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Interview with Aaron Sims
Character and concept designer Aaron Sims talks about what it means to setup you own studio, the new challenges and what he learned from VFX legends Stan Winston and Rick Baker.
June, 14th, 2008, by Raffael Dickreuter
 |  | Aaron Sims
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You moved on from Stan Winston Studio to create your own company. Tell us a bit in what the Aaron Sims Company now specializes and what services it provides
The Aaron Sims Company is a fully-equipped character design studio for film, TV and video games. The range of services we can provide includes simple concept sketches of a character to a fully-rendered image to a 3D model which can then be integrated into a scene, utilized for pre-visualization, or used to sell a story. You could say our specialty is creating powerful visual references that bring a filmmaker’s vision to life. Technically speaking, another strength we can offer is maximizing efficiency for productions by delivering fully-textured 3D models, saving VFX from rebuilding designs while also protecting the filmmaker’s vision by utilizing approved designs for the actual animation and pre-visualization. This format of using 3D models for production through the design process has been used on Terminator 3: Rise of the Machines, Constantine, The Incredible Hulk and The Mummy 3. We can also remain on-hand through the duration of production and post-production to work with a director and VFX team, then liaison with vendors, so that designs retain their integrity.
What works do you consider highlights and you are the most proud of since the launch of the company
Since I've started my company I've worked on many projects that I have really enjoyed as well as felt were important stepping stones toward guiding my company the way I felt it needed to go. One film that I'm most proud of—and was involved with from before there was a script to right up to filming—was The Incredible Hulk. This was a challenging project as well as a great experience. The challenge was designing a new hulk that would appeal to everyone yet still be iconic. I feel that it was achieved.
Looking back now what were the biggest obstacles when starting your own shop and what piece of advice do you have for other artists turning entrepreneurs?
I'd have to say the biggest obstacles and challenges were getting the studios to know who I was and getting the work. It took a bit of time getting my reels to the right people and the right projects. But after working on a few shows my first year, every year after that got easier. There were more directors and producers that I had worked with and then work came to me quickly via word-of-mouth. It's still an ongoing job to get work and have the studios always thinking of you; that's half the battle. As for new artists wanting to move into concept art, one thing you need is an extensive portfolio of work. Having a website is always a good idea and so is having someone representing you—a manager, agent or PR person—to help promote you and your work. It is a lot of work, but in the end it’s well worth it.
Skinwalkers.
To what degree did the kind of work you do on a daily basis change since a few years back?
It has really not changed much at all. I got started doing concept art for a profession after I established a technique and style. The main thing I've notice changing is I’ve been doing more photo-real concepts and less rough drawings. The drawings more and more serve little purpose as concept art. The production team that hires me wants to see from the first image a more final piece of art. This is all fine, because I love working that way, but it also means it will take a bit longer to achieve. So I'm always finding my own short cuts in getting there.
You have worked for many years in traditional media both in terms of painting as well as modeling. Do you still do this kind of work, including creating maquettes etc or would you say at this point you work entirely digital?
It’s pretty much an all-digital world for me. I do sometimes think about painting or sculpture, but there isn't a real reason for me as a concept artists; it’s just not practical.
I do hope to have some time to work on my own art one day, maybe when I'm retired.
War of the Worlds.
You have worked with both VFX/Makeup Icons Stan Winston and Rick Baker. What lessons did you learn from them moving forward with your own company
It has been amazing being able to work for both make-up effects icons. I have learned a lot from both of them on personal and professional levels. Working for Rick was a great experience and one that helped mold me into the artist I am today. He was so easy to talk to about art and about his company and he gave me great advice. Working for Stan pushed me into to becoming a confident and established concept artist. He also gave me the chance to work on great films as the lead concept artist and work with amazing directors like Steven Spielberg.
At this point you also have various people working for you. What kind of qualities are you looking for in artists to consider working with them?
Now that my company has expanded to where I need more artists, I have found some incredible talents like Joseph Pepe, Julianna Kolakis and Jerad Marantz. All the artists at my company have unique skills and styles that are needed to create unbelievable concepts. These skills range from sketches to 3D design to Photoshop.
Chronicles of Narnia
You have done all kinds or projects during your career, from designing Terminators to scary organic creatures. What kind of work interests you the most at this point and what are you looking for in a project you get involved?
I personally enjoy designing everything from creatures to aliens to robots. I find them all very much a new challenge. I really like doing something completely different on each show.
Where do your inspirations come from and how does that influence your workflow?
In most cases, the first inspiration comes from the script and the director's ideas for what he wants to see. At that point, I may have a meeting to brainstorm with the artist that will be helping on the project, coming up with things that the director wants as well as adding new things that haven’t been thought about. Also, collecting reference that pertains to the project is another way I get started on a new idea. Then it’s just jumping into the work and finding the design.
The Golden Compass.
You are also producing movies besides your design work. Tell us about what you are up to besides the design work.
I have two companies: a character design studio, The Aaron Sims Company, which is what I've been talking about in the previous answers; and a production company called White Rock Lake Productions, with which I produce films with my business partner John Norris. We just finished our first Web series, “Buried Alive”—Fearnet’s highest-rated webseries—as well as Sony’s highest-rated subscriber series of online content.
Tethered Islands.
What is your ultimate goal you would like to reach with your work and your company? Should it grow into a big company or you rather keep it small?
The design studio will most likely stay small with my main artist and a few freelance artists when needed in order to maintain quality and control of the projects as well as keeping the overhead down. We have expanded into working on video games, which keeps us busy when the film industry has a dry period. As for the production company, I see that becoming a much larger company with many more producers, writers and directors creating incredible projects for all to see.
Read part 2 of this interview with Aaron Sims about designing characters for 'The Incredible Hulk'.
Links
The Aaron Sims Company
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