Artist Interview: Victor Maury

Meet Victor Maury. Victor is a French artist, living and working in Sarasota, Florida. Victor is known for his fantasy characters, concept art backgrounds, and video game inspired digital paintings. His work has been recognized and celebrated by art magazines, gaming companies, and publishers such as Fantasy Flight Games, Riot Games, and Bifront Entertainment. Victor has also participated in several Light Grey Art Lab exhibitions and publications including In Place, Rolemodels: Battle for Vyk' Tornaahl, and the current BOSS RUSH! project.

We are thrilled to work with Victor on the BOSS RUSH! Exhibition and celebrate his process and artwork. Below, you can read more about his thoughts on illustration, participation in the community, and goals. You can also view more of his work at victorymaury.com



Hi Victor. Can you tell us more about yourself, your background, and where you are headed?

I was born in small-town France and moved to the US when I was seven years old. A lot of my work is influenced by my visits to the French countryside and the Pyrenees as a kid with my family. I've always loved to draw, but only began studying art seriously about four years ago, starting with animation and now illustration. I've been freelancing for about two years and expect to graduate from the Ringling College of Art and Design this May. After graduation, I plan to move out to California. My priority in life is to go on adventures and experience new things- art simply allows me to explore that in a personal way and share it with others.

What is your studio setup like? What materials do you most enjoy?

I try to keep my workspace clean and tidy, just the essentials: A semi-powerful PC + monitor and my trusty Cintiq 21 that I've had for about 4 years. Oh, and my speakers, cos jams are super important! My room is decorated with artwork from some of my incredibly talented friends. This is where I'll do most of my finalized paintings. When I'm brainstorming or sketching, I like to leave the house and go outside, any excuse to go exploring!



What is your creative process? Do you prepare yourself mentally for art creation, or do you dive right in? And if so, how?

When I get an assignment or an idea, I like to let it simmer for a bit in my head (if time permits). I find that once I start thinking about a project, random things in my life will coincide with or inform the finished piece. This allows me to integrate real life into every painting in a way that feels organic and natural. I also thoroughly research my topic. I scribble a thumbnail here and there, I stay loose but draw with intention. Once I have the essence captured in the thumbnail and all necessary reference collected, I move on to painting. The painting process is usually pretty fast because at that point I have everything mostly figured out and it's just execution. I like to paint in a couple of sittings so I don't overwork a piece if I can help it.



What inspires you? What imagery you are drawn towards using in your artwork, and what about it excites you?

A healthy mix of contemporary and deceased artists, photos, fashion, film, the natural world, and most importantly my own experiences! As far as recurring imagery, I don't think it's any secret that I'm obsessed with giants and clouds. I'm also fascinated by roots, moss, rust, fungus, rocks, mountains, gnarly old man faces, knobbly hands and various other rough, weathered, or organic shapes. I love riding my bike and going hiking, where I often see faces in the trees, sleeping giants in the mountains or kingdoms in the clouds.

What are your favorite creative resources, whatever they may be?

I follow a couple art blogs like Muddy Colors, and sometimes take the time to listen to a podcast here and there. My facebook feed is almost exclusively professional artists, and we're pretty good about sharing interesting resources (and distractions).


Run for Your Buns

What are your favorite video games or video game moments? What significance do games have to you?

I have played more hours of Fire Emblem, Advanced Wars, and League of Legends than I'd like to admit, but the single most influential game I've ever played is definitely Shadow of the Colossus. The scale, simplicity, score, design, and mood are unmatched. It feels like a game that was made specifically for me. If you ever wanted to understand how my brain works, the closest you could get would be playing Shadow.

Can you talk about your idea and process for creating your piece for Light Grey Art Lab's BOSS RUSH!?

I'm surprised I haven't made Shadow art before (though some might consider most of my portfolio to be Shadow fanart anyway haha). I just wanted to make a very simple piece that captures the mood and scale I felt in the game. Another thing I really wanted to play with in this painting was texture and surface. I intentionally used artifacting and layer mode glitchiness to add a gritty quality to the painting.


The 3rd Colossus

Are you working on any exciting projects? What are some of your "dream projects" that'd you'd really like to work on?

I am! I'm currently wrapped up in a project I'm really excited about, a sort of reinventing of the Little Prince. I am focusing on character design and pushing my shapes and understanding of how to communicate personality visually. It's a project that's very dear to me and I can't wait to share it when it's done! I'm not sure what my dream project would be, maybe a collaboration with friends to make a game would be fun. I just want to keep learning and see what comes my way!

Thanks, Victor, for sharing your thoughts and process!

Again, you can see more of Victor's artwork on his website and tumblr here. You can also find his piece for the BOSS RUSH! Exhibition on the Light Grey Shop and website! His work will be available on the Light Grey Shop through April 10th. Victor's Shadow of the Colossus piece was nominated as one of the top ten in the exhibition by our guest jurors from Microsoft, Game Informer, Gearbox, and Glitch.

Artist Interview with Jenn Tran

Meet Jenn Tran, a concept artist, developer, and creative, living and working in Seattle, WA. Jenn graduated from the University of Washington with a triple focus in Political Science, Art History, and Human Rights, and then went on to attend the DigiPen Institute of Technology for animation and concept art. She is currently an environment artist at Harebrained Schemes, working on projects such as Shadowrun Returns. Jenn is a terrific concept and freelance artist, sharing her work through video games, exhibitions, and children's books.

