John Griffiths · Lead Environment Artist

No, I do do a little bit. So as you're aware, or if you've seen the ISCs, I was heavily involved in the white boxing of the location, because to me, being able to play the location so early in development is really crucial. So I'm a big part of that. But actually, when you came to collect me earlier, I've started on a little room, because for me, I can't work on anything big. I can't be a blocker to other artists. So I've got a tiny little side room somewhere, and I'll just have time after the feedback, after the managing, after the scheduling, whatever, I can noodle away and get something done for the location.

Jared Huckaby · Host, Community

So as lead, you're still doing art from time to time. And as a lead, it is important that you are an artist, that you maintain your art skills, because it's difficult enough to manage people when you do know what their job is, than when you don't know the tools that they're using.

John Griffiths · Lead Environment Artist

Yeah, I think the further up the chain you go, I think the bigger the picture is that you're looking to create. So when you're first starting out, you're deep in the tools, you're making the assets, you're thinking about where the trim lines are going, you're thinking about where the POM detail is going to go, you're thinking about the assets as individual things or working in a kit of parts. As you continue to work on these locations and these environments, and the further you go up, you kind of move away from... You'll still have to do the little things, but you're also picking up speed as you're doing it, so it's less impactful. And then you've got almost a bit more time to think about the bigger picture. So how are these things coming together? What does the composition look like? How is the lighting going to work in this space? So being very much aware of keeping tabs on that. What are the fundamentals, and less about the granularity of things and more about the big picture.