I...might need to write a thread about what a Concept Artist actually is for.

Together with 'Game writer' it might just have the biggest gap between what people think it is, and what it actually is in practice.

And most importantly: how you prove to me you have what it takes.
Concept Art is primarily about visual communication. I hire a Concept Artist when I need to establish a visual design and language for my project. Sometimes I have a very clear vision about where I want to go - other times I involve someone from the very start.
But in all cases, a Concept Artist is there so we can explore how a game's concept, message, feel, etc can be best communicated to a player through visual means.
This can be pretty landscapes, but mostly character designs, patterns, fonts, colours, etc.
To a team, it's about expressing the visual side of a game design doc. When a team sees your pictures, they get a sense of the project without having to read all my rambles.
Because no one reads a game design document. Sorry Designers.
People also don't read lore bibles. Sorry Writers.
Anyway. So when we sit together and talk about the possibilities of the project, I expect a Concept Artist to do research into the various elements I'm talking about. If I want to have a Noir game, you gotta do some research into that style.
But here is the important thing: You gotta do *actual* research. No looking at other games. No looking at popular expressions. If we're doing Noir, I want to talk about what it means and whether the context of Noir is appropiate rather than draw some detectives and call it a day.
At the end of this segment, we've put together a bunch of assets. Made some mood boards. Probably wrote out some stuff because I'm a writer and I can't fucking help myself.
What I then look for is rough sketches. Some mood sketches. Maybe some preliminary character designs.
This is quick stuff. No polish, pure raw ideas put to paper as quickly as possible and probably on a napkin when we're meeting up in real life.
This is when you do stuff like thumbnailing.
Oh yes, thumbnailing. One thing I look for in a Concept Art portfolio is thumbnailing.

It's not strictly necessary, but it immediately tells me if you know your stuff.
Okay, we're getting somewhere. We're doing some mood, we're doing some scenery, perhaps we're doing situations. We're creating stories right in front of us. This is super exciting stuff.

And I want to see that excitement in your portfolio. Goodlord I want to see that joy.
You've started thinking about the characters. Who they are, what they're like. How they move in this world. Their fashion sense, their attributes. Why are they wearing what they are wearing?

When developing a character, it should tell me as much about them as you can.
I should get to know them about through their posture, through their grooming, through the look in their eyes.

And as a Concept Artist you're going to iterate a few times in this process. But all in a sketching phase. Nothing polished. Nothing perfect because we're playing here
In your portfolio, I need to see this play at work.

I need to see your ideas. Your considerations. I need to see some widely different versions just so I can see you've considered other paths but decided otherwise.

I need to see your process and your original thinking.
Most importantly: it shouldn't be perfect!

Likewise, when we're talking scenery. Give me sketches, give me normality and weirdness. Give me a range of considerations.

Give me *character*.
Now all this said, let's take a look at this:

https://fzdschool.com/blog_posts/visual-storytelling-through-set-design

See what gorgeous mess this is? See how rough this is? See what considerations are at play here? See how character is build into the rooms here?

This is what I'm looking for in a Concept Artist.
It all really comes down to the following:

I need a Concept Artist to make me see what I can't see myself. To take on a concept and really dig out the potential and bring it to the surface.
Thanks for reading the thread. This went on for longer than I expected. <3

Now with all things: this is a single person's opinion, but I've got quite a few years in games and I've worked with quite a few Visual Designers.
Okay, so a bonus: What about Key Art?

Let's take something that I keep seeing in portfolio and that is completely and utterly useless: …https://the-adventures-of-stick-salesman.tumblr.com/ 
The primary purpose of Key Art is to excite the viewer. Through visual short hand it should tell them about the world and the wonders within it.
It must be clear to them what they're looking at from a surface level and then invite meaningful questions and bewilderment.
Any character in the scene shouldn't be functioning as a banana for scale. I also don't know why I should care about the spidery-spiky-spikes.
Instead, show me action happening in the scene. A heated argument in the middle of a square tells me so much more about your setting and your characters. It invites questions because I want to know why they're arguing. You get to splurge out with fashion and accessories.
Give me stuff like this:
https://referencecompositions.tumblr.com/ 

Yes, they're news photos. But that's exactly the type of composition that makes key art exciting.

As always, tell a story. It doesn't have to be polished, ideas come first. No matter what Art Station teaches you.

- fin -
Incidentally, many thanks to @AngelosLH for helping me understand why I kept feeling so bothered about not finding what I was looking for.
Absolutely one of the best concept artists out there.
Now that I'm getting quite a few eyes on this:
I'm desperately looking for a good freelance concept artist ASAP. DM me. I'm told I'm pretty good to work with.
Super important AAA caveat: https://twitter.com/Beavs/status/1327275987294322690
You can follow @lostagainb.
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