Jenn is one of the current artists Light Grey's 6 Degrees Exhibition, and we are pleased to celebrate all of her work and accomplishments! Through this interview, we get to know Jenn Tran, her personal trials and breakthroughs in creating, and some of her biggest sources of inspiration.


We are continually impressed with your professional work and environments. Could you describe your role as a visual developer?

Currently I'm the environment art lead, so most of my work is comprised of original concepting, making sure the art style stays consistent, and producing/managing our environment team. I mostly focus on environment work and high level concepts, design, the look and feel, and game asset creation. I also do a lot of world building for game levels which include set dressing and lighting.


Can you tell us about your studio practice and how you make time for all of the projects you want to do?

I'm honestly still trying to figure out exactly what my "studio practice" is. I love my job and the work I do there, but I guess what drives me to create art outside of work is trying to find a voice in my personal work. It's something I feel like I'm still developing. However, I am always gathering references/inspiration, studying, going to figure drawing, and continuing to explore more illustration and ideas.


What are some of your biggest considerations? Color, theme, types of landscapes, types of characters?

As an artist in games I see a lot of amazing concept art. At the same time I'm discovering and starting to fall in love with visual development for feature film animation. I’m inspired by both, and it sometimes feels like a vicious tug-of-war because they are immediately so different. I admire the technical skill and complexity of concept art both in games and film, however I'm drawn to the design, simplicity, and clear storytelling of animation vis dev. I'm starting to experiment with elements in that realm in my personal work.



Could you talk about the piece you created for the 6 Degrees Exhibition? What were your sources/stories/motivation?

Originally, I wanted to do an illustration of my favorite coffee shop in Seattle. But when it came time to create my piece for 6 Degrees I was in a different mood. I was super busy with work and at the same time trying to sort out some personal feelings regarding relationships, where I was with my art, and having just received news that my parents wanted to separate. At the time I was also reading Quiet: The Power of Introverts in a World That Can't Stop Talking by Susan Cain. A quote in the book by Charles Darwin stood out to me - “A shy man no doubt dreads the notice of strangers, but can hardly be said to be afraid of them. He may be as bold as a hero in battle, and yet have no self-confidence about trifles in the presence of strangers". It seemed to describe my mood perfectly and the image I created for 6 Degrees came from that. I wanted to share the idea that home and comfort can just be a little quiet time in a really busy world.


The 6 Degrees Exhibition is all about promoting other artists, sharing and connecting within our world, and about the influence of places we call home. You spend every day developing new worlds and places for games. Can you share this process? What considerations do you have to make a place special, memorable, and feel real?

Working at a small game studio, you have easy access to the art director, environment artists, character artists, writers, and level designers, to help develop what a place should look and feel like. In that way, we are able to easily share ideas and connect with one another. In terms of process, I'll usually start by brainstorming with the art director or receive an initial brief to work with. I will then go onto researching/exploring/concepting out ideas either on my own or with the environment team. After we have a high level concept, the environment team will generate content for implementation into the level. This would be game assets such as props, decorative elements, architecture sets, etc. When we start integrating content for art level passes, we'll work more closely with the team to really nail what we want the world to feel like.


What is the most monumental project you have worked on?

The most monumental project I've worked on is Shadowrun Returns. Shadowrun Returns was an indie game that was funded through Kickstarter and came out in July. I'm proud of this project because it's an example of what can happen when a group of smart, talented, passionate people get together to make something cool. It is a really good feeling seeing everyone's hard work pay off and having the opportunity to be a part of it.


What are some of your biggest sources of inspiration?

Right now my biggest source of inspiration is CTN Expo (Creative Talent Network). The convention was more than a month ago but it exposed me to a lot of new art/artists. While I was there I went on a tour at Walt Disney Animation Studios. It was amazing being able to see the work that goes into creating a feature animation, both in the past and present. But I think the highlight of the Expo was just meeting a bunch of artist I admire online. I got a lot of great feedback and advice on my portfolio. Everyone was incredibly kind. Seeing all the talent at CTN made me want to work harder, but actually meeting them inspired me to be more humble and helpful to others.

This time of year, especially, we are thinking about deadlines, new goals, motivation, and changes. Do you have any goals or projects for the new year?

Be more organized, meet more deadlines, make more art. Be a nice to people. Don't adopt anymore cats.

Thanks Jenn! It is great to hear about your inspirations and methods of making! You can check out more of Jenn Tran's work on her website or blog here. You can also see Jenn's work on the Light Grey Shop and Digital Gallery along with all of the 80+ artworks in the 6 Degrees Exhibition.

Artist Interview with Matt Rockefeller

Meet Matt Rockefeller, an illustrator, animator, and student, living and working in Baltimore, MD. Matt has created work for several Light Grey Exhibitions such as Station Zero, Rolemodels, and the upcoming show 6 Degrees, and it has been an honor getting to know him! In this interview, we were able to ask about his style, sources of inspiration, real-life heroes, and creation. His work is wonderfully captivating and continues to instill a sense of wonder in us all!


Can you tell me a little about yourself? Your background, where you are from and what you currently do?

