Interview with Neil Blevins (Part 2)

IA: Are you looking to apply classical techniques in a modern subject using digital tools?

NB: Certainly. Some of the work isn't even entirely digital. I sometimes do acrylic paintings to start off, scan in the results and combine them with digital 2D and 3D elements to reach my final image. And most of my "dirt" is scanned from real sources.

IA: What do you have to say about digital tools?

NB: Digital tools can be fantastic but they also have a long way to go. The area that needs the most work in my opinion is in making more intuitive UIs and tools that speed up the image making process. Unfortunately, this area is one of the areas where we’ve seen the least progress in over the years and this worries me. I hope the software industry moves forward and does not stagnate. A few pieces of software have tried breaking the mold, like Mudbox, Zbrush, and Modo, but there's so much more to explore in terms of interface.

IA: How do you see the future of graphic art?

NB: Not too different from the way it is now. Artists will use the same art fundamentals we've been using for hundreds of years to produce work in all sorts of media, from film to video games, to interactive web stuff. And of course, new types of media will present themselves; I just don't know what they are yet! :)

IA: Your works prove that you master the light and the color mixture, have you studied classical painting and light and colors techniques?

NB: Thank you. And yes, I do have classical training in painting and drawing, although I started doing 3D early in my career and I feel that my digital work is far more advanced than my traditional painting ever was. I do believe having a more traditional background can help a lot because it lets you focus more on the idea, color and composition. It also helps you avoid getting lost in the tool. What I mean is that the fact that an image is 3D does not make it interesting; a good image is a good image, no matter the media. And having a traditional background can let you focus on the more important aspects of art rather than being swept up in the novelty of working in 3D.

IA: Are you looking to apply classical techniques in a modern subject using digital tools?

NB: Certainly. Some of the work isn't even entirely digital. I sometimes do acrylic paintings to start off, scan in the results and combine them with digital 2D and 3D elements to reach my final image. And most of my "dirt" is scanned from real sources

IA: What do you have to say about digital tools?

NB: Digital tools can be fantastic but they also have a long way to go. The area that needs the most work in my opinion is in making more intuitive UIs and tools that speed up the image making process. Unfortunately, this area is one of the areas where we’ve seen the least progress in over the years and this worries me. I hope the software industry moves forward and does not stagnate. A few pieces of software have tried breaking the mold, like Mudbox, Zbrush, and Modo, but there's so much more to explore in terms of interface.

IA: How do you see the future of graphic art?

NB: Not too different from the way it is now. Artists will use the same art fundamentals we've been using for hundreds of years to produce work in all sorts of media, from film to video games, to interactive web stuff. And of course, new types of media will present themselves; I just don't know what they are yet! :)

IA: When are they helpful to the artist and what is the danger behind them?

NB: Well, as I said, the danger is being too enamored with the process. For example, I've found that if I try designing on the computer the individual pieces of my creations will quickly start to look like variations on primitives because those are the easiest shapes to make. This is why I plan all my details on paper first where I can basically create any shapes I want to and quickly, and then replicate them in 3D. I find that process lets me create far more complex and interesting shapes.

IA: Do you think that your art which is based on forms and objects is more a job of assembling these forms, like a sculptor recuperating objects to carve them into a new masterpiece?

NB: I try and create new larger forms, and then build them out of smaller pieces to form a whole. I enjoy playing with the size and proportion of these forms to create interesting visual designs.

IA: Who and what are the greatest influences in your art?

NB: I have many influences. Some of my top influences would be Giger, Beksinski, Turner, and Dave McKean. I am also highly influenced by TV and movies, like the original Star Wars. Anime, such as Mazinger Z and Grendizer (I watched those as a pretty young child), and of course the Transformers has been very influential.

IA: Can you name works of artists that you admire (Classical or moderns, any field)?

NB: Joseph M.W. Turner, The Fighting Temeraire. Giger's New York series, Dave McKeans Fear Factory album artwork or anything in his two books "A Small Book of Black & White Lies" and "Option Click."

IA: If you have the chance to reinterpret a masterpiece, which one would you choose and why?

NB: Maybe one of Hieronymus Bosch's Hell pieces since his work thematically interests me, although his personal style is something quite different from my own.

IA: You seem to like teaching and communicating, do you think that Internet has changed much in the exchange of knowledge and this art specifically?

NB: Yes, definitely. Back when I started there were no schools teaching 3D so online was the only place to learn how to make 3D artwork beyond the manuals that shipped with the software. The internet is a fantastic thing when it comes to teaching. It's available 24 hours a day to answer questions. I started using CompuServe before the internet became popular and got many invaluable lessons with regards to how to use software, techniques and suggestions on how to improve my artwork. I probably wouldn't be where I am today without online teaching. I see using the net as a powerful tool to anyone who wants to learn digital media.

IA: What would you like to say to someone who is interested in starting in the 3D/2D field?

NB: The field is so large and there's no one path that'll get you to wherever it is you want to go. Believe in yourself and remember that the most important thing is hard work. Be obsessed about what you do. Being a professional artist means you need to work hard and the easiest way to work hard is if you love doing what you do. If don't find yourself being passionate about making art then this may not be the right profession for you.

IA: What is your own definition of art?

NB: I believe art can be any tangible way in which one person is trying to communicate an idea or feeling to someone else. While I have far more specific guidelines as to what I consider good art I don't feel it's my place to tell someone that what they're making isn't art just because it personally does nothing for me.

IA: Would you like to add anything else?

NB:Just a big thank you to everyone who's enjoyed my art or used my tutorials and scripts over the years. I love hearing your feedback, both positive and negative, and thank you for taking the time to interact with my little world. And thanks for the interview.

Links

Neil Blevins Website   //  Neil Blevins CG Gallery //  Discuss in the Forum  //  See Also : An inside look at Wall-E with Neil Blevins  //  When We Left Earth Challenge