Chong Liu

Interviewer: Anna Gvozdeva (curator)
Artist: Chong Liu 

Year of birth:1996
Where do you live: New Jersey, USA
Your education: School of Visual Arts
Describe your art in three words: Narrative, Digital, Immersive
Your discipline: Concept Art, Illustration
Website | Instagram

Chong Liu | The Flower of War

Your career has spanned animation, digital illustration, concept art, and even interior design. How do you balance these different mediums, and do you find any crossover between them?

I studied 3D animation in school and worked as an indie animation director in my early career. However, I eventually decided to focus more on the pre-production stage of animation, gradually transitioning into a role as a concept artist. During my spare time, when concept design no longer brings me as much joy, I turn to digital illustration as a new tool for artistic expression.

Jumping between different mediums can sometimes feel overwhelming because it pushes me out of my comfort zone and forces me to learn new principles. However, as an active concept artist in the game industry, I find that my background in 3D animation and my passion for illustration have become invaluable to both my art and career. My experience in 3D animation has given me a stronger understanding of narrative and the ability to interpret 2D objects in a three-dimensional way. Additionally, my familiarity with 3D programs helps me work more efficiently when creating concept designs.

While I see illustration and concept design as distinct fields requiring different mindsets, I believe they can complement each other. For example, the problem-solving approach I’ve developed as a concept artist helps me clarify themes in my illustrations, preventing creative blocks. At the same time, the reference-gathering process for illustration has expanded my visual library, making me more confident when working on concept designs.

Your work on the animated short film “NoWhereMan” earned significant recognition. How did that experience shape your approach to storytelling and visual design?

In terms of visual design, working on NoWhereMan was not only my first time acting as a design generalist—responsible for shaping the overall look of the animated short, including characters, scenes, and props—but also my first experience art directing myself. Since I was the only concept artist and illustrator on the team, I had to build a visual guide for the entire animation from scratch.

Compared to working on larger film or game projects, where established visual guides and art direction are already in place, my experience as the art director for NoWhereMan gave me a unique opportunity to experiment with bold and unconventional ideas with very few restrictions. I had the freedom to fully apply my own aesthetic to the film, which was both exciting and challenging. This project also taught me a valuable lesson as a concept artist—it helped me discover which aspects of design I excel at and which parts of the creative process I truly enjoy.

When it came to storytelling, creating the storyboards for NoWhereMan was a challenging process. We revised them nearly 30 times before I was finally satisfied. The constant polishing and reworking were difficult, but through this experience, I gained a deeper understanding of narrative principles—lessons that later proved invaluable to my work as a concept artist.
This project also helped me identify the aspects of design I excel at and the parts of the creative process I truly enjoy. It was a pivotal experience that not only strengthened my storytelling skills but also deepened my understanding of visual development.

Chong Liu | Max liu

In your concept art and digital illustrations, you create otherworldly landscapes and charismatic characters. What is your process for world-building and character development?

My approach to world-building begins with a strong narrative foundation. Whether designing a vast, otherworldly landscape or developing a compelling character, I always start by asking: What is the story behind this world? What are its rules, cultures, and history? This storytelling-driven process allows me to create immersive and believable environments that feel lived-in.

For example, in my world-building project The Sky Searchers, I created a world where the entire land is shrouded in a thick layer of toxic gases. As the poisonous fog steadily rises, survivors are forced to build their shelters on higher ground. To gather resources, they construct and pilot makeshift aircraft, navigating the skies in search of supplies. In this project, I focused on designing vehicles and landscapes that visually communicate the world’s history and function while ensuring that the characters feel organically connected to their environment.

Character development follows a similar philosophy. I consider not just the aesthetics but also the personality, background, and purpose of each character. Their design choices—whether it’s clothing, posture, or accessories—should reflect their experiences and the world they come from.

You’ve worked with major clients such as Google and Ubisoft. How has collaborating with such large companies influenced your artistic direction and creative process?

For me, working with a large team on major game titles has significantly improved my process, skill set, and overall understanding of video game production. However, it has contributed less to my growth in art direction.
One of the biggest influences on my work in recent years has been the importance of detail in design. After seeing some of my coworkers’ designs with incredible intricacy, I began revisiting my older works and questioning whether my designs contained enough detail to convey rich information and resonate with the audience.
In terms of artistic direction, working as a designer in a team often leaves little room for innovation in that area. While we can maintain some of our personal aesthetics and tastes, the main goal is to align with the project’s established art direction and not deviate too far from it. Because of this, I make a habit of creating personal concept art and other digital works to explore and implement my own artistic vision.

Chong Liu | Homeless

Your recent venture into oil painting is intriguing. How do you approach this traditional medium differently from your digital work?

Exploring oil painting has given me a fresh perspective on creating art. Traditional materials force me to slow down and think more carefully about each brushstroke, as there’s no undo button. Since oil painting is a brand new medium for me, I need time to learn and familiarize myself with it. I remember in my first oil painting class, when drawing live models, I was quite confused by not being able to layer my oil paints on the canvas the way I would in Photoshop. It’s also made me more aware of color mixing, texture, and the physicality of paint—insights that have influenced how I approach lighting and brushwork in my digital work.

As a concept artist at Ubisoft, you must work within specific parameters for video game environments. How do you maintain your creative freedom while adhering to these guidelines?

Although the priority for concept artists working in a team is to meet task requirements and align with the established art style and direction, there is still room for creative freedom. Just as no two leaves are exactly alike, every artist brings their own vision and aesthetic to their work.
One of my concept design tasks at Ubisoft demonstrates this balance. I was assigned to reskin an AK-47 assault rifle with a vintage steampunk theme. Before I even started, there were several constraints to consider: the required style, the existing weapon model, the overall silhouette I couldn’t alter too much, and the project’s overarching art direction. However, within these boundaries, there was still plenty of creative freedom. I could explore different combinations of metal steampunk materials, incorporate intricate clockwork mechanisms, and even rethink the color scheme to make the weapon stand out beyond the typical brass and copper tones of steampunk designs.
I resonate with the phrase, “Restrictions bring creativity.” Setting constraints and anchors in a design project narrows the scope of exploration, reducing the likelihood of getting stuck and, in turn, sparking new ideas. In design, there’s a fine line between being restricted and being inspired.

Chong Liu | The Flower of War

Your artwork often features futuristic and dystopian themes. What draws you to these subjects, and what message do you hope to convey through your art?

I’ve always been drawn to futuristic and dystopian themes because they offer a space to explore both possibilities and consequences. The future is unknown, but through design, we can speculate on how technology, society, and human nature might evolve.
For me, it’s not just about creating visually striking worlds—it’s about storytelling. I like to embed details that hint at the history, struggles, and resilience within these settings. Whether it’s a piece of technology shaped by necessity or an environment that reflects societal shifts, I want my work to spark curiosity and invite the audience to think about the world we’re building today.
Dystopian themes, in particular, allow me to explore contrasts—beauty in decay, order in chaos, and the human spirit’s adaptability. It’s not always about warning or pessimism, but rather questioning and reflecting on our trajectory.