field and they couldn’t say it wasn’t honorable.”

Art as a career was an ongoing point of contention between Chen and his parents. He was born in Shanghai in 1981, five years after the end of the cultural revolution that sought to purge China of its pre-communist art and culture. Despite being an avid drawer, he characterizes his childhood as one devoid of art. Of these early years, he remembers that the sky was always gray except when it had just rained. The dust from the construction sites of the rapidly expanding city would lift and he’d be able to “smell the soil in the air”—for a brief time, “the sky was blue.” In an effort to steer Chen toward “respectable” employment in the modernizing country, his parents enrolled him in a coding class at the age of 10. “In China there was no plan from the government to take care of the elderly. Your kid was your retirement insurance,” he says. Despite initial misgivings about the coding classes, Chen quickly came to look forward to them thanks to the video games his classmates played before lessons.

Chris Bell, a designer on Journey who joined thatgamecompany halfway through the game’s production, says Chen possesses the complete package of skills needed to make video games. “He’s an artist, a programmer, and an engineer,” Bell tells me over a call. Having excelled in programming, Chen rekindled his childhood artistic impulse as a teenager when Shanghai began to open its door to international artists in the 1990s. On the way back from school, he’d stop off at the art galleries in People’s Square. “I would check literally every single show,” says Chen, who savored these “windows to the outside.” When it came to contemporary art, the teenager would ask a central, probing question: “Why does it deserve to be on the wall?”

Fast-forward to 2009. Chen, who had moved to the States six years earlier to study interactive media at the University of Southern California, was wrapping up production of Flower , the second of three thatgamecompany games published by Sony. (The first was a life simulator called Flow .) He was vibing off how people were responding to the game, particularly the finale of its movielike three-act structure, and he was ready to take the lessons learned at USC to the next level. But Zynga had just exploded onto the scene with its interpretation of social gaming, the hit Facebook game FarmVille . Chen remembers watching the company’s CFO give a talk at an industry conference. Having proclaimed the future of gaming as social, the CFO urged indie developers to quit their passion projects and join the company. “Everybody was pissed,” he recalls. “I felt their anger, too. I was like, ‘Who are you? How can you say that you define social games?’” For Chen, social meant an emotional connection between people, not just “trading vegetables with someone on FarmVille .”

This became the seed from which the rest of Journey grew. Chen wanted to show the world a game in which you truly emotionally engaged and connected to another person. It was another “act of rebellion,” against both Zynga’s transactional idea of connection and traditional multiplayer games filled with “foul-mouthed, teabagging” kids. When Matt Nava, the art director on Journey , interviewed to join thatgamecompany in 2008, the first question Chen asked was how he’d approach the social world of Journey : What would it look like, where would it take place, what would happen? Nava, “sweating bullets,” replied, “When you see another player in the game, through the visuals and the setting, you should immediately want to go to them. You want them to be the respite in the environment.”

Nava’s art, both elegantly minimalist and capable of summoning a deep, mythical history, is central to the success of Journey . In the same interview with Chen, Nava suggested brightly colored characters inhabiting a barren desert setting. This would become the game’s defining image. These creatures are humanoid but not identifiably human; they have bright eyes but no other facial features. The world they inhabit is filled with ruinous temples, tombstones, and sand that glints and glitters as if its very surface is dancing. When your character moves over these particles, their pointed legs deform it as if the grains have a physical presence, not just a flat, lifeless texture. Your character’s scarf, flapping in the wind like a ribbon, has a tangible quality, too, another component that tricks you into thinking this is less a computer program than an actual place of elemental forces.

You’re also swept along by Austin Wintory’s rousing soundtrack, which (in lieu of any text or dialogue) functions much like a narrator. “The music is very much a guide for the player,” says Wintory, who admits he felt a huge amount of pressure as a result of the soundtrack’s prominence in the experience. The composer was keen to avoid dictating emotions to players; rather, he wanted to create a musical environment in which they could bring their own “emotional projection into the equation.” Wintory refers to a feeling of “camaraderie” between himself and Nava; the pair would “riff a lot,” almost as if they were in a “feedback loop” with one another.

Nava, whose father is also an artist (the creator of a series of grand tapestries that hang in a cathedral in downtown Los Angeles), says he was obsessed with creating an “iconic” art style . He did so while working within the technical limitations of the PlayStation 3 and, more importantly, what he and the small team could physically produce in the allotted schedule. In the late aughts, out-of-the-box game-making software such as Unity and Unreal (now industry standards) weren’t yet widely used, so thatgamecompany had to build their own set of custom tools. In the early phase of development, Nava and graphics programmer John Edwards went back and forth constantly about what was and wasn’t possible. Ultimately, it was a case of “if you don’t need it, you don’t make it,” so they homed in on the fundamentals of the world: characters, architecture, sand, and fabric.

Despite a strong central idea and a mass of raw talent at thatgamecompany, the production of Journey was challenging. Executive producer Robin Hunicke, speaking five months after the game’s release at Game Developers Conference Europe, referred to a nearly catastrophic level of miscommunication within the team. Bell, who was hired initially as a producer and who later transitioned to a game designer role, took it upon himself to act as a mediator. Some relationships became so fraught that Hunicke described them as breaking down into “personal grudges.” At one stage, Nava arrived at work to find there was already a full-blown argument happening. He quit on the spot, only for Santiago to chase him down the sidewalk and coax him back into the building.

As time wore on, one deadline with Sony passed, and then another. The company’s finances were in such dire straits that Chen and the founding members of thatgamecompany all dropped to half salaries for the final six months of development. Nava says the team fell into the same trap as so many creators who believe that “in order to make great art, it was worth the suffering.”

During a period of acute creative drift, an exasperated Nava took it upon himself to design a level, much to Chen’s annoyance (as lead artist, this was categorically not Nava’s remit). From his perspective, there were a handful of mechanics but nothing was really sticking, so he focused instead on creating a series of “atmospheres” that the player would progress through. Nava thought back to specific “moments” he had in mind when he was painting the concept art, and then fed them back into the levels. The most famous of these sees you hurtling through a stone tunnel while a sumptuous orange sun sets to your right. “Thinking about it as moments was the real trick,” says Nava. “That’s what people remember the game for.”

The gambit paid off. When it was released on March 13, 2012, Journey received rave reviews from outlets such as The Guardian (“the best video game I have ever played”), Eurogamer (“a “sand-blown chunk of spiritual eye candy”), and IGN (“one of gaming’s most beautiful, most touching achievements”). Nava is right to point to the “moments,” which Kythreotis remembers as “a really special aesthetic experience,” as key to its creative success. But the multiplayer is integral, too—arguably an overlooked aspect of the game that to this day breathes an improvisatory life into it. Humans behave differently from AI characters; they move erratically and compulsively, both too slowly and too quickly, and this discord, which takes place against the game’s pristinely melancholic world, is vital to its balance.

Still, the production took its toll on the team. Bell and Nava both exited soon after, citing difficulties relating to the company culture. As Nava explains, they weren’t the only ones: “I don’t think many people fully understand what happened,” he says, “but [thatgamecompany] shut down basically. Everyone left.”

The studio was later revived for the production of 2019 iOS title Sky: Children of the Light , another multiplayer exploration game albeit set amid billowing clouds. In 2017, Bell returned as a designer, noting a broadly positive change in work culture. Chen was now decidedly in charge, whereas before there had been wrangling over decisions between him and his thatgamecompany cofounders. With a bucketload of VC funding rather than a Sony publishing deal, the company had more time and money to explore different ideas. Since then, thatgamecompany has continued to grow. A few days after my conversation with Chen, his company announced a $160 million investment deal alongside the recruitment of Pixar cofounder Ed Catmull, who will serve as principal adviser on creative culture and strategic growth. I suspect a younger Chen would be pleased at this development: a titan of Hollywood animation joining his artistically committed video game studio.

How should one assess Journey ’s influence? It’s not Grand Theft Auto III , a blockbuster behemoth that inspired a deluge of imitators (mostly hyper-violent open-world crime games such as Saints Row ). If you look at the following decade of games, few bear the explicit influence of thatgamecompany’s flagship title. Oceanic explorer ABZÛ and open-world puzzler The Pathless are exceptions, but these were both made by Giant Squid, the studio Nava cofounded in 2013 following his departure from thatgamecompany. Importantly, Journey showed Nava both what games could be and how not to make them, a lesson he carried into his new studio, one built on making “artistic games” in a culture that is “sustainable and happy.”

In a wider sense, Journey helped engender what we’d now call a vibe shift. Put simply, if video games mostly traded in the various emotions related to killing shit, point scoring, or problem solving, Journey was part of a new wave that broadened their dramatic texture. Purdom threads a line between Journey and small-scale interactive works such as Florence , If Found … , and, most recently, puzzle game Unpacking , each of which tells decidedly personal stories. “I think, in some ways, it did help break ground on the whole ‘games are emotional’ angle,” he says. Some titles arguably leaned into sentimentality too hard—2016’s Unravel , for example, an almost unbearably cute platformer starring a yarn of wool. Despite a slew of games Purdom refers to as “feelings porn,” Journey also led to experiences that were, for lack of a better word, more “honest.”

