NTU Graduate Chester Carr Shares His Experiences with Creating Spider-Man Concept Art and Directing His Own Movies

How did you get into working as a concept artist? 
I always made films as a kid and loved making all the props and costumes. I later studied Design for Film and TV at Nottingham Trent University and really just found myself in a world where I felt like I belonged. I spent a lot of time developing my skills, but I was lucky enough to be studying when YouTube and the internet were creating huge communities of artists, so there was a limitless resource at my fingertips. I still had to put in many hours of work, but I learned all sorts of tips and tricks online. Since then, digital education has come a long way, and almost everything you need to learn to be a concept artist is available virtually.

What's your process for designing a piece?
It usually starts with the Production Designer gathering a lot of references and giving me a brief that describes their vision. That can either be very detailed or very vague, depending on how much they have thought about it. But usually you will work through the brief with them, making changes and tweaks until it matches their vision.

In terms of the technical process, I always start with a 3D software called Blender. It's great for very sketchy 3D modelling - more of an artist's tool than an architect's tool. I then render out some images and paint over them in Photoshop. There are heaps of tutorials online going through the various different approaches, but most concept artists work like that these days. There are, of course, some of the old-school guys who are just incredible painters, and I'm always in awe of them.

What's your favourite piece that you've drawn?
Hmm, that's a tricky one. I think I tend to like the work that takes the shortest time - when all the pieces just fall into place. But really, the work of a concept artist isn't so much about the artwork you are producing, but rather the end goal, which is the film itself. I had a lot of fun on Overlord, which turned out to be quite a good film.

You've worked on some high profile projects like Spider-Man and Eternals. What's that like?
It's a great privilege to be able to work on beloved franchises. Depending on the job, I usually prefer working with smaller teams - but I've been working on a big Lucasfilm project for the last two years and I've been having a lot of fun.

I've not seen much concept art, nor am I familiar with many artists’ names. Do you think concept artists get enough recognition for the work they do? If not, what do you think can be done to improve that? 
I think it depends on what circles you move in. The internet is so huge these days that there are whole bubble communities with their own celebrities and influencers. This is definitely true of concept artists - ArtStation [an app showcasing the work of artists across the globe] is huge. But really, concept art is part of a greater process, a team effort, and I think there are hundreds of film workers who don't get recognised for their work, so it's not any different for concept artists.  

How is the process of directing different to creating concept art? Are there any similarities?
I write and direct in a very visual way. I'm a visual thinker, I guess, so I always start with references, and sometimes I'll develop those into mood boards, or even finished concepts, while developing the story. I also find my concept art skillset very useful in planning out shot choices, storyboards and so on. So there are certainly similarities, at least on the small scale projects I have directed. But generally, directing is more about getting other people to help you achieve your vision, guiding their talents to help you tell a story, meaning it's also a very different role. The main similarity is holding a clear vision in your head and, by whatever means, turning it into a tangible product.

Both of your films so far feature the theme of greed. Was this intentional or coincidental? 
I think greed is an inherent trait in all humans - it's a survival mechanism. Some are better at controlling it than others, but all the world's problems start with greed in some form or another. It's an interesting thing to explore, for sure, but I wouldn't say it's something that I sit down with the intention to write about. I just think it's something that I reach, because I want to tell stories that put characters in difficult moral situations. Seeing how they react to something as basic as greed is something I think most people can relate to in some form or other.

Can we expect more from you as a director?
Yes, I'm currently writing my third short film, which I hope to take into production later this year. In fact, I've also got a number of feature scripts that I'm chipping away at whenever I find the time. 

@chestbearman