Five years ago, we spoke with Johannes Figlhuber about his work on Ori and the Blind Forest (2015). Now he’s back on Vox Groovy to catch up with us and tell us more about the decade he’s spent working at Airborn Studios in Berlin. When asked about the company, he said that they specialise in outsourcing, doing things like visual development, concept design, marketing art, etc. Their focus is on stylised art, and their portfolio certainly shows it with several artworks for successful games like Fortnite (2017), Spyro Reignited Trilogy (2018), Valorant (2020), and many others […]
Supergiant Games is the studio behind some of our favourite games here at Vox Groovy. Ever since Transistor (2014) blew our minds with its beautiful aesthetic and unique setting, we’ve been looking forward to each new Supergiant game with great anticipation. After Pyre (2017) showed up on Steam, we noticed how the exiles’ stories are taken so much further through songs and the lyrics that we found in them. This musical storytelling was the work of Darren Korb…
Our writing about the world of visual arts allowed us to interview so many amazing artists, but this time, we thought that we ought to invite a handful of musical composers to share their stories, too. One of the first people we chose was Eyal Goldstein, a freelance music composer for films, documentaries, games and more. For the last 8 years, he’s been producing original music & specializing in orchestral compositions. In the interview, he told us 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.
Greg Rutkowski has been our friend for five years now, but he’s been a friend to the online art community for much longer. This is why we’ve decided to invite him back for a catch-up interview on Vox Groovy this month. After all, many things have changed. He’s now a father to two daughters, he has a completely new outlook on art and life, and I’m assuming that we can all agree on the fact that the quality of his work has skyrocketed since our last proper sit-down with him. In light of this, we’re really excited to tell you about Greg’s shift towards a more traditional, oil-on-canvas-like style, and we think he may have voiced a popular sentiment when he spoke about how an artist can get tired of the artificial look that digital art often carries with it…
Our first interview with David Longdon was published in the winter of 2018, and since then, both he and Big Big Train became household names for RVG and its most faithful listeners. Fast-forward two years and you’ll find us all here, having just finished the preparations for the publication of our follow-up interview with David, thereby marking the start of a new decade for Vox Groovy in a grand way.
Scrolling through ArtStation’s “picks” section every week since the site’s founding has allowed me to make a number of observations about the entertainment industry and the artists who adorn it with its echoing aesthetic. Today, we only have time to talk about one; it seems that there is only a handful of “trendsetters”. These are the artists who can post a new artwork and watch as the community produces hundreds of pieces that were inspired by (or copying, depending on your point of view) their vision. This chain reaction paved the way for a peculiar relationship between aspiring concept artists and the industry they are striving towards as it is often defined by a game of catch-up. But there are others who, like the Old Masters, find inspiration through introspection and first-hand experiences in the world.
Whenever you ask, “what’s the top city for artists to live in?” There will always be a good number of people who’ll default to saying, “Amsterdam”. And there’s a myriad of real reasons for that. After all, the city houses the Van Gogh Museum, Rembrandt’s The Night Watch, and even Guerrilla Games, the AAA studio with one of the game industry’s strongest art departments. It’s a city that’s brought change into many artist’s lives, and as it happens, one of those artists is Thomas Rohlfs, a thirty-five year old freelance illustrator.