I was born in Tucson, AZ and grew up in the unique landscape of the Sonoran Desert. I lived there until I moved to Baltimore, where I currently attend the Maryland Institute College of Art as an Illustration Major with a concentration in Animation. This past year, I completed an internship at Zenimax Online Studios working as a UI Artist on their upcoming game The Elder Scrolls Online. Earlier this year, my friends (Leonard Peng and Xanthe Bouma) and I conceptualized an idea for a gallery show at MICA called “Small Creatures Such as We” which recently had its opening on campus featuring over 700 3x3 illustrations by 15 MICA illustrators.

Can you talk a little about the character you created for the Rolemodels Exhibition?

This character is actually a part of a story I’ve had brewing that involves a boy and his dog finding a portal that takes them to space and eventually other worlds. I thought it was a good fit for my fantasy alter ego (since the characters were initially based on my dog and I), and I developed him into a sort of mythical explorer who travels eternally through these different environments. I love exploring, seeing new people and places and stopping to see the small details, so I thought that a character who is in a constantly shifting environment would be perfect!


Matthew the Curious: Explorer of Worlds

What was your process like creating a character modeled after yourself? Did you give it off of real life attributes or enhance feautures? What do you think this says about your personality?

It was really interesting! I based my general appearance off of myself and focused more on the clothing and armor to define the character. I definitely heightened my physical coordination and build a bit though; I guess I wish I were more physically active, since I tend to sometimes forget to go outside instead of drawing. I also typically wear ordinary clothing from day to day, so the choice to draw such a complex outfit might reveal something about where my true confidence lies.

What are some of your favorite character types to draw? stories to create?

My stories usually involve extraordinary things happening to ordinary people. I find that I can relate to these types of stories, and they feed my inner thirst for adventure. I love to draw mysterious, isolated characters who slowly, over the course of the story, reveal their complex history and warmth of heart. At the center of all of my stories, though, are the places my characters travel to or live in, since the setting can often be just as rich in personality as the characters themselves.



You are also a great draftsman of spaces. Are there types of spaces you are attracted to? moods you are trying to set?

Growing up in Arizona, I was constantly shifting between different landscapes – the vast plains of dead grass, the quiet, pine covered mountains, and the unbelievable cactus ‘forests’. Everything was so vast and inviting, and I try to recreate that feeling in my work. There is so much about the world that is beautiful and mysterious, so I am constantly considering light, time of day, history, and a place’s unique biology when drawing the setting for a story. I want to draw attention to the place- that there is something more to it than what is seen.


How important is collaboration in the things that you do? Do you work as a team? Share ideas? Work on projects together?

Having recently put together a gallery show with 14 other illustrators, I have a reinvigorated appreciation for collaboration. We were able to create a staggering amount of work, and I was continually inspired by the variety of ideas and personalities. Working on projects with others allows something entirely new to come to the surface. There’s nothing like having a group of artists whose tastes and opinions you can rely on when you feel unmotivated or stagnant. I’ve learned so much from my peers, and I hope to continue working with them after graduation!

Who are your real life role models?

My freshman year at MICA, I had Kali Ciesemier as my first illustration professor. She’s definitely been a rolemodel and mentor for me as an artist. She is very dedicated and hard working, and also takes the time to answer questions and share information about her process. She’s very genuine and open, which I try to emulate. Daniel Krall, another one of my professors at MICA, has also been an incredible mentor. He’s hilarious, friendly, and honest, and his ability to generate ideas and talk through problems is unbelievable.

I also have endless respect for what Hayao Miyazaki has done with his vision for animated films. I strive to some day have a fraction of his imagination and storytelling ability.



What is the best piece of advice you ever received?

“Never give up! Trust your instincts!” –Peppy Hare from Starfox 64. This one’s stuck with me for a while.

In all seriousness, the suggestion to always remain curious sticks out to me as being particularly relevant, to art and life in general. There are so many interesting people, creatures, places, and ideas to be uncovered; it would be a shame to lose that sense of wonder that makes life so exciting.

What are some of your favorite resources for inspiration?

I find most of my inspiration from books/comics, animation/film, and videogames- anything that can immerse me in a different world altogether. I find that I am drawn to visual storytelling due to its expressiveness and flexibility. I also have a book featuring woodblock prints by the Japanese artist Kawase Hasui, and I constantly reference these when I’m searching how to convey a mood in my environments.

In addition, being outside, hiking, camping, breathing, all of these things can pull me out of a rut and bring my motivation back.


Can you tell us about any projects that you have in the works or things we can look forward to seeing?

I am currently finishing the first half of my senior thesis, which involves narrative illustrations featuring folklore from around the world. Next semester I will be developing my own folktale/ legend of sorts that is inspired by these stories and draws from my own experiences. Perhaps I will develop this or another story into a book or graphic novel in the future, so you can look forward to that!

Thanks Matt!

You can check our more of Matt's work on his website here or purchase his piece for the Rolemodels Exhibition here.

Artist Interview: Hannah Christenson

I very excited to introduce Hannah Christenson, a freelance illustrator based in Arizona, and a graduate of the Brigham Young University - Idaho in 2011. Hannah has worked with Tor.com, Fantasy Flight Games, and Galileo Games among others. Her favorite jobs have always been fantasy related, and she has been generous enough to talk to us today about world building, strong heroines and heroes, and of course, her piece in the current Rolemodels: The Battle for Vyk'Tornaahl exhibition!

Can you tell us a little bit about your Rolemodels persona? What elements of their personality and class traits are the most reflective of yourself?

