Ken Visudharomn - GDC 2018

Post date: Mar 29, 2018 7:16:6 PM

This was my second year attending GDC, but my first year with an actual portfolio to bring with me! With the experience I gained in networking as well as combing the show floor last year, my approach to this year’s conference was more focused on getting portfolio critique as well as deepening some of the bonds I made last year.

Although the floor itself was sparse in terms of companies doing actual portfolio reviews, there was still an abundance of developers attending the conference, both inside the hall, and outside in the neighbouring areas. One of the few portfolio reviews I managed to obtain on-site, was through the Killer Portfolio review panel, wherein I was able to meet with Wyeth Johnson, a Lead Technical Artist at Epic Games. Speaking with Wyeth, I was able to gain some insight into what specifically being a Technical Artist entails, and how I should approach developing my portfolio depending on what school of specialization I end up choosing. Primarily, Technical Art isn’t strictly in the realm of writing tools, rigging, or VFX specifically (as there already exist positions for all of those jobs), but can also be shown in the problem solving used to make art look great. Wyeth used my Biome as an example, stating that there were materials / shaders within that were made to solve problems, and documenting the thinking process behind said problem solving would push my portfolio beyond a pretty environment, and more towards a thoughtfully engineered piece. Another major piece of advice Wyeth gave me was to construct environments taking inspiration from premade concepts, a sentiment echoed by others I met with during the week. By focusing on mimicking a strongly composed concept, future recruiters would be able to determine whether or not my raw technical skills would be able to meet the requirements of a pipeline position. However, that’s not to say that you mimic a piece to the tee, as you should always be focused on making the most appealing product.

By offloading the work of having to design a conceptually pleasing product, you are able to place all your efforts into making assets look great without having to worry too much about composition.

During the week I was traveling with a high-school friend and Ringling alumni Poji Chow. Poji had been keenly focused on improving his art, and thusly had made strong connections with people in the Concept Art industry. Through these connections, I was able to casually meet and speak to John Polidora, a ex-Blizzard Entertainment Concept Artist and current employee at Riot Games. Speaking to John was a great experience, as his years of industry experience helped to put certain things into perspective, even if his school of artistry did not necessarily align completely with mine. One major insight that John gave me, was that regardless of what method people go about acquiring experience and skills in the industry, no one path is uniquely applicable to everyone.

Attempt to find your own style, but first and foremost develop your abilities in a way that suits you.

At the end of the week, I attended the IGDA Japan Developer’s Mixer and Dinner. Knowing what to expect from last year, I had already brushed up on my Japanese, and was ready to engage with as many developers as I possibly could. To my surprise, many more developers this year were equipped with great English, and I managed to glean some information about the state of the industry in Japan. Due to the ever aging population, the Japanese government is encouraging companies to pursue a younger workforce, and in doing so also encourage the hiring of foreign talent. This political and economic shift was clearly evident in the conversations I had with the Japanese developers. A recurring sentiment, and my final major insight of the week, was that if your work is of high enough quality, the concerning language requirement of fluent Japanese is much less strict. Although that was the general consensus, there were also many who encouraged me to pursue Mid-Career hiring instead, a entirely separate hiring process to the usual graduate recruitment, saying that it would be much easier to land a position once I had already shipped a title.

The Japanese Games Industry is growing more interested in the prospects of hiring foreign talent regardless of their Japanese abilities, but the portfolios of the artists must definitely reflect said talent before serious consideration can begin!