Why Donate
Donation Meter

Features
	Last Airbender
	Grey's Anatomy Promo VFX
	Interview with Bobby Chiu
	License to dream
	Focus : Gears Of War 3

News Headlines
	Dragon Age 2
	Bioshock Infinite
	Time travellers Comic
	Envirometer
	Thelma and Louise Remake

Other Features
	Interview With Nick Harris
	Making Art for Ipad
	Making VFX for Ben Hur Remake
	Interview : Mike winkelmann
	Baby Data

↑ Grab this Headline Animator

Part 1

I.A. : Can you explain you creative process?

D.Y. : I am a very experimental person, in terms of both techniques and subject matters. One day I would start to drop abstract shapes on the canvas, and then bring recognizable concrete visual elements as the blueprint of a work. On another day, I might also as well a very detailed line work as the starting point of a piece. The first technique gives me much more freedom in order to allow “happy accidents” to happen during the early stage of a visual development. The second method trains me to approach an artwork from a very logical way which requires more thoughts and consideration. Topic-wise, anything would trigger my creative instinct, from a nostalgic melody to a musical opera, from watching a kid enjoying an ice cream in a sunny afternoon to a small daffodil blooming in the corner of a street, from visiting an art exhibition to watching an experimental movie, from a poem to a literature piece: everything can be inspiring in life.

I.A. : What is the most important part of the creative process that you like to focus on?

D.Y. : What I want to focus the most in my artwork is how to depict a feeling at a certain moment in life. This would always remain the challenge that I give myself. A feeling is abstract, something not tangible. How can one make the use of visual language to portray it? Great masters achieved it through years of practice on studying shapes, colors, lightings, body language, etc. One might try to mimic the final visual result of a painting from a great artist, but he/she would always fail attaining this goal if this person ignores all the thinking process and years of observation and studies which are hidden behind the visual result of a marvelous painting.

I.A. : You seem to be attracted by the power of light in painting? Can you tell us more?

D.Y. : I have always been inspired by all the Renaissance and Impressionist painters. Light has played such an important role in their paintings. Rembrandt’s theatrical play of the light and the shadow or Monet’s spackles of sunrays shining on the river surfaces; they are all essential in terms of directing and guiding the viewer’s interpretation of their images. No color would exist without lighting and lighting is one of the most crucial elements which would evoke a specific ambiance. That is why I will continue to study and explore the power of light with my own works.

I.A. : What are the tools that you use?

D.Y. : I have always been using Photoshop for most of my works. Sometimes, I make few additional touches in Painter during the final stage. Recently, after attending Andrew Jones’s presentation at Adapt 2008, I began to integrate Alchemy into my workflow. It is a small and handy software with which you can get random and interesting shapes to start a design. I also enjoy using ArtRage and Alias Sketchbook to make quick sketches.