I chose a warrior with lots of armor and a ridiculously huge shield. I'm a very quiet person who probably puts up a lot of armor around myself. My personality isn't very sneaky or graceful like I imagine other classes to be. I can see my imperfect, lumbering self in the warrior class. I'm sure I was influenced at least in some way by all the cool fantasy stories and fairy tales that I've ever read, but perhaps what I was thinking of the most was "What is the opposite of a bikini-clad warrior in the snow?" and I kind of went with that and had some fun. There is a time and a place for bikinis, but it wasn't this time or place!

You mention going on many great, yet sometimes perilous adventures while you were growing up.  Do still find your self taking on risky yet exciting challenges, especially when it comes to your art?

I grew up in the country in south Texas where there were rattlesnakes and alligators literally in my back yard. When I went outside to play my mom would tell me to watch out for snakes instead of to watch out for cars. It was great and it taught me to be cautious and prepared, but also to take risks if you want to go play. I suppose you could say that's helped me in the art world with doing my best and not being afraid to email that art director I've always dreamed of working with.  

When it comes to world building and creating environments and persons, what resources do you tend to look to?  How much research goes into designing your characters and building scenery? What are some places, books, or websites that you go to for a jump start?

I love going to the used book store and finding all kinds of books on armor and the stuff that goes under the armor, weapons, photography of environments, various anatomy books, animal books. Of course you can use the internet to research all these cool things, but books are always around to inspire you later on as well. I like to go to Parka Blogs for art book reviews. 

Can you tell us about your process?  How do you go about making decisions on creating such expressive figures within consistently dynamic compositions?  How do you make sure that each element is convincing and suitable for the stories that you try to tell?

My process probably doesn't differ from that of any other artist in that I start with a thumbnail and go from there. It's important to thumbnail and get your good and bad ideas out. Personally, if I myself were to be convinced of the believability of a character in any story, I would look at the environment first and see how the environment has shaped the character. What is the environment? Does the character dress appropriately? Live in an appropriate house? Have the items that one would need in order to live in that environment? What's her job? Does she dress and have the right equipment for that job? It's easy to fall down the details rabbit hole, but it's important to at least consider those basics.  

Much of your work seems to deal with themes of high fantasy and powerful female characters.  Is there a reason why these subject matters take such a significant role in your work?

I try to make what I want to see more of. There weren't a ton of female role models for me in fantasy when I was a kid. My local library was very small and they would only have one copy of a particular book (I had to wait FOREVER to read Harry Potter) so sometimes I'd imagine that all the good books were out. I want to see more ladies in lead roles, powerful roles, roles where they're given names and pasts. They don't all have to be armor-clad warriors either. I just want to see female characters that are written and depicted as people.

When it comes to obstacles such as art block or a lack of motivation, how do you conquer them?

Just keep working. Work on your own stuff, that secret project you dream about. Personal projects are incredibly important. They help you in so many ways. They help you improve your abilities, it's cathartic, you're producing something you love and you're passionate about. You can put it in your portfolio to get more work that you love. Cory Godbey wrote a great post about personal work, go read it! My own personal project that I've been tinkering on for a long time has helped me get jobs, break down art block, and helped me find bits of myself that I'd hidden away. 

What are some things that you arm yourself with before jumping into new projects?  How do you psych yourself up when embarking on a new illustration, or maybe there are some artistic tools or supplies you simply cannot work without?

I prefer to work digitally, so it'd be pretty hard to work without my Wacom 4 and some version of Photoshop. One thing that helps me start and finish a new illustration is a checklist. Even a very small one! My current checklist says things like gather reference, paint owl face, block in colors. It helps me stay on task and not get distracted by the shiny internet.
Tell us a little bit about your own role models; who are your artistic influences or even people who simply inspire you to keep creating?

Bear with me, this is cheesy, but my husband is my biggest supporter. When I create something I feel is incredibly stupid, I don't meet my goals, or I fail at something I had secret high hopes for he's there to push me back up above the waves. He does a good job at helping me keep my chin up. As far as artistic influences, there are so many amazing, truly inspiring artists out there that set such a wonderful example of hard work, persistence, and determination. Of course their individual work is amazing, but their sheer willpower is inspiring.  
Can you tell us about any new projects that you are currently working on, or are excited to start working on?

Outside of freelancing I'm currently working on my own secret project after hours. I can't share a ton about it but I'm excited about it. It involves a lady, some magic, some adventures and dog all in a webcomic format!   

Thank you so much Hannah! 

To see more of her work, take a peek at her website as well as her blog! Her piece is also available to purchase in the Light Grey Art Lab Shop!

World Building Workshop With Claire Hummel and Colin Foran- Weekend Recap!

Wow! Well, we just got done with a fantastic and exhilarating weekend here at Light Grey Art Lab! We had the honor of inviting Claire Hummel and Colin Foran from Microsoft Studios to teach a three-day intensive studio workshop filled with world building, brainstorming, and critical conversation!

Overall, the weekend was an informative and challenging introduction into concept art and the gaming industry, with expert advice in promoting yourself, working on a production team, working practice, and portfolio tips, as well as tons of studio time for the participants to build and develop worlds of their own!



The weekend began with a free public lecture here at Light Grey, where Claire and Colin were able to share and talk about their past, current, and in process projects for Microsoft Studios. They described their pre and post production work and talk a little about the industry, collaboration, and the art of concepting. It was wonderful to see and celebrate all of their work! We had a packed house full of students and creatives from around the community who were eager to hear about their process and meet Claire and Colin in person!