Purdom, however, is rightly wary of ascribing too much importance to Journey . It came out the same year as Gone Home , a first-person exploration game that centers on a queer relationship, and 13 months after Dear Esther , a macabre, William Burroughs–inspired adventure set on a blustery Scottish island. Each was influential in its own way, but the legacy of these games resides more in how they collectively pushed a different emotional, intellectual, and aesthetic agenda to the mainstream. ( Kentucky Route Zero , Cart Life , and Papers, Please are a few of my favorites from the time.) Still, these were all games you had to play on your PC with a keyboard and mouse. Journey , published by Sony for the PS3, “helped kick open the door in a more popular way,” says Purdom. “You could throw that game on and play it on the couch.”

Journey immediately became the fastest-selling game on the PlayStation Network at a time when most titles were still bought in brick-and-mortar stores. For Nick Suttner, who was working as a senior product evaluator in Sony’s third party department, the game was “perfect ammunition.” He and a small team were responsible for getting games onto the PlayStation Store in an era when resources for such titles were highly contested. “We had to fight for everything,” he tells me over Zoom. “Indies just weren’t part of the ecosystem.” The success of Journey fed into what Suttner calls a “holistic push” at Sony, which had also included a three-year, $20 million publishing fund for indie games that was announced in 2011. A year after Journey ’s release, explosive blockbusters Killzone: Shadow Fall , Destiny , and Watch Dogs dominated the PlayStation 4’s glitzy announcement, but amid all the gunfire was The Witness , a serene, first-person puzzle game. It felt like part of a sea change in priorities at Sony that Journey was partly responsible for.

However, Sony’s support for indies wouldn’t last. A few years later, when it became clear that the PlayStation 4 was trouncing the Xbox One, the company’s focus shifted back to blockbuster game development. Sony poured resources into the next generation of megahits, such as The Last of Us Part II , Marvel’s Spider-Man , and Ghost of Tsushima . Along the way, Sony’s Santa Monica Studio, which was both the developer of the God of War series and an incubator and publisher for indie developers, had a game canceled. This meant layoffs on the development side and a deprioritizing of the publishing division that had launched Journey a few years earlier.

On December 1, 2016, the indie-oriented publisher Annapurna Interactive announced its formation, led by Nathan Gary, the creative director of Sony Santa Monica’s indie development efforts. Chen, who has been variously described as a “scout” and “spiritual adviser” to the company, refers to himself as “more of a cofounder.” Having sourced investment for Journey ’s follow-up, Sky: Children of the Light , Chen was perfectly placed to introduce Gary to potential funders. After securing a deal with Annapurna, itself a film production company behind a string of auterist hits including The Master , Zero Dark Thirty , and Her , attention turned toward signing games. If there was a guiding principle, says Chen, it’s that he and Gary were looking for game makers who were ready to put an aspect of their personal life into the game. Chen describes this as an “innately artistic” approach; the creators are “honest,” saying something that is “truthful to their own lives.” Crucially, these works are more likely to resonate because, as Chen sees it, “our lives are all intertwined.” In other words, we see ourselves in these games.

Chen says Annapurna was also looking for emotional tones underrepresented in games. He mentions 2017’s What Remains of Edith Finch , a game he characterizes by its “dark humor,” and one that his former colleague Bell took a lead role in designing. Maquette , released in 2021, fits the bill, too, a decidedly Hollywood-feeling romantic drama wrapped around a mind-bending puzzle mechanic. In fact, almost the entirety of Annapurna Interactive’s roster is a reflection of the central thesis that has steered Chen’s career, namely that gaming must look beyond the 15-to-35 male demographic if it’s ever going to evolve, let alone be taken seriously.

When I ask Chen about Journey ’s influence on the wider gaming landscape, he doesn’t mention specific titles or trends, but pulls focus back onto the work itself with, to my surprise, an extended music metaphor. “If you want an orchestra to move people, then every instrument has to perform the same piece of music. Every element contributes to the storytelling,” he says. “And what we learned is that the interactivity is the soloist. It’s the lead of the orchestra in gaming. A lot of games in the past have told emotional stories— Final Fantasy , for example—but they relied on traditional media. I love it, but the moving part, the part where you cry, is when you watch the cutscenes. At that moment, what really touched you is cinema, not games.”

In a way, it’s surprising how few blockbuster games have internalized this lesson. The recently released Horizon Forbidden West is a good example. When I play that game, it moves me, but mostly because of the sense of awe I feel at its shimmering, windy world . It’s the same for Ghost of Tsushima and the Uncharted games. That’s not to deny the validity of these experiences, but their moments of personal drama are delivered without the player’s input. Journey , in its own very specific way, figured out how to make drama interactive. Purdom refers to Signs of the Sojourner , an indie card game about friendships and conversation, as a “next step” in this regard. “It’s a mechanically complex game entirely in service of inspiring these kinds of emotional experiences,” he says. “It’s like, ‘Wow, I’m feeling regret because I hurt a friend’s feelings thanks to the way these cards played out.” My own mind is drawn to Hideo Kojima’s postapocalyptic hiking simulator, Death Stranding , and the grueling slogs my character endured through snowy mountains. These interactive journeys mirrored the protagonist’s emotional arc, and each landed with greater heft as a result.

This is the magic of Journey . At the start, you move tentatively but curiously. In the mid-game, you’re cascading down dunes at extreme speed. And during the very lowest moments, you’re barely making a step at a time. Then, when you have nothing left to give, you stop moving entirely, however hard you push forward on the controller. “What Journey did really well,” says Chen, “was to make interactivity the climax—the memorable moment.”

Lewis Gordon is a writer and journalist living in Glasgow who contributes to outlets including The Verge , Wired , and Vulture .

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What is a Concept Artist — Job Description Explained

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A re you captivated by the imaginative worlds and characters that come to life in movies, games, and animation? Ever wondered who’s responsible for crafting these visually stunning creations? In this blog post, we’ll unravel the mysteries behind the role of a concept artist – the creative masterminds who breathe life into ideas and shape the visual landscape of our favorite media. 

What is a Concept Artist in Film and Media?

First, let’s define concept artist.

Concept artists are often assumed to simply create illustrations for films, but their role is far more critical in shaping a project's visual identity. Let's begin by understanding the actual concept artist definition and their multifaceted role in the creative process.

CONCEPT ARTIST DEFINITION

What is a concept artist.

A concept artist is a creative professional who specializes in generating visual ideas and concepts for various media, such as films, video games, and animation. They are responsible for designing characters, environments, props, and other elements, working closely with directors, producers, and other team members to establish the overall visual style and bring imaginative worlds to life.

Concept art is a vital part of the creative process in various industries like film, television, video games, and advertising, where artists bring ideas to life through visual representations. 

What Does a Concept Artist Do:

• Develop and sketch ideas
• Create detailed illustrations and designs 
• Collaborate with directors, producers, and other team members to refine concepts
• Produce mood boards and color palettes

Concept Artist Job Description

What does a concept artist do.

A concept artist's primary responsibility is to create visual representations of ideas and concepts that serve as blueprints for the development of characters, environments, props , and other assets.

Their work is essential in providing a clear vision for the project, guiding the production team, and ensuring consistency in the final product. Watch this video for more on what the job entails.

What People Get Wrong About Concept Art

Developing and sketching ideas based on project requirements.

Concept artists are responsible for brainstorming and generating visual ideas that align with the project's goals. This involves sketching rough concepts to quickly explore various design possibilities and present them to the team for feedback.

For example, the legendary concept artist Ralph McQuarrie played a major role in designing the worlds, vehicles, ships, and creatures in  Star Wars . We collected McQuarrie's work into a StudioBinder mood board below — just click the image link to see the entire collection.

Star Wars Concept Art by Ralph McQuarrie  •   See the entire mood board

Creating detailed illustrations and designs .

Once the initial ideas are approved, concept artists refine their sketches into polished illustrations. These detailed designs provide a clear vision of what the final assets should look like and serve as a guide for other team members during the production process.

This video addresses the skills of sketching quality and efficiency and how both are important to becoming a concept artist. 

Improve Your Sketching Speed  •  5 Minute Concept Design 

Collaborating with directors, producers, and other team members to refine concepts.

Concept artists work closely with other creative professionals to ensure that their designs meet the project's needs and expectations. They receive input from directors , producers , and other team members to make necessary revisions and improve the overall quality of their work.

Producing mood boards and color palettes 

To help define the aesthetics of a project, concept artists create mood boards and color palettes that capture the desired atmosphere and visual direction. These materials help the entire team maintain a consistent style throughout the project.

What is a Concept Artist  •  Mood board example

Providing input on the feasibility and functionality of designs.

As experts in visual design, concept artists also evaluate the practicality of their creations. They consider factors such as usability, movement, and interaction to ensure their designs can be successfully implemented in the final product.

