This work aims to investigate whether there is clarity on the roles that constitute the Concept Art, especially with regard to the relation between the design and the narrative. The motivation and main objective of this research is to enlarge the understanding concerning the field and to define the contours of the practice. The construction of this profile is based on North American commercial animation movies. The research is divided into three parts. The first one illustrates a bibliographic investigation about etymological and historical issues and the specific language concerning Concept Art. The second part assesses the position of the Concept Art in the industry from three aspects: how the knowledge concerning the field is disseminated; the context of the Concept Art production according to the major studios scheme; and which are the features of producing Concept Art in the light of design projective methodology. The third and final part focuses on the professional, investigating what the industry seeks and what the professional thinks about Concept Art. Fist of all, it analyses the report of a concept artist active in the North American film industry, and the professionals related to the practice in the national market then. Finally, the conclusion of this work is that there is certain clarity about the roles that constitute the Concept Art, but it is still imperative to better define those functions. For that reason, there was no consensus among the interviewed professionals concerning the relation between Concept Art and narrative, which is, according to this work, the basis of the field.