Immediately following the artist talk, was our All Creatives Meet & Greet! Tons of local creatives, traveling artists, students, and neighbors stopped by for a chance to say hello, exchange business cards, and talk about their work- such an energetic and fun evening!

Saturday morning began with a large pot of coffee, tea, and bagels as we settled in for an ambitious weekend. During this time, all of the participants were able to introduce themselves, their objectives, and backgrounds.

Then, Claire and Colin gave an in-depth presentation of their background, where they came from creatively, and influences along the way. They both come from a rich background of freelance illustration, digital and traditional mediums, concept art, and art direction- all informing what they do today.

The morning presentation of world building concepts was a great way to kick off the workshop! Students were ignited, full of ideas, and ready to start sketching! Students grouped with their teams to begin researching and rapid brainstorming for developing new worlds! A giant, collaborative ideating session which took us to on a journey through high functioning societies, underground dwellers, decorative and magical people, and refugee island inhabitants. All ideas were put on the table!

After the first studio session, we made our way to Common Roots Cafe for a lunch break. It was definitely time for brain food!

After our break, Claire, Colin, and our two guest artists, Victor Mosquera and Sidharth Chaturvedi, joined us for a skype interview and Q & A. All of these artists work in the concept art industry, but with various specialities and kinds of games/concepts. This was a chance to compare and contrast mobile games verses video production, and illustration- it was a chance to ask the tough questions about pace, expectations, and standards. The conversation was eye opening for all of us!

Colin is definitely a master of his craft! During his digital demonstration, we watched in awe as he developed one of his robot sketches. It quickly went from a rough sketch to a well-lit, colorful, and believable image. He made a point to emphasized the importance of knowing your materials- the visual differences between types of metals and leathers and how to render them. Wow!

For the afternoon, it was back to world building! The morning studio session got us off to a great start in defining our kingdoms, and now it was time to solidify ideas and concepts. This session was all about research, combining ideas, and challenging others. Students worked right alongside Claire and Colin to lay out the ways of their lands.

At the end of the first day, we transitioned from world builders for our Boardgames, Beer, and Pizza Night! Players joined in to learn Rolemodels: The Battle For Vyk'Tornaahl, D & D, Tarot Readings, Labyrinth, and other awesome games. It was a fun, competitive and nerdy night!

Here we are- in the midst of an epic quest!

Sunday began with breakfast and business. Claire and Colin led a roundtable discussion about conventions, portfolio building, and the business side of the gaming industry. It is always useful to hear first hand experience of what to expect in portfolios, what to include on your website, media resources, and more. The workshop participants had tons to share on social media and resource topics!

The, Claire led a digital demo on developing characters. She is fantastic person to share information about research in characters, constructing costumes, and personality! I think everyone was blown away by her attention to detail and intricate line work!

After a few hours of concepting time for our lands, we headed off to lunch! This was a chance to catch up with the other teams, exchange ideas, and relax!

For the final working session of the day, we got right to work! It was about putting ideas to paper, being able to present on our ideas, make a case and logic for the ways of the land, finishing thoughts, and critique.

Each group did a great job of representing many parts of their world. By the end of the weekend they had a goods understanding of developing an entire world, all the parts, and considerations that go into it. Students had interesting cultural garbs, city centers, good, food, and weapons for trading at the market, and more! It was impressive and thoughtful work!

And here is the whole group! A fantastic group of creators!


You can see more artwork and information about Claire Hummel and Colin Foran here.
You can also see the entire collection of photos from the weekend on our Light Grey Flickr Page here.

Podcast: Visual Development For Video Games

Download the MP3 or Subscribe via iTunes!

Visual Development for Video Games
Length: 01:04:39
Synopsis: Microsoft Studios Associate Production Designer Claire Hummel and Associate Art Director Colin Foran visited Minneapolis this week to host our weekend workshop dedicated to world building in video games. To kick off the event, we hosted a public artist talk where Claire and Colin spoke about how they approach the challenging work of visual development for AAA video games, what it's like to work on a high-caliber team of talent like Microsoft Studios, where they started as artists, and how they got to where they are now. And of course, lots, lots more. Claire and Colin are incredibly talented and knowledgeable (and super nice, too!) so we thought it would be a great conversation to share on the podcast!


NOTES:
You can see Claire Hummel's art and follow what she's up to next on her website, Tumblr, Deviant Art, or on twitter @shoomlah.

You can see Colin Foran's art and follow what he's up to next on his Tumblr, CG Hub, Deviant Art, or on twitter @colin_foran.

Artist Talk and All Creatives Meet and Greet

Mark you calendars for November 1st! We have two incredible events back-to-back!

We have invited two amazing artists, Claire Hummel and Colin Foran from Microsoft Studios to lead a three-day workshop on concept art, world building, and design! Claire and Colin will be sharing their experience as concept artist and art directors in the gaming industry, as well as their years of personal practice and freelance to guide students through a weekend of collaborative creating, business discussions, shop talk, and more. Participants will assume the roles of craftsmen and demi-gods as they work alongside our guest artists to create content for experiential worlds inspired by the methods and techniques of the industry.