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Skills and Schools for Concept Art

How to become a concept artist .

While formal education is not always required, many concept artists have a background in fine arts, graphic design, or animation . A bachelor's degree in these fields can provide a strong foundation of knowledge and skills, but self-taught artists can also find success through diligence and practice.

Necessary Skills

Drawing and illustration mastery : Excellent drawing and illustration skills are crucial for creating compelling visual concepts.

Digital art software proficiency : Expertise in tools like Photoshop and Illustrator is essential for creating digital artwork and refining designs.

How to Become a Concept Artist  •  Adobe Illustrator pt1

Strong portfolio : A diverse and impressive portfolio showcases your abilities, versatility, and unique style to potential employers.

Design principles knowledge : Understanding design fundamentals, color theory, and composition helps create visually appealing and coherent artwork.

Communication and collaboration : Effective communication and teamwork skills are vital for collaborating with project stakeholders and refining concepts based on feedback.

There are several entry paths for aspiring concept artists to consider. First, pursuing an art-related degree can provide a solid educational foundation. Second, gaining experience through internships or apprenticeships helps develop practical skills. 

Third, networking with industry professionals and building a strong portfolio showcases your talent to potential employers. Fourth, attending conferences and workshops allows you to improve your skills while expanding your professional network. By exploring these options, you'll be better prepared to start a successful career as a concept artist.

What is a Concept Artist Making?

Concept artist salary.

The salary of a concept artist varies depending on factors such as experience, geographical location, and the specific industry they work in. Entry-level concept artists can expect to earn around $40,000 per year, while experienced professionals can earn upwards of $80,000 annually.

Factors such as working for a large company or living in a high-cost area can also impact salary expectations.

Looking for Concept Artist Jobs

Find concept artist jobs.

Finding job opportunities as a concept artist is essential for establishing a successful career in the industry. Here are some reputable platforms and resources to help you discover job openings and network with fellow professionals.

Job Platforms 

Websites like Indeed, Glassdoor, and LinkedIn offer job listings specifically for concept artists.

Industry-Specific Job Boards 

Sites like ArtStation, CreativeHeads, and Behance have job boards dedicated to creative industries.

Company Websites

Many studios and production companies post job openings directly on their websites.

Social Media

Joining industry-specific groups and following relevant hashtags on platforms like Facebook, Twitter, and Instagram can help you discover job opportunities and connect with other professionals.

Networking Events 

Attending conferences, workshops, and industry events can provide valuable networking opportunities and lead to job offers.

If you are an aspiring concept artist, remember that you have the power to transport audiences into mesmerizing worlds and create unforgettable characters that resonate with people's emotions. Embrace your creativity, hone your skills, and stay persistent in your journey, knowing that your artistic vision has the potential to inspire and captivate countless hearts and minds.

Discover more filmmaking roles

Concept artists play a crucial role in shaping the visual language of various media, transforming ideas into captivating and immersive experiences for audiences to enjoy. To continue through our series of the various filmmaking roles and positions, you can explore similar jobs like editor , special effects supervisor , or storyboard artist . Or you can jump over to our Film Crew Index to browse the entire range of filmmaking roles. Understanding what everyone’s role on a film set is will help make you a better overall filmmaker and a more efficient crew member.

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How to Become a Concept Artist

Have you ever gazed at breathtaking illustrations in video games, movies, or graphic novels and wondered about the creative minds behind those captivating worlds? These visionaries, known as concept artists, possess an extraordinary ability to bring imagination to life through their art. They are the architects of fantastical realms, the creators of compelling characters, and the masterminds behind iconic designs.

In this article, we will delve into the realm of concept artistry, exploring what it means to be a concept artist, the diverse roles they play across various industries, and, most importantly, the essential steps and tips on how to embark on your own transformation into a concept artist. So, let your mind roam free and your creativity take flight as we unveil the secrets to unlocking your full artistic potential and transforming your passion for art into a thriving career as a concept artist.

The role and responsibilities of the concept artist

At the heart of their work is the ability to translate abstract concepts and storytelling elements into tangible and visually captivating artworks. They collaborate closely with directors, writers, and other members of the creative team, using their artistic skills to bring ideas to the forefront and shape the overall visual style of a project.

A concept artist must be adaptable and able to work across a range of artistic styles, as projects may demand realistic, stylized, futuristic, or historical representations. They start with rough sketches and progress to detailed renderings, providing crucial references for the production team.

Apart from technical proficiency in drawing, painting, and digital tools, concept artists should possess strong communication skills to convey their ideas to the team and accept feedback effectively. They must be receptive to revisions and open to collaboration while balancing creativity and practicality.

In essence, concept artists serve as the catalysts for sparking creativity and setting the visual direction of a project, shaping the worlds and characters that captivate audiences and define the essence of the final product.

Why Become A Concept Artist?

Becoming a concept artist offers the unparalleled opportunity to bring boundless imagination to life. It’s a chance to create captivating worlds, unique characters, and awe-inspiring designs that shape the entertainment industry. The role allows for artistic freedom, constant creativity, and the ability to work on diverse projects, from video games to films. Concept artists hold the power to influence storytelling and visual aesthetics, leaving a lasting impact on audiences worldwide. Embracing this profession means embarking on a thrilling journey where passion for art meets the thrill of creating extraordinary and immersive experiences for others to enjoy and cherish.

Qualities, skills and good practices

Concept artists need to be versatile and adaptable, capable of working across various artistic styles and genres to meet the specific requirements of different projects. The capacity to tell visual stories through art is crucial. Concept artists must be able to convey emotions, personalities, and narrative elements within their creations.

Good research practices enable concept artists to draw inspiration from various sources, enhancing their designs with real-world influences and historical references. Effective communication skills are vital for collaborating with creative teams, directors, and producers. Being receptive to feedback and open to collaboration ensures the final vision aligns with the project’s objectives.

The art industry constantly evolves, and concept artists must stay updated with new tools, techniques, and trends to remain competitive and improve their craft.

Concept artists must pay meticulous attention to detail, ensuring their designs are precise and consistent, thus creating a polished and professional final product. Building a strong and diverse portfolio showcasing various styles and projects is key to gaining visibility and securing opportunities in the competitive concept art field.

The Different Types of Concept Art

Concept art encompasses various types, each serving distinct purposes in the creative process. Character concept art focuses on designing and visualizing protagonists, villains, and supporting cast. Environment concept art brings landscapes, cities, and settings to life. Prop concept art involves crafting objects, gadgets, and items integral to the story. Vehicle concept art designs futuristic or fictional transportation. Keyframe concept art captures pivotal moments or scenes, guiding the visual direction. Costume concept art outlines attire and attire for characters. Matte painting concept art creates detailed backgrounds and extensions. Each type plays a crucial role in shaping the overall aesthetics, storytelling, and visual coherence of projects in industries like gaming, film, animation, and more.

Character Concept Art

Character concept art is a form of visual storytelling that involves the creation and design of fictional or real characters for various media, such as video games, films, and animations. Character concept artists use their artistic skills to bring these characters to life by illustrating their appearances, personalities, costumes, and unique features. This art form is crucial in establishing the visual identity of characters, enabling the creative team to envision and develop the personas that will resonate with audiences, evoke emotions, and enhance the overall narrative of the project.

Environmental Concept Art

Environmental concept art is a visual representation of imaginary or real landscapes, settings, and environments for creative projects like video games, films, and animations. It involves the use of artistic skills to illustrate intricate details, atmospheric elements, and the overall ambiance of the world in question. Environmental concept artists play a crucial role in establishing the mood, tone, and visual coherence of the project, guiding the production team in crafting immersive and captivating backdrops that complement the narrative. This art form breathes life into the worlds within these media, evoking emotions and transporting audiences to fantastical or realistic realms.

To become a concept artist, follow these steps:

• Build a Portfolio : Create a diverse portfolio showcasing character, environment, and prop designs in various styles.
• Learn Software : Familiarize yourself with digital art tools like Photoshop, Illustrator, or 3D software.
• Study References: Observe real-world references, historical art, and other concept artists’ work to enrich your designs.
• Pursue Education : Consider formal art education, academies or online courses to refine your skills and gain industry insights.
• Network and Collaborate: Connect with professionals, attend workshops, and collaborate on projects to gain experience.
• Seek Internships or Freelance Work: Apply for internships or take freelance gigs to build your resume.
• Apply and Persist: Apply to concept art positions and remain persistent, honing your skills and learning from rejections to grow as an artist.

Concept artists can acquire a proper education through various avenues, depending on their preferences, resources, and career goals. Here are some common paths to consider:

Traditional Art Schools

Many renowned art schools and universities offer specialized programs in fine arts, illustration, or digital arts. These institutions provide comprehensive curriculums, experienced faculty, and access to valuable resources like studios and art libraries.

Entertainment Art Schools and Academies

Several schools focus specifically on concept art and entertainment design. These institutions tailor their courses to meet the demands of the industry, teaching skills like character design, environment art, and storytelling.

