Today we chat with Qian Ting Zhang, concept artist on Hell is Us!
Tell us about your journey as an artist and how you came to be working on Hell is Us as a conceptual artist?
I was initially failing a science degree in college.
I then took stock of what I had; a decent enough foundation for drawing (I drew a lot in my free time as a passion) and a drive to improve. Concept art seemed like a good fit for me in a domain that I enjoyed, so took a gamble and studied for it in university.
I got very lucky, as I eventually met the right people, and applied at the right place, right time.
Hell is Us treads within some very dark and gritty settings and themes, while also showcasing fantastical beings; was it a challenge to incorporate their different aspects?
The challenge, for my perspective, came specifically from how to combine the aspect in order to make each map as visually distinctive as possible. The main way it was done was by merging the emotions associated with each map (which dictated a lot of the shape language and color) with the realistic setting and supernatural aspect.
A lot of time was dedicated to push the visual as far as possible to be distinct. A collective effort, and a lot of trial and error at times. But when the formula was found, the latter was relatively easy for me to replicate.
Can you tell us about the process that goes into each concept art?
I ask myself a lot of questions when I am given a mandate.
What is the message, the theme, the mood I can/have to aim for? Are there any visually distinctive elements, symbolism or metaphors I can use? Can I tie my design with things that exist within the lore/game? How can I help the other departments with my concept? What can I improve?
These questions help me narrow down what I can do.
I then try my best to find interesting ways to explore each aspect through iteration and offer different interpretations. These are then reviewed, and more directions are given to refine the concept further.
What are you most proud of in Hell is Us?
For a junior, I was given the chance to work on a lot of central elements for the game, and I think I did fairly well.
I grew as an artist and a person; I look back on all these years and realize I've come a long way.