Head-on and Deep Into the Game: Mr. Adrian Bobb’s Dedication to the Digital Arts
Looking at Mr. Adrian Bobb’s works online is a practice on contemplation. Contemplation on beauty—on what can’t easily be explained. His works are of crisp images and curious concepts. Looking at these espouses feelings of unreality; his works are familiar and strange at the same time—strange in that you can’t seem to put your finger as to what makes it strange.
But is that consequential? What we know is that his pieces are original, they’re a breath of fresh air.
And this is an obvious result of Mr. Adrian Bobb’s perseverance to learn what he had to during his early experiences with ZBrush. But mind you, he owes much of his expertise to his steadfast dedication to the arts. Fact of the matter is, Mr. Bobb can no longer imagine himself to be working outside the visual arts. It seems as if his craft is synonymous to breathing for him.
And isn’t that how artists should treat their craft? Something that cannot be divorced from his being; something that feels like a natural part of his body.
As evidenced here, Mr. Bobb is prolific as he is articulate. So let’s read through Mr. Adrian Bobb’s interview by Xeno Creatives and know what makes a true visual artist.
Xeno Creatives (XC): ZBrush is such an exciting advancement in the 3D industry, but it does take a lot to get used to. What processes did you have to go through to work efficiently with it? How did ZBrush help you in your craft?
Adrian Bobb (AB): The funny thing with ZBrush is that it was the first 3D program I explored when I moved from 2D to 3D. Back in 2006 when I was a BFA student at the University of Regina. I quit modelling creatures out of water-based clay after 6 years because of the difficulty in maintenance, storage, and probably more importantly, it wasn’t exactly the kind of artwork that was appreciated Fine Arts.
Fast forward 7 years later and I pick up ZBrush and watch a few YouTube tutorials and after getting used to the interface over 2 weeks, all of my old clay-sculpting habits came flooding back. ZBrush was everything I wanted. No restrictions from gravity, no (real) storage issues, infinite material possibilities, and multiple outputs (I’ve 3D printed one of them recently). It’s sometimes good to know your old forgotten habits don’t truly die!
ZBrush brought me from concept artist to asset artist and everything in between.
XC: When did you realize that you want ZBrush to be your medium in producing 3D art? Do you want to just focus on it or do you still have other media in mind?
AB: I’m kind of all over the place as far as the 3D world is concerned. As time passed, I realized that I’m more and more interested in Directing VFX films than I am in sculpting, modelling or drawing. However, ZBrush brought me the confidence in making my first step into truly realizing my creations on screen. It’s also my go-to stress reliever. I’ve been working on several film projects recently but one in particular forced me to focus on designing hard-surface characters—which I admit, I do love. But when it comes to just relaxing, ZBrush is the program that offers me just that.
XC: How about media that you have already used? What were these?
AB: Again, I’m all over the place. I’ve worked with clay for years, as well as in graphite, acrylics, ink, etc. Recently, I’ve been heavily working with Maya, ZBrush of course, Keyshot, and for the longest time, Photoshop. Photography is also a must, so is cinematography, (I recently purchased a BlackMagic Pocket Mini and I am desperately trying to find the time to unlock all of its secrets.)
XC: How did you start with 3D art? Was it a passion, a hobby, or just a job for you?
AB: I was working as a matte painter for a year before I discovered some YouTube tutorials online, bought ZBrush, and gave it a try. Some friends and colleagues believed it would be a perfect program for me and they were absolutely right!
XC: Your works over at ArtStation shows your originality and versatility in style. They are just outright AMAZING. We know it’s going to be difficult of a question but do you have favorite pieces? What are these and why?
AB: It’s a funny question because I find that my favorite works are rarely the favorites of everyone else! I personally love the “Reconteurs”, and “Moving Mountains” primarily because they are the most alien sculpts I’ve ever made and way more alien than I’ve ever been allowed to go (mainstream film and TV rarely goes beyond a humanoid silhouette). But if I were to assign an absolute favorite piece it would probably be “Divine Intervention”. It was a very cinematic illustration I did a while back, but I find it’s so mysterious, and epic, I’ve even written a whole story around it (It’s on my list of film projects I have to make).
XC: Who do you consider your influences? What attracted you to them?
AB: There are so many talented artists out there it’s maddening. What a great time to be creative! It is a weird list though. I love Neil deGrasse Tyson (I just think he’s the best version of a human being I’ve seen yet), but as far as artists are concerned, I am very much influenced by James Cameron (an artist in more ways than one), Ruari Robinson (same reasons as JC), Doug Chiang, Neil Blomkamp, and pretty much anyone with an insatiable need to create; no matter what they have available to them as a brush.
XC: What other pieces do you still want to create?
AB: Well lately I’ve been working on a project called EXT which is a Sci-Fi post-human story about a world where human beings have permanently uploaded their minds into a digital world and are now forced to reenter it in robot bodies. It’s been taking up about 90% of my free time but it’s now almost done! After that I have another short film (MUCH simpler) and a feature I’d like to make. But that’s the thing with me: a break from creating for me involves creating.
XC: Has working for television and film crossed your mind?
AB: I’ve actually been working for film and television (and videogames) for years now. I’ve worked as a 3D Asset Artist and Matte 
Painter for several kids television shows (Rusty Rivets, Thomas and Friends, Kody Kapow, Kulipari: An Army of Frogs), mature TV Shows (Killjoys, The Expanse), and horror movies (The Bye Bye Man, Rupture). But yes, I want to continue working in Film and TV in as many capacities as possible but primarily as a director. I love telling visual stories and directing is the most rewarding version of that I has so far experienced.
XC: Your works will really look AWESOME in a video game. I hope you don’t mind us asking, are you currently working on a game? If you are not, do you see yourself being immersed in Game Character Design?
AB: I have worked on a few videogame projects as a concept artist, but I would absolutely love to continue designing characters and creatures for videogame projects in the future. My work is primarily made for TV/Film formats but only because they are more manageable mediums for me. Videogames require such larger teams and such varied talents. But yes! I would absolutely love to get more involved in the Videogame world.
XC: If you weren’t a 3D artist now, what do you think you’d be working as instead?
AB: That’s a hard question and one that I’ve asked myself a lot. Being an artist is so heavily ingrained into my personality I’m not sure I would even be me without it. Without 3D Art skills? Maybe an Illustrator. Without 2D Art skills? Maybe a Sculptor. If we kept going down the list, probably a scientist of some sort. A budding bio-engineer or maybe a bio-engineer.
XC: What advice or message can you give young aspirants wanting to enter the craft/industry?
AB: Don’t be afraid to play. You don’t have to be one thing in this industry and if curiosity brings you to it, try it out. Find time to try out new things. Explore your interests. Don’t pigeon-hole yourself too early on.
Mr. Adrian Bobb is indeed one noteworthy artist. It is such a pleasure that we have had the chance to have interviewed him. Xeno Creatives is one with the hope that Mr. Bobb’s art will progress further.
See more of Mr. Adrian Bobb’s amazing art by clicking here!