To kick off the weekend, Claire and Colin are holding a free public lecture here at Light Grey Art Lab from 7pm-8pm. They will discuss their personal and professional projects, what it is like working in the gaming industry, thoughts on collaboration and more. Get a peek into into the realms of video game creation from two artists who worked on projects such as Killer Instinct, Galactic Reign, and Bioshock Infinite- the games and characters we all love! The lecture will be followed by a short Q & A, where guests are invited to ask questions about the artist talk.

For more details see the full event details on the Facebook Event Page here.

Immediately following the lecture is the ALL CREATIVES MEET AND GREET! Grab your business cards, promotionals, and sketchbooks for an all-artist mixer. You can meet some of your favorite local and traveling artists, talk about work, brainstorm, or just say hello! This is a chance to reach out and recognize all of the fantastic artists in the area! This event will also take place at Light Grey Art Lab in the main gallery from 8:30-10pm. We hope to see you here!

About Colin Foran
Colin Foran is an Illustrator and Associate Art Director for Microsoft Studios. During his time in publishing, he has designed and directed for a number of Xbox and Xbox One titles including Galactic Reign, Killer Instinct and Sunset Overdrive. Designing characters, environments, and props for games ranging from casual Kinect titles to shooters, he brings a wide range of influences to his work. Outside of publishing, Colin is active in side projects including games, studies, and several gallery shows with both Light Grey Art Lab and Ltd. Gallery in Seattle, Wa.

About Claire Hummel
Claire Hummel grew up in LA, went to school in Rhode Island, and ended up in Seattle where she now lives with her two snakes, Xocoyotzin and Rodney. She's currently working as an Associate Production Designer for Microsoft Studios, and has worked on a number of game titles over the past few years including Bioshock Infinite, Ryse: Son of Rome, and the recently announced Fable Legends. She spends her free time drawing cowboys, dinosaurs, mummies, and quite a few historical princesses.

Artist Interview: Juan Carlos Barquet

Although we just finished up the In Place exhibition at Light Grey Art Lab, we are still celebrating the fantastic artists from the show, who spend their days making beautiful and informed images, building worlds, creating spaces to live in and visually explore. I would like to introduce artist Juan Carlos Barquet, a freelance illustrator hailing from Mexico City. With a passion for drawing and painting, he finds inspiration from how science and art merge into new disciplines. His work has appeared in collective exhibitions from New York, London, and Bilbao as well as various magazines and publications. Winner of the 2013 Illuxcon scholarship, Juan hopes to work within the fields of animation and visual effects.


Can you tell us a little about the piece you made for In Place? Process, research, mood?

The piece I did for In Place is a cenote, which is a natural sinkhole, created by the collapse of limestone that exposes water underneath. The subject matter attracted me not only because of the richness of the natural environment, but also due to the spiritual meaning that the Mayans assigned to these places. It is also interesting that cenotes are probably the result of the meteorite impact that extinguished the dinosaurs more than 60 million years ago. To create the painting I started with small charcoal thumbnails on toned paper, and then did a couple color comps in Photoshop to establish the mood; I gathered some reference pictures to inform the details and finally took the piece to its final state.


You create spectacular and intricate backgrounds everyday and there are so many interesting places around the earth, so how did you select or find inspiration your location for In Place?

Thank you! I saw many cenotes when I visited the Yucatán Peninsula, and even did some underwater diving inside them – cenotes are usually entrances to massive subterranean cave systems, and exploring them was amongst the most inspiring experiences I have had in my life. I remember being fascinated by the way light behaves in environments like these, cascading through the rocks and water, so I was especially interested in that when designing the image. It was hard deciding whether I wanted to show the underwater landscape or the outside appearance of the sinkhole, but I ended up choosing the latter because I figured it would better represent this type of formation.

When you are creating landscapes for fantasy games, does your process change? What are the differences between your professional and personal work?

There is definitely more creative freedom when I’m doing my own work. This usually allows me to experiment and give myself more technical challenges than I would try when working professionally, so personal pieces often end up being my best. That said, I also enjoy having the direction and structure that comes with working for a client. When doing personal work I tend to think too much and change things over and over, which results in a lot of pieces never being finished.

How much research goes into your work? (ex: Finding the right metals, materials, landscapes to reference, geographical research)

It depends on the piece, but I usually try to understand my subject as much as I can before starting a piece. Even though I paint otherworldly scenes, a lot of inspiration for color and design comes from the real world, so I try to sketch outside as much as possible. If observing actual objects or places is not an option, I look at lots of pictures for inspiration. Still, I find that using reference is good at later stages of a painting, but for me it is best to work from imagination at first and not be restricted by other images.


What are some of your favorite projects so far? Professionally or personally, what projects have moved you to create?

I love doing science fiction. Most of my commissions have been fantasy oriented (castles, magic, medieval scenes and that of kind of thing), and while I enjoy that a lot, I just love envisioning futuristic, technologic worlds. The Power of Tomorrow, which I did for the yearly exhibition Desktopography, is probably the piece I’ve had most fun with. I am also drawn towards dystopian settings. A great inspiration for me was the movie Blade Runner, and also books like 1984 or Brave New World. In many ways, stories like these are very real and relevant, and they say a lot about the world we live in.

Your landscapes tend to be very epic, expansive, and quiet. How do you engage with the viewer, draw them in, or create discovery in your art?