Online Courses and Workshops

Numerous online platforms provide concept art courses led by industry professionals. These options offer flexibility and affordability, allowing aspiring artists to learn at their own pace.

Industry Workshops and Conferences

Attending concept art workshops and conferences, often held by established artists or studios, can provide valuable insights, networking opportunities, and exposure to industry trends.

Many concept artists are self-taught, using online tutorials, books, and practice to develop their skills. While this requires discipline and dedication, it offers flexibility and the ability to learn at one’s own pace.

Creating a Concept Art Portfolio

Creating a concept art portfolio is essential for showcasing your skills, style, and versatility to potential employers or clients. Here’s a step-by-step guide on how to build an impressive concept art portfolio:

• Define Your Focus: Decide on the type of concept art you want to specialize in, such as character design, environment art, or props. Focusing on a specific area will help demonstrate your expertise.
• Gather Strong Artworks: Select your best and most relevant artworks to showcase. Aim for a well-rounded portfolio that displays various styles, moods, and techniques.
• Pay Attention to Presentation: Arrange your portfolio in a clean, organized, and visually appealing manner. Consider creating a simple website or using portfolio platforms like ArtStation or Behance.
• Tailor for the Industry: If you’re targeting a specific industry, customize your portfolio to align with its requirements and aesthetic preferences.
• Solicit Feedback: Seek feedback from fellow artists, mentors, or online communities to improve your work and gain valuable insights.
• Quality Over Quantity: Choose quality over quantity. Aim for a focused portfolio with a limited number of strong pieces rather than overwhelming viewers with mediocre artwork.

Many concept art positions are filled through word-of-mouth referrals and personal connections. Networking increases the likelihood of discovering job openings and getting recommended for projects. Networking enables concept artists to seek feedback from peers and experts, helping them refine their portfolio and identify areas for improvement.

Networking facilitates finding artists with complementary skills and interests to collaborate on personal projects. This expands creative horizons and portfolio depth.

In the competitive concept art industry, networking goes beyond mere self-promotion; it’s about building genuine connections and contributing to the artistic community. By nurturing relationships and actively participating in industry events, concept artists can cultivate a strong professional network that propels their career forward and opens doors to fulfilling opportunities.

Taking Inspiration from Other Great Concept Artists

Taking inspiration from other great concept artists is vital for personal growth and artistic development. It exposes you to diverse styles, techniques, and imaginative approaches, expanding your creative horizons. By studying their work, you can learn new skills, gain fresh perspectives, and understand the industry’s current trends. Drawing from established artists’ successes and innovations provides valuable insights into storytelling and design, helping you refine your own artistic voice. Ultimately, this practice fosters continuous improvement and empowers you to create unique and captivating concept art that resonates with audiences and stands out in a competitive field.

If you find yourself yearning to explore the boundless possibilities of your imagination and are passionate about art, then the path of a concept artist might be the perfect avenue for you. However, the journey from aspiring artist to accomplished concept creator is an exhilarating yet challenging one, filled with creative exploration, skill-building, and dedication. Proper industry-approved education in concept art is also essential on the road to becoming a professional concept artist. 

You might also like: How to Make Concept Art that Stands Out What are the Different Types of Game Concept Art? How to Learn Concept Art for Beginners

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Embracing the Artistic Journey: Navigating an Identity Crisis in Art

Updated: Sep 12, 2023

The artistic journey is a tapestry of growth and transformation, as artists evolve and refine their creative expressions. However, this process of evolution can sometimes lead to an artistic identity crisis, where artists question the direction of their work, their unique style, and their artistic purpose. This uncertainty can be both disorienting and introspective, sparking a period of self-questioning and contemplation.

Embracing Change and Evolution:

Artists are not static beings; they are constantly evolving and responding to the world around them. Embracing change in their art is an essential part of growth, but it can also bring about moments of artistic identity crisis.

1. The Evolving Artist:

As artists gain new experiences, encounter diverse influences, and experiment with different techniques, their artistic style naturally evolves.

2. The Search for Authenticity:

Artists may feel the need to align their work with their authentic selves, leading to a period of exploration and self-discovery.

3. The Fear of Losing Direction:

During an artistic identity crisis, artists may fear losing their creative compass and question the direction they should take.

4. The Struggle with Comparison:

Comparing one's work to that of other artists can amplify feelings of self-doubt and uncertainty.

Finding Clarity in Uncertainty:

While an artistic identity crisis can be challenging, it is also an opportunity for growth and creative exploration. Here are some strategies to navigate this period of uncertainty:

1. Embrace the Process:

Acknowledge that change and evolution are natural in any artistic journey. Embrace the process of growth and allow yourself the freedom to explore new creative paths.

2. Reflect on Your Artistic Journey:

Take time to reflect on your artistic journey so far. Revisit your earlier works and observe how your style and themes have evolved.

3. Trust Your Intuition:

Follow your artistic intuition and let your heart guide you. Listen to your inner voice, for it holds the key to your true artistic identity.

4. Experiment with Abandon:

Allow yourself to experiment without judgment. Explore new mediums, styles, and techniques to reignite your creative spark.

5. Seek Inspiration from Within:

Look inward for inspiration. Connect with your emotions, experiences, and personal narratives, for they are the wellspring of authentic art.

An artistic identity crisis is not a sign of weakness or failure but a natural phase of growth and self-discovery. Embrace this period of uncertainty as an opportunity to delve deeper into your artistic essence and explore new horizons. Remember that your art is a reflection of your soul and experiences, and it will naturally evolve as you do.

Allow yourself the grace to explore and experiment, without the burden of external expectations or comparison. Trust in your artistic intuition and the uniqueness of your voice. Embrace the fluidity of your artistic identity, for it is the essence of growth and the gateway to new possibilities. As you navigate this creative journey, remember that every step is a brushstroke on the canvas of your artistic evolution, creating a beautiful mosaic that embodies your true artistic self. Embrace the process, cherish the growth, and celebrate the profound transformation that comes with being an artist.

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Beginner's Guide to Becoming a Concept Artist

Starting your journey as a Concept Artist is super exciting, but it's going to take time and a lot of effort. The journey is 100% achievable and deep down, you know it's right for you.

How to start learning Concept Art?

Starting your journey in Creative Media & Entertainment is super exciting, but it's going to take time and a lot of effort. The journey is 100% achievable and deep down, you know it's right for you. It's just a matter of starting. The goal of this article is to help with that. You might not be ready to get certified yet, and it might all seem like a distant dream right about now, but you've already taken the first step which is the hardest part.

Let's break down what you will find in this Beginner's Guide to help you on your journey:

What is a Concept Artist?

Career paths for concept artists.

• How much money can you make
• What to expect on the job
• Software you should start learning
• Top Schools and Colleges that can help you learn
• Examples of incredible digital portfolios
• Communities and Blogs you should join
• Companies that could hire you
• Essential books and resources
• General Advice and Tips

All productions have to start from somewhere. A character to be animated doesn’t just appear. What does it look like? How does it’s face express emotions? What does the environment look like around the character? Dark and gloomy or happy and cheerful? The story, look and tone need to be established before any other department in the pipeline can start their work. This is where the Concept Artist comes in. They help create the foundations that the rest of the pipeline builds upon for a film, animation or video game.

Some people just can’t imagine the bigger picture. They need the bigger picture to be put right in front of their eyes to understand what is going into their production. The Concept Artist has a vital role in selling ideas to the VFX Supervisor, Director and Executive Producers at the film studio.

A Director may have a rough idea of what they want with their script, but it’s up to the Concept Artist to bring that idea to life. The Concept Artist can be asked to create concept drawings for anything, including; characters, environments, props, weapons, vehicles, costumes and anything else that needs to be fleshed out before it moves down the production pipeline. A Concept Artist could spend their career drawing all different kinds of things depending on the needs of the production, or have a core specialisation that a company hires them specifically for.

Concept Artists are needed by all types of industries. They are the visionaries and creators of intellectual property so you will always be in high demand. Your ability to translate text to visual images crosses all sorts of boundaries and will allow you to move across industries that technically don't even exist right now. These are the most popular career paths right now with the most direct access paths. For this reason, they should be at the top of your list.

Visual Effects

The process by which imagery is created or manipulated outside the context of a live action shot in filmmaking and video production.

3D Animation

3D animation includes content specifically created for feature animated films and short films, with all elements being 100% computer generated.

Game Design & Development

The process of designing and developing a video game for PC, Console, Mobile and immersive media platforms.

How much does a Concept Artist make?

The national average salary for a Concept Artist is US$75,038 per year in United States. Salaries range from US$47,000 - US$125,ooo

This salary estimate is based on 264 salaries submitted anonymously to Glassdoor by Concept Artist employees.

What to expect on the job at a VFX Studio?

