Florian Coudray is a 32-year-old freelance concept artist living in Paris, France. In the past, he’s had the opportunity to work on several successful projects in the games industry, creating concept paintings and helping with the visual development while also delivering various courses online. Some of his most recent projects include: Crash Bandicoot 4: It’s About Time, Kena: Bridge of Spirits, and Spyro Reignited Trilogy. Florian is a lot like us in a way, he grew up enjoying the old PlayStation games and it eventually led him here. When we asked him about his time with Crash, he said that…
Julien Gauthier is a French concept artist who’s currently working at Industrial Light & Magic. Because France is well known for its 3D-oriented art schools, he chose one of the more renowned ones and studied for four years, learning everything he’d need to know before setting off to work at a big studio. After graduating, he was a lighting technical director for Guardians of the Galaxy (2014) in London, and shortly after, he’d be on his way to Paris, then Vancouver, and finally Singapore.
Gaëlle Seguillon is a French concept artist and matte painter who specializes in the creation of digital environments. Some of her recent projects at ILM include blockbuster films like Aladdin (2019), Ready Player One (2018) and Jurassic World: Fallen Kingdom (2018). For her first job in the entertainment industry, she worked as a junior at MPC, and she was lucky enough to work on a highly ambitious shot early on in her career. It was a beautiful vista of the city in Guardians of the Galaxy (2014) that was given to her because there were no senior artists available. Safe to say that Gaëlle nailed it despite the pressure, telling us that, “the team loved it so much they made it their wallpaper!”
Quy Ho’s journey to becoming a concept artist wasn’t easy. Conflicting ideas and inner voices pushed this aspiration aside for a long, long time. But despite that, once he realized that nothing else is as important and that he will eventually find himself doodling in his sketchbook anyway, he came to a decision and pursued a career in entertainment art. In the beginning, he barely knew how to draw and needed to work on a few other skills like communication and being held accountable, but concept art began to show promise in due time. The process wasn’t easy and took a lot of time, but eventually, certain clients kept coming back, the tiny commissions grew to be big projects, and the door to Riot was finally open.
The recent influx of cyberpunk works has led a number of people to think that its static vision of hi-tech dystopias must evolve if it means to survive, but this reimagining doesn’t seem like a good idea to fans of the genre. After all, the cautionary tale it offers its audience is only just beginning to be relevant now that a Blade Runner-esque world has become one of mankind’s potential futures. As Eddie Mendoza says, “I think that we are already kind of living in that cyberpunk era.” With this in mind, it might be fair to say that cyberpunk’s unchanging message is yet to reach its zenith—something that’s bound to happen if we ever begin to see its many worlds morphing into ours.
Romain Jouandeau is a French concept artist who’s currently working on Ghost of Tsushima over at Sucker Punch Productions. Admittedly, we didn’t hear anything about the game until Sony’s E3 2018 press conference, but the gameplay reveal showed a visually striking action-adventure game set in 12th century Japan—putting you in the shoes of one of the few samurai that survived the Mongol Empire’s invasion of Tsushima. Surprisingly, a few days after we saw the VOD, one of our staff writers stumbled upon Jouandeau’s ArtStation portfolio and found a piece for this new game—the one that was selected for the “Into the Pixel” collection. That’s when we knew that we needed to get in touch with Jouandeau to talk about effective environment design.
Andreas Rocha is a Portuguese environment artist who specializes in fantasy and Sci-Fi. He started out with a degree in architecture, but now he’s working as a freelance concept artist whilst creating exclusive content for his sixty-seven patrons. In the past, Rocha’s painterly style earned him the opportunity to work for world-renowned clients like Fantasy Flight Games, The Mill and Wizards of the Coast. Now, you can often find him posting amazing fantastical paintings on his ArtStation page. Our personal favorite is “High Places,” which is a piece he created for one of his Patreon illustration packs (inspired by Paro Taktsang monastery in Bhutan). In this exclusive interview, we will discuss how Rocha feels about Patreon and the benefits that it can bring.
The new Battle Chasers: Night War (2017) is a unique RPG game that needs its artists to work in a very specific art style—an art style like Grace Liu’s. It’s no surprise that hand-painted low-poly 3D will always feel at home in a stylized game, and that’s why the vast majority of you might have seen Liu’s work in games like Diablo III (2012) and League of Legends (2009). With nine years’ worth of experience and the opportunity to work at Blizzard Entertainment, Riot Games and Airship Syndicate, I’m sure that she has a lot to teach us all.
Some of you may remember our 2016 interview with Even Mehl Amundsen, and we hope that you’re as excited to catch up with him as we are! For those of you who don’t know, Even is a Norwegian concept artist who specializes in fantasy art. In the past, he has lived in Canada, Czech republic, Norway and the UK, and he has had the opportunity to work for companies like Blizzard Entertainment and VOLTA as he made his way around the world. Now you can find him back Norway, or more specifically, Oslo, where he is working on TEGN. This is Even’s art-book series, a project he started when he challenged himself to draw three hundred and sixty-six unique, story-laced illustrations over the course of one year.
This isn’t the first Vox Groovy interview to feature someone who has worked on Duelyst (2016), but Anton Fadeev is the artist who made the game’s art style pop. His bold colour palette and stupendous environments have been around since the start of its Kickstarter campaign on March 9, 2014. Of course, those of you who continue to follow the game’s development know that the majority of its marketing art was made by him too. We spoke to Anton recently, and we were able to learn more about how he got his first credit (Duelyst) through Keith Lee—an ex-Blizzard developer who showed Anton that his artwork might be worth more than initially thought.