It is important for me to have credibility a landscape, which is why I think that observing the world is so essential, but I try to incorporate an element of dreams, wonder or surprise into each piece. Whenever possible, I try to use color, composition and design to reinforce the story, give a backdrop to the scene or add emotion. I find it useful to imagine myself in the environments; sometimes I write a little paragraph, just for me, so I have little narrative clues to give direction to the piece.

You include characters in some of your work. What kind of characters, beasts, subjects are you most interested in?

For me it’s often less about the characters, and more about the world they live in. Once I have imagined a setting, I start thinking which kind of life forms, if any, could possibly be there. Maybe it’s humans, but they’re part of an unknown civilization. I love dragons, and I’m working to understand them –and draw them– better, but like all fantasy, it’s all about taking real world things and going crazy with them.


What other artists, website, resources do you look at?

There are too many to name: I constantly study the work of masters like Leonardo, Caravaggio, Rembrandt or Sargent. I always try to go to museums, but sites like the Google Art Project are also great for this. I love the landscape painters of the Hudson River School like Church or Bierstadt, but I am also inspired by contemporary fantasy illustrators like James Gurney and concept artists such as Andree Wallin. I read blogs like Gurney Journey, Muddy Colors, ChrisOatley.com or The Artorder regularly. I follow so many artists, art students and art directors on the social networks that I am inspired every time I turn on the computer.

What projects are you currently working on? What is upcoming for you?

Besides being active in the international art collectives Hysterical Minds and The Luminarium, I am currently in the matte painting team of a Spanish short film (I will share more about that when it is closer to being released). I continue to do freelance jobs for card game companies and private clients from time to time, but right now school is my main priority and what takes up most of my time. I am also starting to learn to play the guitar and I work hard every day to become the best draftsman I can be.

Thanks Juan! You can check out more of Juan Carlos Barquet's work on his website as well as check out his artwork for the In Place Exhibition and the In Place book on our Light Grey Shop.

Artist Interview: Lauren Airriess

Meet Lauren Airriess. Lauren is an extremely talented character and visual developer, illustrator, and artist living in San Francisco, California, and currently working as a sketch artist and animator at Pixar Animation Studios. For years, Lauren has been creating and sharing work through her online blog Tula Noodle, and professionally contributing to works on feature length animations such as Tangled. Lauren has exhibited work at Light Grey Art Lab in Searching for Secrets during the Message and a Bottle Exhibition and in the current In Place Exhibition. We are excited to get to know Lauren more, hear about her process, and get the inside scoop!



What are some of your favorite projects so far? Professionally or personally, what projects have moved you to create?

I absolutely loved working on Tangled. The mood and look they were going for when I was on the project was in Rembrandt's style, which I absolutely love. It was my first experience on an animated feature, and I couldn't have asked for more. I feel like when you have a director who really inspires, and a theme and style that hit a chord with you, the artwork just comes flowing out, and you never want to stop.

Has your experience working on animations shaped the way that you think about space, environments, and experience of places?

I have been working either on getting into animation or in animation ever since I was eight or nine, so I wouldn't even know how to do things in a different way. I would say that in the animation world, everything has to be influenced by the main character and how they are feeling at that moment in time. If the character is sad, that will effect the environment, lighting, composition etc. Everything you draw has to tell a story about that character.



You create spectacular and intricate backgrounds everyday and there are so many interesting places around the earth, so how did you select or find inspiration your location for In Place?

I have had this weird reoccurring dream ever since I was a kid about a Victorian conservatory. It was usually kind of run down and overgrown, so I thought that the Palacio De Cristal would be a good choice because it was gutted after left abandoned for a many years. I brought it back to its more wild state. It's now used as a gallery space for sculpture and art installation.



What was your research and development stages like for In Place?

I started by looking up different observatories and the stories behind the architects who created them. Observatories became a kind of status symbol for cities all over the world. The goal was to create the largest, most elaborate collection of foreign plant species - almost like a plant zoo. They weren't just used by scientists to study exotic plants; they were also used to house fantastic parties. I found the juxtaposition very interesting.

Can you tell us what projects you currently have in the works? What is on your personal agenda?

I am developing my own idea based off a Finnish folktale called the Forest Bride. This is really just for my personal development and to teach me to create a world from scratch. It's been challenging, but I have learned a lot.

On top of your professional work, you are creating plethora of personal work, and we are impressed by the amount and variety you make in your free time. Could you talk a little about the differences in approach to personal and professional work? What keeps you motivated?

I try to do the kind of work at home that I am not doing at that moment for the studio. Either creating pieces in a flat graphic style that fit more into the illustration world, or with styles or plot lines that speak to me. Doing things in different styles at home enables me to stay fresh creatively.

What are some of your favorite themes, types of characters, things to make?

Coming of age stories. On a design level, I love movies that have a lot of organic elements. Either with a lot of vegetation, or architecture that falls more on the organic side, with a lot of character and flowing lines. I would say that I like period films the most, but it all depends on the story.



What are some other types of media/people (other artists, books, television, movies) that you are inspired by?

Oh man, I get inspired by so many artists. I would have to say my go to guys are the giants in the art world, such as Toulouse Lautrec, Rembrandt, Monet, Sargent, and Waterhouse. I love their sense of design and color, their worlds are so rich. But on the other hand, whenever I get in a tough spot with something I am working on, I go straight to my Tumblr feed. It helps to see that people are constantly creating new art, and it makes me feel like creating good artwork is possible and within my reach.


You can check out more of Lauren's work on her website or blog, and you can see and purchase her work for the In Place Exhibition and Book here!