The studio is bidding for a new sequence on a film in development. To win the contract, they need to show evidence as to why they deserve the job. The VFX Supervisor will review any notes or scripts provided by the film studio. As the Concept Artist, you would then be briefed on what they need to provide back to the studio to complete the bid. Once completed, you would get feedback on the work from the VFX Supervisor, which may include the VFX Supervisor drawing and writing notes over the concept to detail exactly what they want changed.

Depending on the type of sequence and production, you might need to concentrate on something in particular; an environment, a character or a prop. You need to design different iterations of the concept to provide back to the film studio to support the companies bid for the work. If the company successfully wins the sequence, you would further develop the design to a final stage to hand down to the rest of the pipeline for them to start building their work.

You need to be dedicated and proactive to become a Concept Artist. There is an expectation to draw almost everyday to develop your skills, an axe doesn’t sharpen itself. It is required to have complete command and understanding of the art fundamentals; colour, composition, value, form, brushwork, and perspective. You have to be flexible, your art style might not suit the project so you will have to adjust it to suit the needs of production.

The concept art style for Universal Pictures greatly differs from the style needed for Pixar Animation. This goes without saying; you have to be creative. You can be talented technically but without the creativity and imagination to fuel the designs you may struggle to meet a brief. Functionality is also key, the work you produce has to be grounded in some sort of reality.

Software that Concept Artists should learn

There are plenty of software packages out there competing for your attention. The most important thing when starting out is to find one that suits your budget, hardware setup, and that you enjoy. Here are some great packages to get you started

photopea.com

Top 10 Concept Art & Illustration Schools

The Rookies has been ranking creative media and entertainment schools since 2009 with a simple goal of helping aspiring artists find trusted schools to help them forge successful careers in games, visual effects, animation, arch viz and other creative fields.

With this simple goal, the Rookies World School Rankings® has become a trusted and industry respected system for showcasing the very best education facilities available to students today.

What sets The Rookies apart from other school and college rankings systems is that their rankings are based on the quality and performance of student work that is completed at school. To collect this data, each year students submit their best work to the Rookie Awards to be reviewed by a panel of industry professionals. They receive over 4,000 portfolios by students at over 500 schools and colleges around the world which is a whole lot of interesting data that is the basis for our annual education ranking system.

The following is a list of the Top 10 Concept Art & Illustration Schools in the World.

Concept Artist Portfolios

Like all careers in Creative Media & Entertainment, you will need an impressive digital portfolio to showcase your skills. The following links are to portfolios that have been created by some of the best junior artists in the world.

Félix Donadio

Jordan soar, kiara leneuf, samuel amar, nate thorman, jeanne plounevez, felysia chew, tai bennett, edwin vorng, mathieu lim, essential communities for concept artists.

Starting out as a Concept Artist can be pretty daunting, but the good news is that the community is super friendly and supportive. We are all super passionate about our little industry and we've all been in your position so we know what it feels like.

The number one community that we recommend is The Rookies , and it's for good reason. They have a simple mission, to help people go from novice to professional in 5 steps .

The team knows nothing feels better than working in creative industries for that first year , just like Rookies do in major league sports. That feeling of accomplishment after putting in so much hard work and perfecting your skills. This is what they can help you achieve with access to free training, live sessions, access to professional mentors, huge contests and challenges. The best part is the whole experience is gamified and you can earn industry recognised badges and certificates.

Top Companies that employ Concept Artists

Concept artists are always in high demand. Films are not slowing down, Netflix is not going anywhere and advertising agencies are always trying to push the barriers of advertising campaigns. There is also a growing need for visual effects artists in architecture firms, product design studios and tech startups. Here is just a small taste of some the bigs names that you could have on your resume.

Atomic Fiction

Digital Domain

Jellyfish Pictures

Method Studios

Moving Picture Company

Rooster Teeth

Rotomaker Studio

Scanline VFX

Sony Pictures Imageworks

The Orphanage

The Third Floor

Zoic Studios

Essential reading for visual effects artists.

There are plenty of amazing books out there that will provide you with knowledge to help you improve as a visual effects artist. So take a step away from the computer, grab one of these books and be inspired.

Some Words of Advice

If you have read this far it means you are motivated and excited about a career in Creative Media & Entertainment. These industries are relatively new, highly competitive, but are also incredibly rewarding on a personal level. Here are a few things to consider:

• creative industries opens a lot of doors to travel the world
• there are plenty of opportunities out there, and it's not slowing down.
• your skills can be used in Television, Advertising, Architecture, Automotive Industry, Medical, Games, Visual Effects, and these are only set to grow over the years.
• career progression into senior management roles is quite common. There are studio executives that started as runners and junior artists.
• artists can win Oscars, help solve medical problems, visualise cities and even space. Imagination really is the only limit here these days.
• focus on your fundamental art skills, whether it's film, drawing, music, writing, technology or gaming. It all helps.

Sign up for more like this.

Gain a competitive edge in the job market by demonstrating your mastery of core creative media skills.

Certifications

An Artistic Journey of a Concept Artist

Concept Artist and Illustrator Jessica Geis talked about her artistic journey throughout the years, shared some behind-the-scenes info about the Hearthstone-inspired projects, and told us how studying at CG Spectrum helped her career.

Introduction

Hello! My name is Jessica Geis and I am a Concept Artist and Illustrator. Over the past few years, I have been developing my style and portfolio in hopes to work in the video game industry!

As it is with many artists, I have been drawing pretty much my whole life. I went to school at Santa Clara University in Northern California to pursue a degree in Art and Art History. I actually focused on graphic design and did several freelance projects throughout my time in college. After I graduated in 2019, I decided to switch avenues.

Joining CG Spectrum

I started my time at CG Spectrum the fall after I graduated from Santa Clara in 2019. I actually just stumbled upon CG Spectrum while I was browsing the internet, and I didn’t really know what concept art was at the time. I thought this might be something I could give a try. The more time I spent with my mentors and the projects, the more I realized that I had found my true passion. My goals were to one day work in the video game industry as a Concept Artist and Illustrator.

Throughout my classes in concept art and illustration, I found out that there are many similarities and differences between the two categories. My two mentors both had their own unique styles and ways of approaching art, which was really helpful in developing my own personal workflow. One of my mentors focused heavily on creating precise photo comps to help create illustrations without any guesswork. My other mentor focused more on the fundamentals of concept art rather than the final outcome. I would say that learning under both mentos gave me a good grasp on how important it is to have a solid plan for a piece, but always be prepared for creative changes. They also helped me focus on creating my own brand and style, and steered me towards content I was passionate about.

Hearthstone-Inspired Projects

I am a huge fan of the games of Blizzard Entertainment, such as World of Warcraft and Hearthstone. I would say that the style and tone of Hearthstone are what make it a bigger inspiration for me over WoW. For example, my card Righteous Defender was one of my first attempts at creating my own Hearthstone card. It presented a few challenges, as I not only created the design of the character from scratch, but I was still trying to discover my style. After some initial rough sketches, it was time to find some solid references.

Luckily, the World of Warcraft website has models for a lot of their characters, so I was able to put together a relatively sound photo compilation. I first used Daz to model out a pose, then I went to the website and found poses that were similar and “frankensteined” them together. Because the work of Hearthstone is a bit more stylized, it gave me some artistic liberties to play with color and saturation. I spent many hours studying the color and value of other cards in order to nail the Hearthstone style.

Another element of Hearthstone I love is their beautiful card backs. They are a unique challenge as they are centered more on abstract design elements rather than a usual illustrative composition. I had to keep in mind the structure of every card, as they all follow a similar format. I used many different tools in Photoshop, especially the Radial Symmetry tool for my card sketches. This tool is super helpful in getting that strong symmetry that every card has. Hearthstone card backs focus a lot on specific material rendering, meaning it is important to make each piece (whether it be wood or grass) feel different.

Besides continuously working on my portfolio, I’ve been trying to work on games and get some real-world experience. Over the last couple of months, I was able to help create character concepts for a new game called Rocklen, which is still in early development. It was really cool to work on an actual game, and seeing the modeler bring my characters to life was very rewarding! 

As a concept art student, I was always trying to practice different approaches to see what would work best. Every mentor has a different workflow, and all they can do is show it to you in the hopes that you will pick up something that will work for you. The main goal of my time at CG Spectrum, aside from learning the fundamentals, was figuring out where I wanted to take my art. I used to think I wanted to be a realist artist, but I realized that I was fighting against myself. Once I dug into more of a stylized realism, I knew that was the road I wanted to take. I encourage everyone to take some time to EXPLORE everything about art, from the way you think about it to the way you design. 

Jessica Geis , Concept Artist and Illustrator

Interview conducted by  theodore nikitin, join discussion, you might also like, we need your consent.

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10 Shows to See in Venice During the Biennale, From a Pierre Huyghe Blockbuster to Art About Palestine

By Alex Greenberger

Alex Greenberger

Senior Editor, ARTnews

Italy’s Venice Biennale, the world’s biggest art festival, would be big enough if it were limited to merely its main venues, the Arsenale and the Giardini. But the sprawling show has gradually expanded beyond these sites as other seek to get in on the action, piggybacking on the central show and accompanying national pavilions by staging their own exhibitions alongside it.

