Since originally this was a practice of detailed elaboration in the manner of Asian artists (thorough study of materials, preserving the dabs of paint, meaning not photorealism, but a drawing good enough to read the scene and the materials). The earlier I collect the main references the better. Besides, I'm always for a new story, which you can briefly tell in your work, showing a part of that world (this is what environment concept art is actually all about). It's usually enough to change the format, enhance the existing peculiarities of the space, add a material or two, and make it all more epic (add some danger, suspense, vastness or something like that). It can be helpful to analyze the original picture in two aspects: how the space is organized (there is a road to some sort of entrance, and a river flowing into the background along the road) and what materials are used (masonry, a low stump of a sawed tree, grass, bushes, and the river). Concept stageĪ significant number of works that are not connected with projects - random sketches and practices - begin with a similar situation: an interesting idea about an environment from a photo, which is transformed and changed according to the prompts of the intuition. Since I make environment concept art for video games, the topic will be a sort of landscape. This article describes how I come up with practices, how I think when I draw, and how I bring these ideas about. In practice you are the one who chooses what to do, what to focus on, and what you are interested in right here right now. Any project, any specific work process, consists of borders, deadlines, employers' demands and all that stuff. It's a playground where you can both get experience and have fun. Russian environment concept artist Viktoria Anda Shamykina takes us through her methods for practicing and exploring Photoshop environment concepts.Įven with all sorts of work, constant drawing jobs and other affairs, I whole-heartedly believe in the usefulness of practice.
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