Innertraveler Artist Community

Christian: As a teenager, I was strongly influenced by European comic book artists such as Enki Bilal, Moebius and later by the Swiss surrealist H.R. Giger (the creator of Ridley Scott’s Alien).

Although Switzerland’s film industry is quite small, the country is quite renowned for its industrial design, graphic design and architecture, which had a strong impact on my own sense of visual aesthetics.

My interest in film developed out of the highly designed films of the past few decades (i.e. Alien Bladerunner, Brazil, Dark Crystal, Star Wars, etc.), which were also screened in movie theaters around Europe.

Do you have any formal training?

Christian: While studying graphic novels in Belgium, I was schooled in classical live figure drawing, anatomy, color, and composition, as well as philosophy, art history, semiology and scriptwriting. My skills as a designer and the use of computers have been mostly self-taught.

What software did you use first?

Christian: I started out designing with traditional media (such as pencil, markers, gouache, etc.) but today I make most of my work on a dual processor G4 using Photoshop CS. My knowledge of high-end 3D programs has, however, increased considerably over the past few years.

I noticed that you don't just create pictures; you tell stories. Your work is distinguished by the depth of detail, and by the people. It's unusual in conceptual work to provide such realism and humanity. I feel I've visited your places and met your characters. Is this achieved consciously, or does it just flow naturally?

Christian: In particular when designing fantasy, I believe it to be of great importance to be rigorous in establishing rules and guidelines for the emerging fantastic universe. Producing an elaborate painting is a great way to create a world from the outside in. By loosely blocking in architecture and main shapes, questions of location, climate, and technology arise. When painting in the characters, more questions about societal structures such as race and social status have to be addressed. During the painting process, I try to answer them one at a time. The more detailed the painting becomes, the more I find out about this new world and its story starts to unveil.

Is that a lengthy process? For example, how much time is required for each game project?

Christian: It depends on my level of involvement. It can span from a three-week engagement, where I establish the initial look of a game, to up to a six-month period, where I might establish all the levels and main characters, in this case usually working with a design group. More recently, I have been involved in writing the entire story outline for the games.

That reminds me: I want to ask about your writing later, but while we're on this subject, I'm curious how much time you invest in a movie project?

Christian: In March, I spent one week helping to design a particularly complex specific shot for Brian Singer’s upcoming Superman Returns. For The Day After Tomorrow, I was engaged as a matte-painter for a couple of months, and before that, I spent 4 years working on Final Fantasy: The Spirits Within. As you can see, the duration on a project varies quite a bit.

Do you work at home or at a studio?

Christian: In the beginning of my Hollywood career, I was sent by my agent from movie to movie in rather short intervals. Two and a half years and eight movies later, I joined Square USA in Hawaii and worked with that company for over five years on Final Fantasy the movie, Final Fantasy IX the game and Animatrix, one of the nine animation shorts commissioned by the Wakowski Brothers. Currently, I work out of my own studio in Hollywood Heights and only join companies in the function of an Art Director or Production Designer.

Can you give a brief overview of your technique or approach?

Christian: I adapt my technique largely to needs of a production. But I mainly create high-end visual conceptual paintings in Photoshop. More recently, I have started to sketch traditionally again. If needed, I sometimes commission 3D models created by fellow artists, which I insert into my design packages.

Do you have a favorite game you’ve worked on?

Christian: I loved Final Fantasy IX, the last of the 2-D games made by Square. Last year, I also had the great opportunity to be the Conceptual Art Director on a game called Spore (made by Will Wright, designer of The Sims), which will be released this autumn and which I believe will be absolutely amazing.

How about a film; do you have a favorite movie you’ve worked on?

Christian: I loved What Dreams May Come and Dark City, but every movie I worked on was an exciting experience.

Where does your inspiration come from?

Christian: I love to travel. I just returned from a trip to South Africa where I designed a pilot movie for the first African CG-animation feature film and last year, I made 4 trips to Japan to work on a fighting game with EA-Japan. All these journeys yield plenty of new ideas.

Where do you live now?

Christian: Laura and I live currently in the Hollywood Hills.

What do you think of the United States?

Christian: We are very happy here.

What’s your impression of Hollywood?

Christian: Hollywood is a great gathering point for artists and writers and often less shallow than it might appear from the outside. LA is, however, a working city where everything rotates around the next project. It’s exhilarating, but can also be demanding at times.

Is the game industry as much fun as it seems?

Christian: For a visual artist, video games are very exciting. In recent years, I have taken on the challenge of developing projects which are visually ground-breaking but also have a story level as engaging as a good book or an epic feature film.

Do you have any advice for aspiring artists?

Christian: I am a strong believer in a solid art education. Even if you wish to work mainly with computers, I would stress the importance of learning how to paint, draw and have an extended knowledge of art history. Aspire to create a portfolio which meets or exceeds industry standards while at the same time reflects your own style and personality. Ask advice and feedback and if possible, arrange a meeting with art directors and producers, even if they are not hiring at that moment in time.

I know you’ve just made available a couple of tutorials on DVD. They look very interesting. Could you please describe what is their focus?

Christian: I have two Gnomon Training DVDs. On the first DVD in this series, I introduce the fundamental techniques I use to create digital concept paintings and matte paintings in three easy-to-follow exercises. On the second one I elaborate more on the intellectual process and advanced techniques I use to create high concepts for movies and games.

I took a quick look at the DVDs. They're full of great information -- and it's all explained very simply and clearly. I'm sure a lot of people here at Innertraveler will be interested.

I’m also curious about another of your recent projects. You just published a book: Entropia, an exquisite book on very rare stamps – what was the inspiration for that?

Christian: Entropia: A Collection of Unusually Rare Stamps is a visual story book in which I tell the history of an imaginary country and its inhabitants through a series of beautifully crafted stamps. One way to describe it is as a cross between Nick Bantock’s Griffin and Sabine and the dreamlike worlds of Hayao Miyazaki and Final Fantasy IX.

And you wrote this book yourself, as well as illustrated it?

Christian: Yes, I wrote and illustrated the book myself. After having been involved in visualizing projects, it has been a special challenge for me to start to become a writer as well. I mostly have to thank my wife who is working on her PhD in literature and has been a tremendous help and inspiration during the writing process.

Very impressive. Is there anything you can't do? You don't know about plumbing, right? :-)

Christian: I do not “plumb” and am quite scared of driving on the freeway.

LOL. As for driving on the freeway, you're not the only one . . . Any final words for the aspiring artists out there?

Christian: Create a portfolio that represents the work you aspire to do, not only the work you think the mainstream client wants to see. Try not to get too involved with projects that have no script.

Hm, interesting advice — avoid projects with no scripts. Why is that?

Christian: In my experience, it has been a risky business to be involved in projects without a solid script. They often turn out to be less focused and often not realized. The exception to this, in my experience, has been with the creation of video games, in which the storylines often derive from the universe(s) created by the designer.

Thanks again Christian for spending time with us today. It has been an honor.

And for those of you who haven't already done so, I strongly recommend you visit Christian's beautiful website -- it's an experience. And definitely check out his amazing prints and books at Gallery Nucleus.