Enter the phenomenon known as the “collateral event,” or a show that is technically mounted outside the confines of the Biennale but has been given the official stamp of approval by the Biennale’s foundation. Most collateral events are, to be sure, pay-to-play affairs. They are underwritten by major galleries or foundations, typically, and are lent authority by branding themselves with the Biennale’s logo.

For that reason, most collateral events are no more notable than the average gallery show. Yet every so often, one comes along that is worth seeing. And that’s not to mention the institutional shows that are being staged by museums and foundations across the city.

Below, ARTnews has collected 10 shows to see during the Biennale.

“Pierre Huyghe. Liminal” at Punta della Dogana

Expect the talk of the town this Venice—non-Biennale-wise, at least—to be the latest creation from Pierre Huyghe, an artist whose restless imagination has led him to utilize in his work materials as diverse as AI, live bees, and the ground beneath an exhibition space. The increasingly fuzzy relationship between the human and the nonhuman has been a longstanding concern for Huyghe, who had been mulling the topic well before DALL-E, ChatGPT, and the like, as past works included here will demonstrate. (The show itself is not quite a survey, not quite an exhibition of new work, but something in-between.) But Huyghe still has that query on his mind, too, and will broach it once more with the exhibition’s titular artwork, Liminal (2024), a moving-image work that is being teased with an image of a nude person with a black hole for a face—“an experiment, the simulation of a speculative human condition,” per the exhibition’s guide.

Dorsoduro, 2; Closest vaporetto stop: Salute

“Christoph Büchel: Monte di Pietà” at Fondazione Prada

The title of this show from Swiss provocateur Christoph Büchel takes its name from an Italian institution that provided poor people with access to loans, essentially offering an alternative to having to seek financial relief from corrupt families with lots of money. Before it was an art museum, the Fondazione Prada’s Venice building hosted one such Monte di Pietà outpost; Büchel will here use that history to explore the concept of debt more broadly. Among the objects on view will be The Diamond Maker (2020–ongoing), a diamond-encrusted suitcase whose stones were grown in a lab with materials derived from Büchel’s unsold art. Past works by the artist that have been shown in Venice were followed by allegations of exploitation and opportunism . Whether this show will face similar accusations remains to be seen.

Calle Corner, 2215; Closest vaporetto stop: San Stae

“Janus” at Palazzo Diedo

Venice’s newest art space is the Palazzo Diedo, a site operated by collector Nicolas Berggruen that has the aspiration of becoming one of the city’s must-see venues. The lineup for its first exhibition, “Janus,” suggests that the space is already on its way to achieving that goal. Featured here will be 11 commissions by a range of celebrated artists, from well-known figures, like Sterling Ruby and Lee Ufan, to up-and-comers such as the London-based Rhea Dillon, who will show a new sculpture featuring a mahogany cross that is set to leak water onto the floor of the building. It’s one of the many ways that the artists will engage the history of the palazzo, an 18th-century structure that was once the property of an aristocratic family.

Fondamenta Diedo, 30121; Closest vaporetto stop: S. Marcuola Casino

“Re-Stor(y)ing Oceania” at Ocean Space

This art space dedicated to commissions about bodies of water and their politics is this time turning its focus on two Indigenous artists from the Pacific: Latai Taumoepeau and Elisapeta Hinemoa Heta. In a two-person show curated by artist Taloi Havini, both exhibiting artists will be showing new installations that take up forms of Indigenous knowledge and resistance. Taumoepeau, an artist from the Tonga kingdom, will show Deep Communion sung in minor (archipelaGO, THIS IS NOT A DRILL) , a choral work meant as a protest against deep sea mining. Its sounds can be heard within the galleries, sometimes while local athletes perform within. Meanwhile, Heta (Ngātiwai, Ngāpuhi, Waikato Tainui, Sāmoan, Tokelauan) is showing The Body of Wainuiātea , which similarly relies on music to encourage new modes of communion with the ocean.

Campo S. Lorenzo, 5069 ; Closest vaporetto stop: Ospedale

“All African People’s Consulate” at Castello Gallery

When the art world converges in Venice this week, it will represent a multinational coalition of people who’ve had the privilege to transgress borders. But the unfortunate fact is that not everyone can pass through their countries’ bounds, and an aspiration toward a different state of living guides this project by Dread Scott, who here envisions a consulate for “an imaginary Pan-African, Afrofuturist union of countries, promoting cultural and diplomatic relations,” according to a description of the show. Brought to Italy by the Africa Center and the Open Society Foundations, the presentation will allow people of African descent to apply for a passport to this fictional union and all others to obtain a visa to it.

Castello, 1636; Closest vaporetto stop: Giardini “A”

“Landworks, Collective Action and Sound” at Magazzino Gallery

The elephant in the room at this Biennale will be the war in Gaza, a topic that has already led thousands of artists to call for a boycott of the Israeli Pavilion . The list of collateral events contains just one project dealing with Palestine: “Landworks, Collective Action and Sound” presented by Artists and Allies of Hebron, a group cofounded by activist Issa Amro and photographer Adam Broomberg, who worked in collaboration with Dar Jacir for Art and Research, a Bethlehem art center founded by artist Emily Jacir. The show will include a spread of artworks, both by Palestinians and non-Palestinians, that deal with the West Bank. Broomberg, working with Rafael Gonzalez, has produced for the show a series of photographs of centuries-old Palestinian olive trees that many have warned are being imperiled by Israeli military action. In picturing the trees, the artists seek to showcase the “presence and resilience of the Palestinian people and their relationship with the land,” per a statement about the photographs.

Sestiere Dorsoduro, 874; Closest vaporetto stop: Accademia

“Jean Cocteau: The Juggler’s Revenge” at Peggy Guggenheim Collection

While contemporary art abounds in Venice during the Biennale, scholarly exhibitions of modern art are generally few and far between. This retrospective for French multihyphenate Jean Cocteau is the rare historical show worth seeing this time around. Art historian Kenneth Silver has been brought on to curate the show, which upholds Cocteau as a figure who did more than simply collaborate with artistic figures such as Pablo Picasso, Sergei Diaghilev, and others. Rather, as Silver asserts with this show, Cocteau sought to master many different mediums, from dance to painting to film—although, depending on who you asked during his lifetime, he was not always particularly successful at any of them. His dalliances with Dada, Surrealism, and other European avant-gardes are on full display here.

Dorsoduro, 701-704; Closest vaporetto stop: Accademia

“Elias Sime: Dichotomy ፊት አና ጀርባ jerba” at Spazio Tana

Many of Elias Sime’s works seem like abstract paintings in reproductions. In fact, the Ethiopian artist’s most famous pieces are composed of computer parts—wiring, keyboard pieces, and the like—that he has recycled to form vast arrays of stuff. Those pieces, with their trenchant commentaries on technological trash coming to the Global South from the West, have been a hit with critics. Having appeared in the 2022 Biennale, Sime returns to Venice with this show organized by Germany’s Kunstpalast Düsseldorf, which will next year give him a proper retrospective. In addition to abstractions formed from smartphone bits, the show will feature a new sculpture formed from stone.

Fondamenta de la Tana, 2111; Closest vaporetto stop: Giardini

“Yoo Youngkuk: A Journey to the Infinite” at Fondazione Querini Stampalia

Yoo Youngkuk’s abstractions of the 1960s and ’70s are radiant, bright, and enchanting, filled with contrasting planes of color that contain their own strange harmony. With their mountain-like forms and their swatches of effervescent yellow, they can often seem to represent imagined landscapes. But in representing nature with few details, Yoo found a minimalism that made him one of South Korea’s foremost modernists. Here, the late painter will be represented by 30 paintings, along with drawings, prints, and archival materials.

Campo Santa Maria Formosa, 5252; Closest vaporetto stop: Rialto

“Shahzia Sikander: Collective Behavior” at Palazzo Soranzo van Axel

The Pakistan-born, US-based artist Shahzia Sikander has been credited with helping to revive contemporary interest in Persian miniature painting, the tradition that sets figures within ornate, tiny images of buildings. Sikander’s miniatures, however, are unruly and unrestrained—they are filled with fantastical beings and references to bloodshed that would’ve been out of place centuries ago. Much of her art functions this way, with allusions to the conflicts of the present that also invoke Mughal and Hindu iconography of the past. Ahead of a more comprehensive survey for next year, the Cincinnati Art Museum has teamed up with another Ohio institution, the Cleveland Museum of Art, to present a sampler of Sikander’s work that also includes new glasswork.

Fondamenta Van Axel o de le Erbe, 30121; Closest vaporetto stop: F.te Nove

Dominique Crenn’s Petit Crenn Is Reopening This Summer but Will Close Permanently in the Fall

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Miu Miu canvas and leather bucket bag, $2,050

Miu Miu is one of the buzziest brands in fashion right now, and for spring and summer, the Prada Group label has delivered bags that are perfect for a jaunt to Malibu, Newport Beach or Manhattan Beach. This canvas and leather bucket bag has a front leather lettering logo, adjustable leather handle, a linen lining, gold-tone hardware and leather drawstring closure — all adding to the bag’s charm.

