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Peter Dobbin: Concept Artist

June 9, 2009
Geoff Currie

Geoff Currie speaks to Concept Artist, Peter Dobbin, about the technical processes behind his artworks.

The ability to create a character or scene in one’s mind is rare. To transform that idea into a world on paper is a powerful gift, which Concept Artist Peter Dobbin has developed since his days drawing dinosaurs as a young child. For Dobbin, the process of creating environments on paper is a daily occurrence, fraught with the challenge of pleasing designers of major TV advertisements and video games.

Based in Hackney, Dobbin draws inspiration from his surroundings. “This area boasts many artists; there is evidence of low educational achievement in schools, poor housing and a considerable amount of crime. The diversity and mix of cultures makes for an interesting subject,” Dobbin explains. Many of his personal projects display his affection for this area of London.

Dobbin has developed graphic designs for popular video games such as I-Ninja, and he is currently working on storyboards for the new Harry Potter game. He sketches the major scenes on the movie set of the new Harry Potter film. These are then transformed into storyboards – often done on post-it notes – ­­­­­and given to the graphic designers.

The producers of the game rely on Dobbin to give them an accurate sense of these scenes. A blue drawing pencil is used to create the foundation marks which help Dobbin visualize the overall structure. The finished characters are later placed within an environment giving the computer animator an idea of the final product.

The role that Dobbin plays between companies and computer animators is crucial, as he must be able to convert their spoken idea into an illusionistic reality on paper. As Dobbin explains, “When I am asked to consider taking on new work, I normally visit the company for an initial meeting and I am given a brief. It is my job to visualise these ideas. I normally start with thumbnail sketches. The intention is that a roughly drawn small sketch conveys the composition and style without the detail.”

The job often entails tight deadlines and long hours, however Dobbin’s creative process has adapted to the fast past environment that he works in: “I have learnt to trust my instincts.”

In the final process of colouring, Dobbin explains, “many Concept Artists use software such as Photoshop. It has advantages such as being able to add effects and shading. It also has the benefit of having the undo button.”

Images courtesy of Peter Dobbin. More can be found on www.peterdobbin.co.uk.

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