Billy works as a 2D/3D generalist at Quixel here in Sweden, responsible for most of the usable content within our software. Billy fills a variety of roles but is currently focusing Megascans creating content for the Scandinavian vegetation and architectural visualization side of the service. Billy also takes on freelance jobs every now and then when time allows. Megascans has already been used extensively by companies like ILM, MPC Film, Capcom, Ubisoft, 343 Industries, Bungie and From Software just to name a few, our texturing software is also the most common on the market.
What is your background as an artist? What educational experience/background did you have coming into CGMA? Do you have professional experience?
As a 2D artist I am primarily self taught, I have simply always loved to draw. After my formal education was over I worked as a blacksmith with my father for a while as the system had drained from any and all passion for anything and everything. After that I took a high school education in 3D game art. Ironically that period when most of my time was spent whacking metal with a hammer and welding has helped me immensely when creating materials for my 3D models.
Why did you decide to take CGMA classes?
I have neglected my drawing a lot since I started studying 3D, and I simply wanted to somehow force myself back on track with it. My 3D education was very intense and demanding which didn’t leave a lot of room for other things, and after that work and just life in general have managed to push drawing aside.
I initially approached my instructor, Bobby Rebholz and asked if he had time for private tutoring, but he redirected me to CGMA as the class coincided with that request.
What classes did you take and why did you choose them?
So far I have only chosen and taken Bobbys class in creature design, mostly because of him. I think his raw sketchy style is really cool and the subject is something I am really passionate about. Next up is going to be practicing some fundamentals.
How did taking classes help you refine your craft and help you along your artistic journey?
For me a pattern have emerged in subjects I already know to some extent while trying to learn from others. Most feedback turns into small incremental development steps that doesn’t really show any huge amount of progress on the end product, until you hit that one thing that does, which drastically improves everything.
In this case it was Bobby’s tips about how to approach line art. Before this my line art was usually just scrapped and never presented at all due to its sloppy nature and unrefined nature.
What was your first big gig and how did you get it?
I guess what has sort of stapled my name onto the industry is what I am currently doing, I got this job by applying as an intern during the end of my education and then gradually digging myself into all aspects of our software to some extent.
Why would you recommend CGMA to another artist?
Yes, I would. Especially if you are already a working professional who wants some bite size education you can take in while also maintaining a full-time job.
Why is having professional feedback important to you?
Without having people that are more proficient than you are looking at your work from an objective perspective, it’s very easy to get stuck in a bubble and not improve the parts of your skill set you actually need to work on. I am very guilty of this and having somebody slap you in the right direction speeds up the improvement process a lot.
We would like to thank Billy for sitting down with us and sharing the CGMA experience. To see more artwork you can visit Billy's website at http://billylundevall.se/category/paintings-and-illustrations/