Purchase 👉🏽 here .

Celine sunglasses, $440

Animal prints are everything right now, and the message you’ll send wearing these women’s squarish-frame sunnies from Celine is that you’re fashionable with a slight wild side. Along with Leopard Havana, the sunglasses also come in three subdued color options: light pink, black and white. All come with a crossbody pouch.

Palm Angels PA 4 sneakers, $620

For Italian fashion brand Palm Angels’ spring and summer collection (pieces generally range from $300 to $4,500), the vibe is once again all about the City of Angels — and for good reason, right? Just check out the new styles of the brand’s PA 4 kicks that feature palm trees stitched on the sides.

Cult Gaia Celia one-piece swimsuit, $328

Cult Gaia’s Celia one-piece swimsuit should be tucked into your luggage for a trip to Palm Springs or St. Barts. The swimsuit, which comes in black and a matcha-looking color called tea, has a high-thigh cut, low back and wired neckline. Sizes range from XXS to XL.

Tumi Extended Trip Expandable 4 Wheeled Packing Case, $950

Unless you’re flying private, you know how it goes at the luggage pickup: Figuring out which black bag on the conveyor belt is yours. Stand out with this lightweight Tumi suitcase in halogen blue that has a recycled polycarbonate shell, an integrated TSA lock and a dual-compartment zip pocket. You can monogram it as well as buy it in other colors: hunter green, black, navy and red.

Saint Laurent Rive Droite mini speaker, $80

Instead of earbuds, play the new Beyoncé album poolside, with this portable speaker from French brands Saint Laurent Rive Droite and Lexon. The Mino mini speaker works via Bluetooth and is compact, rechargeable and comes in a bright colors: mustard, Majorelle blue, bright red, fuchsia violet and aqua.

Orlebar Brown Bulldog swim shorts, $395

How do you tell everyone you’re from SoCal without saying it? Get your hands on these Bulldog swim shorts from Orlebar Brown that feature a 1957 Slim Aarons photo of cars parked outside the Beverly Hills Hotel on Sunset Boulevard. The mid-length swim shorts are made from printed recycled polyester and have adjustable side fasteners.

Prices and availability of items in Coveted are subject to change.

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Marques Harper is a deputy features editor at the Los Angeles Times. He previously covered fashion for the Austin American-Statesman and media and culture for the Roanoke Times. A native of New Jersey, he has a B.A. in English from Rutgers University and an M.S. in digital media management from the University of Southern California.

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The Hobbit: An Unexpected Journey Concept Art by Andrew Baker

Creature and character designer Andrew Baker was kind enough to share some of the Goblin and Stone Trolls concept art that he created for The Hobbit: An Unexpected Journey . His work showcases a variety of designs created in both Photoshop and ZBrush. Be sure to check out his blog for more concept art.

Link: andbakerdesigns.blogspot.com

All images used with permission by the artist. © Warner Brothers Entertainment Inc.

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Dune (2021) concept art by joseph cross, the mandalorian concept art by nick gindraux, x-men: dark phoenix concept art by sebastien larroude.

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Cleveland Museum of Art transcends Eurocentric art history in ‘Africa and Byzantium’

• Updated: Apr. 11, 2024, 8:10 a.m. |
• Published: Apr. 11, 2024, 7:45 a.m.

• Steven Litt, cleveland.com

CLEVELAND, Ohio — Art history is bigger, richer, more complicated, and more wondrous than you might think. It can also hit close to home, no matter how remote in time and place an artwork may seem.

Those are some of the hidden and not-so-hidden messages in “ Africa and Byzantium ,” the mind-expanding show opening Sunday as the Cleveland Museum of Art’s flagship spring exhibition.

Stories by Steven Litt

• Hear author Richey Piiparinen read from his new book “Octopus Hunting’' at Mac’s Backs Saturday
• Cleveland Museum of Art buys depiction of Hell from Dante’s ‘Inferno’ by nephew of Leonardo da Vinci
• RTA scores $700k federal grant to plan bus rapid transit line between Cleveland, Fairview Park, North Olmsted
• Cleveland Museum of Art opens meditative mini-tribute to Monet with borrowed works from Paris

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Art of craft

She Slept With a Violin on Her Pillow. Her Dreams Came True in Italy.

As a teenager in South Korea, Ayoung An decided to become a violin maker. Her journey eventually took her to Cremona, Italy, a famed hub for masters like Antonio Stradivari.

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Text by Valeriya Safronova

Photographs and Video by Sasha Arutyunova

Reporting from Cremona, Italy

• April 4, 2024

Art of Craft is a series about craftspeople whose work rises to the level of art.

When Ayoung An was 8, her parents bought her a violin. She slept with the instrument on the pillow next to her every night.

Two years later, a shop selling musical instruments opened in Pyeongtaek, South Korea, her hometown, and An became a fixture there, pelting the owner with questions. “I think I bothered him a lot,” An, now 32, said.

As a teenager, she decided she would become a violin maker. Eventually, a journey with twists and turns took her to Cremona in northern Italy — a famed hub for violin makers , including masters like Antonio Stradivari , since the 16th century. There, An, a rising star in the violin-making world with international awards under her belt, runs her own workshop .

Set on a quiet cobblestone street, An’s studio is bathed in natural light and filled with books and piles of wood chunks that must air dry for five to 10 years before becoming instruments or risk warping. She shares the two-room studio with her husband, Wangsoo Han, who’s also a violin maker.

On a recent Monday, An was hunched over a thick 20-inch piece of wood held in place by two metal clamps. Pressing her body down for leverage, she scraped the wood with a gouge, removing layers, her hands steady and firm. She was forming a curving neck called a “scroll,” one of the later steps of making a violin or cello. On this day, the violin maker was immersed on a commission for a cello, which shares a similar crafting process.

Asked which part of the process is the most crucial, she answered without hesitation: all of them.

“Even very small details can affect the sound.”

Violins like An’s, made in the tradition of Stradivari and Giuseppe Guarneri, require about two months of work and sell for about 16,000 to 17,000 euros, or $17,500 to $18,500. “I can make a violin in three weeks, but I don’t want to,” An said. “This object is very precious to the person purchasing it.”

An was 17 when she hatched her plan to learn the craft: She would move in with an American family in a Chicago suburb so that she could attend a local high school, master English and eventually study at the Chicago School of Violin Making. There were no such schools in Korea at the time. Her parents, distraught about her moving so far away to pursue an uncertain career path, tried to stop her.

“I didn’t eat for days,” An said. Finally, they gave in. “When I said goodbye to my parents at the airport, they were crying,” she said. “I wasn’t. I was too excited.”

Two years after moving to Illinois, she discovered that one of the best known schools for violin makers, the International School of Violin Making , was actually in Cremona. So in 2011, at age 20, she moved to a new country again.

Cremona was home to some of history’s most famous luthiers, makers of stringed instruments: Stradivari; Andrea Amati , considered “the father of the violin”; and the Guarneri family. For the 160 to 200 violin makers in Cremona today, the sound quality of the masters remains the ultimate goal. “The traditional method is not about experimenting,” An said.

Around the studio, small pots of pigment, for varnishing, sat on shelves and tables alongside jars of powders — ground glass and minerals — for polishing. On a wall were dozens of knives, chisels and saws. Also present: dentist’s tools to scratch the instrument for a more antique look.

An uses rocks or dry pasta “to scratch the instrument so it looks more antique,” she said.

“I believe in beauty in imperfection.”

An is the youngest member of a consortium in Cremona dedicated to upholding violin-making traditions. She is so immersed in the Cremonese method of violin making that, at the suggestion of a mentor, she created an artist’s name, Anna Arietti, to better fit in with Italian culture.

An important moment is when luthiers place their label inside the instrument, called a “baptism.” To make her label, An stamps her ink signature onto a small piece of paper — a browned page from a secondhand book, giving the impression of age. Then, using a traditional homemade mixture of melted bovine skin and rabbit skin as a long-lasting adhesive, she glues the label inside one half of the instrument. She also burns the signature of her Korean name into the instrument with a tiny heated brand.

Afterward, the two halves are sealed together, completing the main body of the instrument. Her Italian artist’s name remains inside, intact as long as the violin is.

“That’s why I wanted to be a violin maker,” An said. “At least one person who plays my violin will remember me 100 or 200 years later.”

Find the Right Soundtrack for You

Trying to expand your musical horizons take a listen to something new..

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Music Reviews

Beyoncé's 'cowboy carter' is a portrait of the artist getting joyously weird.

Beyoncé's Cowboy Carter has ignited discourse about the place of Black musicians in country music. But it's also evidence of its creator's desire to break genre walls by following her most eccentric impulses. Mason Poole/Courtesy of the artist hide caption

Beyoncé's Cowboy Carter has ignited discourse about the place of Black musicians in country music. But it's also evidence of its creator's desire to break genre walls by following her most eccentric impulses.

