Over the past decade, our lifestyles and work habits have afforded more leisure time than any other generation. With much of our disposable income increasingly being spent on entertainment, there is a window of opportunity for anyone who can create imaginative and visually compelling content that tells an engaging story. For illustrators, the ever-growing entertainment-based markets yield, exciting and prosperous avenues—offering not only on- and off-site freelance work, but also full-time employ­ment with benefits, stock options and bonuses in a very upwardly mobile industry.

When it comes to engaging an audience, interactive and new media initiatives are at the forefront. Because of advances in technology and the Internet, we are seeing a plethora of digital entertainment vehicles introduced into the culture. The opportunities seem endless. “More than any other genre of entertainment, gaming advancements are happening at an absolutely mind-boggling rate and the need to stay on top of technology is critical,” details Daniel Dociu, concept artist and chief art director for NCsoft North America. “When the next generation of gaming hardware comes out, the potential of the machines is high and developers need to question how they can best use or take advantage of the com­put­ing power. A lot of the time, it means more man­power and bigger budgets to create; an approach where more is more.”

Like traditional story­telling, content is key. If a story is weak, the best imagery, sound and special effects in the world will not make it better. There needs to be a strong underlying narrative. Because interactive games deal with fantasy and science fiction as well as realistic and historical settings, a vivid imagination coupled with the ability to research a topic thoroughly is necessary.

New media also has an interactive component, where messag­ing and user motivation come into play. Users interact with the art form and are led through an experience using visuals, sound, motion and storytelling. Sometimes the experience is a solo act on a console, but more often it is a community-based activity, where interaction is done on the Web with multiple players, spanning several time zones. “They use a multitude of senses and learn by having to react and make decisions within the game,” notes Dan Ferguson, founder and game development director of Blockdot, Inc. “They do this for fun, to escape or to be stimulated. Gaming creates an environment where the user is very open to a message.”

Since the design of the experience controls the messaging and motivation, creators need to be responsible about how their work will affect the people who interact with it. “I’m currently working on a major project called Utherworlds that combines my art, the written word, animation, music and new media. The project revolves around the power and influence of positive thought and the importance of emo­tional intelligence in the growth of humanity,” outlines Philip Straub, illustrator, author and founder of Unity Entertain­ment. “The project helps frame the bigger picture for my work and my life, binding it to a greater purpose. I’ve read that if you can find a mission in life, some­thing that drives you, then you will live in balance. I’ve sacrificed so much to make this project a reality. Nothing quite like it has ever been done before.” The intellectual property includes a book, Web site, online and mobile game aspects that have charitable com­ponents to them, unique merchandise and much more. “Once launched, there are plans already in motion to form a founda­tion around the project,” Straub adds. “The premise will be to con­trib­ute a portion of revenue, generated from game sales and corporate sponsors, to reversing global climate change and other humanitarian causes.”

For creatives who want to work in the inter­active arena, a com­mitment to becom­ing a digital illustrator who can think in the round is a must. “In their minds, artists need to visualize the scenes they are trying to depict, mentally walking around and moving within the space until they find the most compelling point of view,” details Straub. “It’s like being a director in your own head.” When it comes to pre­pro­duc­tion work, the digital domain offers great flexibility. “The benefits to working digitally in a commercial production environ­ment are massive, allowing quick revisions and a rapid turnaround,” adds Straub. “Knowledge of standard software, like Adobe Photoshop and Corel Painter, is a must.”

Talented illustrators who have a strong command of the digital arena can work on a variety of projects from concept art (character development, structures, vehicles and environ­ments) to promotional initiatives (ad campaigns, collateral and packaging) and merchandising (toys and products). “Game preproduction is quite exciting and artists are free to experiment, more so than in the film industry where much is defined by the shooting locations and the director’s vision,” adds Raphaël Lacoste, matte painter/concept artist at Rodeo FX and former art director for Ubisoft. “Environments that give indications about lighting, scaling relations, color palette, composition, creature design and character behavior help with game visualization, provid­ing direction to a whole team of designers.” Opportunities also exist for those with a strong understanding of 3-D environ­ments, where Maya and 3Ds Max are the programs of choice. There is a strong demand for artists in the production areas of 3-D modeling, surface texturing, character rigging, animation, special effects and user interface design. For the traditional media artist, making the transition to digital may seem daunt­ing but it really isn’t. “All it takes is some effort and time invested in learning,” acknowledges Straub. “Just be open to new experiences.” For those who are willing and passionate enough to take on the challenge, the rewards are great with a future that is expanding.