Create, Concept, and Collaborate Recap!

Wow! Create, Concept, & Collaborate is already over, and it was a huge success! This past weekend we were honored to have the incredibly talented duo of Mike Yamada and Victoria Ying visit us at Light Grey Art Lab to host a weekend workshop dedicated to visual development. As Visual Development Artists at Walt Disney Animation Studios, Mike and Victoria brought with them an incredible wealth of talent, experience, and insight.



The weekend kicked off with a public lecture in the Minneapolis College of Art and Design's auditorium, which was packed to the brim with excited artists. Mike and Victoria gave a great introduction on what it actually means to create visual development and concept work for a company like Disney. Their body of work is hugely impressive and it was a great lecture! You can listen to the full lecture it on the latest podcast episode, here.


A packed house over at the Minneapolis College of Art and Design!


Mike and Victoria share upcoming projects, animation stills, and concept art for Disney Animation Studios.

Afterwards, everyone moved down the street to Glam Doll Donuts, where we had a bustling All Creatives Meet & Greet. Spirits were high, fueled by Glam Dolls delectable donuts and plenty of coffee. It was a great event, and the people at Glam Doll happily dealt with the throngs of hungry artists like pros.


Artists line up to talk to Mike and Victoria, say hello to each other, and fill up on some delicious donuts!

The first day started bright and early, with introductions and an opener discussion with Mike and Victoria about personal work, their brainchild Extracurricular Activities, and sharing the portfolios that got them into the industry. Mike and Victoria highlighted some of their favorite pieces to date, shared current and in process works, and the differences in their personal and professional works. It was wonderful to see the changes from project to project!



Then, Light Grey led a series of workshop exercises, focusing on experimentation and exploration in story-telling. Splitting into groups, each team was given a short prompt and challenge to create a children's story with limited resources- Rorschach ink blots! As a humorous ice-breaker, this was a perfect project to start the day: it focused on group improv, brainstorming, and creative problem solving. The exercise was followed by reflective worksheets and discussion on project ideation.


Groups work on creating a playful and quick children's story, all with ink blots and abstract shapes!


A giant and fun brainstorming session to get all of us awake and thinking.

After a breezy outdoor lunch at Jasmine Deli and a coffee break at the Spyhouse, boardgame art director Mike Linnemann came by and talked about the relationship between art directors and participating artists. Mike is a bright and honest guy, not to mention an incredibly experienced and prolific director. Along with a presentation, students were able to peek at a few of the games and card decks Mike has helped produce.



Following Mike Linnemann's talk, Victoria led an incredible character building demo, where she talked about the shapes, relationships, and dynamics to think about when creating interesting character.





Victoria creates her version of Hansel and Gretel, showing how she ideates, creates characters, and builds personas.

The demo ended with a project prompt for a character building exercise, which the class worked on while each participant started in their one-on-one (or one-on-two, in this case) chats with Mike and Victoria. Individual students were able sit down ask questions, review their portfolio, and talk about their personal work.



After a long day, the whole workshop walked to Uptown's Chino Latino for some great food and some much needed R&R. We reflected on the day over colorful and exotic dishes and fun drinks!



Sunday morning started with an open and honest discussion about social media, promotion and marketing. This was a round-table discussion, and each person had great things to say about their personal experience, thoughts on promotion, useful and inspiring tools, and resources. From books to podcasts to online articles, this discussion was both insightful and necessary- shedding light on some of the most wondered and important questions. It was a very positive conversation, fueled by the variety of past experiences of participants, Mike and Victoria, and the Light Grey team.


Erik Krenz sharing his views on tumblr and social media.


So much enthusiasm!

Next, Mike led a lively landscape, character and painting demo. We all watched in awe as Mike effortlessly painted his interactive characters and background. He shared his personal techniques and tricks for painting in photoshop, as well as creating dynamic and informative compositions.



After the demonstration, we packed our bags and headed to Midtown Global Market for a quick and delicious bite to eat! Midtown is one of our favorite places to get lunch because of its endless and unique entrees, bubble teas, and handmade crafts. During lunch, we were able to relax and talk about our experiences so far, developing stories, and talk about our plan for the afternoon work session.



With the day half over, the group quickly got back to work! They spent the afternoon developing and working through their character building project. The review meetings continued throughout the afternoon, along with peer revisions, conversations, and a few Light Grey tarot readings!


Busy at work!


Partners were able to critique characters and look an each others work.

To close the day, Mike and Victoria walked through a portfolio building presentation, outlining the do's and don't's of portfolio creation, tips for unifying work, and how to make a portfolio a "reflection of yourself." The talk was not only about creating a portfolio, but how to share it, where to bring your portfolio, and how to get noticed. After a two full days of working, this was a perfect cap to share hopes and plans for the future.

To celebrate the weekend and new friends, the group moved to the Lowry for a great dinner and to give out final goodbyes. There were several drawing contests, such as "Cutest Kitten", or "Batman With Your Eyes Closed". Information was exchanged, including a hypothetical conversation about future workshops and dream projects.




Overall, it was an incredible weekend with so many talented and motivated individuals! Thank you to all of our participants, as well as those who were able to attend the lecture, meet & greet, or parts of the class! To see the entire collection of photographs from the weekend, you can check out the flickr gallery.

You can see more artwork by Victoria Ying and Mike Yamada here!