This essay first appeared in the NPR Music newsletter. Sign up for early access to articles like this one, Tiny Desk exclusives, listening recommendations and more.

After two months of anticipation, Cowboy Carter has been out in the world for nearly a fortnight, and the discourse is thick as sawdust on a honky-tonk floor. Beyoncé's spangled opus, as lengthy and florid as a Sergio Leone classic — it really could have been called The Good, the Bey and the Ugly -- has generated more think pieces than any pop phenomenon since her friendly rival Taylor's Eras tour.

I've kept track of the coverage of Cowboy Carter and it's, well, something. Actually it's everything, ranging from paeans to (not too many) pans . Not weighing in hasn't been an option for most music writers, who have spilled tons of ink documenting the album's backstory, tracing its references, and examining its work of legacy building. What could I add to the discourse? Well, this: Whether it's considered a champion's walk, an overlong stumble, a powerful political gesture or a highly personal cri de couer — one thing Cowboy Carter is, undeniably even if no one has said it, is weird. And that's a wonderful thing.

Music Features

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On 'cowboy carter,' beyoncé's country is as broad as the public she serves.

Not that Beyoncé herself would ever admit to her own eccentricity. She's declared herself a diligent student of the genre she sought to revise, and many of the touchstones on this massive grab bag of ballads and bangers check the boxes of cultural intervention. She features Dolly and Willie; shows us her boots, brand-name jeans and whiskey bottle; includes a murder ballad and her perspective on that ultimate country emblem, the American flag. (She sees it as red: blood, Alabama clay, indigenous people.)

Her inclusion of the undersung Black Grand Ole Opry pioneer Linda Martell as a collaborator nods to efforts to rectify historical omissions that have been going on in and around Nashville for years — shoutout to the Black Opry crew, to artist and radio host Rissi Palmer and to Martell's granddaughter, who continues to crowd-fund a documentary that Beyoncé really should just finance.

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But the way she assembles these hardly unique elements is startling. Sidestepping either a conventional foray into country's traditional sounds or a risk-averse pop approach that would just use those elements as window-dressing, she and her dozens of collaborators assemble a cosmic omnibus of reference points while drilling down on her long-standing obsessions. While it's correct to call this album an epic and a strong political statement, it's an idiosyncratic one, more akin to Jim Jarmusch's off-kilter visions of American heritage — especially Mystery Train -- than, say, Martin Scorsese's Killers of the Flower Moon .

It may seem off to identify eccentricity in a project that includes radio-ready Miley Cyrus and Post Malone collabs, and which was quickly endorsed by none other than the Vice President. Yet the first thing I thought of when I sat down to listen to Cowboy Carter was an album from 1967 that's beloved by many rock cognoscenti for its very peculiarness. Van Dyke Parks 's Song Cycle was the first solo album by the noted composer, arranger and producer. It is a shambling, sunnily psychedelic portrait of California living from the perspective of a transplanted white East Coaster with Southern roots. (Parks was born in Mississippi but grew up in Princeton singing in a boys' choir.)

Rich with strings and gorgeous melodies and rife with punnily poetical lines like, "Nowadays a Yankee dread not take his time to wend to sea" in a song about Parks's own experience trying to make it within the L.A. music biz hustle, no less, Song Cycle features Parks's birdlike warble, and by birdlike, I don't mean Beyoncé's operatic forays on new songs like "DAUGHTER" or "FLAMENCO," but Tweety Bird or the Peanuts ' Woodstock. Parks made the unfinished psychedelic masterpiece Smile with Brian Wilson of the Beach Boys and later worked with 21st-century visionaries Joanna Newsom and Gaby Moreno, among others. But Song Cycle is his strange baby. Though it's a rich work that offers real insight into the melting late 1960s American West Coast dream, Song Cycle is not for everyone. Parks experimented joyfully with song structure, sound effects and lyricism, painting a floating world that requires time and sympathy to comprehend.

Cowboy Carter sounds absolutely nothing like Song Cycle , yet I thought about the latter as I sunk into the non-linear, fragmentary experience of listening to it. I appreciate how Beyoncé sticks to her guns throughout, just as Parks maintained his whimsicality and dreaminess. Stacked harmonies do here what strings do on Song Cycle , lending grandeur to the opening "American Requiem" and tenderness to the ballads "MY ROSE" and "FLAMENCO" (the latter pairs them artfully with Andalusian hand-claps); yet those vocals also set a kind of Broadway stage for the songs, rendering them winsomely surreal. The album's employment of banjo and pedal steel signify country, sure, but they're used in unusual ways, as Parks uses accordion and balalaika. The distortions are highly individualistic, nothing like what current country sounds like. (Exception: that Post Malone duet, "LEVII'S JEANS.") Same with the roots references. The interlude "OH LOUISIANA" speeds up a Chuck Berry vocal to turn that rock and roll founder into helium. On the tour de force Tina Turner tribute "YA YA," Beyoncé begins with a spoken exchange with her background singers that calls back to her campy turn in Austin Powers in Goldmember as well as to Southern rap's most glorious weirdo breakthrough, Outkast's "Hey Ya!" Sure, this is historical work, but it's hardly textbook.

These tracks stand alongside others in a sprawl of concepts, tempos and tones until Cowboy Carter turns into a full-on megamix, its final four tracks returning to the dance party of Renaissance , abruptly concluded with a literal showstopper, the Broadway-ready "AMEN." The album is immersive, but it's a jerky, bucking rodeo ride, not a narrative that lends itself to easy absorption. And through it all Beyoncé bends country and blues tropes — those two genres are inseparable, something Cowboy Carter acknowledges — to the themes she can never abandon: the perils of attempted monogamy, the joy and terror involved in mothering and her own determination to be great, an ambition that she views as a responsibility more than a privilege.

Concept albums can be relatively straightforward, like Willie Nelson's classic Red Headed Stranger , but often they do come out ornate and leaky as their makers dump all of their ideas within the frame. Beyoncé nods sonically to a few that came after Song Cycle . At certain points, Sly and the Family Stone's murky funk on There's a Riot Goin' On comes to mind. Michael Jackson never made a full-on concept album, but that tarnished legend requires mention because Beyoncé's massive ambition rivals his more than anyone's. (Maybe Madonna's; she did make a concept record, Erotica . Or that soundtrack-maker Prince's.)

More recent touchstones include the high-concept forays of Janelle Monaé, whose " Tightrope " seems as much a touchstone for "YA YA" as does Tina Turner's shimmy, and the efforts of two of her collaborators on Cowboy Carter . Raphael Saadiq, who co-produced several tracks, released a similarly massive and emotionally affecting concept album , Jimmy Lee , in 2019. And the Virginia-born multihyphenate Shaboozie, a visionary character whom Beyoncé has apparently recognized as a kindred soul, paid tribute to the landscapes and culture of his native state on his own 2022 disquisition on the same themes as Cowboy Carter . Its title? Cowboys Live Forever, Outlaws Never Die .

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When I associate Cowboy Carter with these equally adventurous and strange concept albums and the outsiders who made them, I don't mean to reduce the impact of her work or her centrality as an era-defining artist. Instead, I'm trying to free this fun and unfettered music from the burden of predefined significance. Beyoncé has, by her own will as well as her fans's needs, become what Doreen St. Felix calls an "übermatriarch," not only a biological mother but the nurturing, burdened mother of all of her faithful — and of Black America, a role she inherited and claimed from the equally eccentric and more reluctantly ennobled Aretha Franklin. The seriousness of her responsibilities has earned her a lot: millions nearing billions of dollars, a place among heads of state and a fan base that strikes fear in the hearts of naysayers. But for an artist, such success ultimately confines. Only a few have been able to remain playful and light-footed as their public images have hardened into marble.

Two such artists, as it happens, are ones Beyoncé directly takes on in Cowboy Carter : The Beatles, whose members never stopped releasing humorous and even nonsense songs alongside their wedding-and-funeral ballads and politicized anthems; and Dolly Parton, the most agile pop star of all, who's crossed into nearly every category that's interested her with her own birdlike laugh and dimpled smile. Dolly herself has deep and strange predilections: her many songs about dead children, for example, or her way of turning sexuality cartoonish not only as comic relief, but as a weapon. It's her oddball side as well as her musical genius that's allowed her to slip through so many doors.

Beyoncé did not create Cowboy Carter to honor white artists like Parton, but she made a wise decision by invoking her as a partner and a patron saint. In the spoken interlude that precedes Beyoncé's rewrite of her classic "Jolene," Parton refers to Beyoncé's famous line about a white woman's allure for her Black husband, "Becky with the good hair," as "that hussy with the good hair." She drawls out the insult, though, as if she's in the middle of a Hee Haw skit: huzzzzy . It's a goofy, enjoyably destabilizing moment — an eccentric gesture that reminds us that as serious as music can be, it's most powerful when its subversions are also fun.

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