10 Questions with Yicheng Zhu
Yicheng Zhu is a freelance multidisciplinary visual artist who graduated from ArtCenter College of Design in 2022. She has worked as a concept artist on several game development projects, including renowned titles such as Apex Legends and Grkart. Her personal world-building project, Trace of Gold, was recognized in the 2025 GDUSA Digital Design Awards. Yicheng’s artistic exploration extends beyond concept design; she experiments with traditional painting media such as oil and acrylic, integrating them with her digital painting expertise to produce a distinctive body of work. Her fine art series Talks of Dreams has been exhibited in various galleries across the United States.
Yicheng Zhu - Portrait
ARTIST STATEMENT
When creating concept art for world-building or game development projects, Yicheng strives to balance believability and imaginative design, constructing fantasy worlds that feel tangible and convincing despite being entirely fictional. She frequently draws inspiration from real-world references and, influenced by her Chinese heritage, often incorporates elements of Chinese culture into her work. Whether it's a futuristic cityscape, a post-apocalyptic wasteland, or an ancient sacred ruin, Yicheng brings each world to life with fresh and compelling visual storytelling.
In her fine art practice, Yicheng draws from her dreams, recreating through brush and pigment the blurry sensations of these subconscious experiences—the flickering of light in darkness, emotions erupting after suppression, and hesitation in the unknown. Her fine art is rooted in intuitive, abstract expression, offering a highly personal and open-ended style that stands in contrast to the structured demands of concept art.
Environment Design, Hidden Village, Digital, 2022 © Yicheng Zhu
INTERVIEW
Let's start from the basics. You graduated from ArtCenter College of Design in 2022. Can you tell us a bit about your journey leading up to that and what drew you to visual art in the first place?
I grew up in a small inland city in China, where my passion for drawing began in childhood and fueled my dream of becoming an artist. Despite the challenges of China's exam-focused education system and societal bias against art as an unreliable career, I was fortunate to have supportive parents who encouraged my aspirations. In middle school, my discovery of video games and digital painting, particularly the intricate concept art of Assassin's Creed 2, inspired me to pursue a new goal: contributing my creativity to the world of video games.
When I entered college, I began studying concept art at the ArtCenter College of Design in Los Angeles, which became the foundation for realizing my dream. During my four years there, I underwent intensive training, met many talented and hardworking peers, and connected with accomplished artists in the game industry. I was also fortunate to participate in various game development projects, both large and small. Although it was incredibly challenging, I often find myself reminiscing about the fulfilling and rewarding college life I had.
Your practice bridges both fine art and concept digital art. When did you first begin experimenting with digital art, and what motivated that transition or expansion?
As a concept artist working on game design, I have limited decision-making power. My work is entirely guided by the needs of the project and the direction of the art director. While I love this profession, I began to wonder if I could broaden my artistic pursuits and create art that expresses my own voice.
This led me to explore different media, combining traditional painting materials with my expertise in digital painting. I've also experimented with abstract techniques that are nearly impossible to incorporate into typical game design workflows. Through these explorations, I've found a way to channel my emotions and feelings into my art.
Prop Design, Hourse Gear, Digital, 2022 © Yicheng Zhu
You've worked on major titles like Apex Legends and Grkart. How has your experience as a concept artist in the gaming industry shaped your personal artistic vision?
In my past experience as a concept artist in the gaming industry, I was often tasked with creating visually rich and believable designs grounded in realism. To me, the core of concept art lies in independent, well-rounded thinking aimed at solving visual challenges—a mindset I see as essential across all creative disciplines. This involves thorough research, including analyzing existing visual references, understanding the subject in depth, and recognizing the unique problems each project presents. At the same time, it requires originality and a willingness to think beyond the obvious.
I believe that no artwork is entirely detached from reality. In my concept design work, I frequently draw from familiar visual languages to maintain coherence and internal logic, while continuously seeking fresh approaches to develop visuals that feel original and unexpected.
Your world-building project, Trace of Gold, earned recognition at the 2025 GDUSA Digital Design Awards. Can you walk us through its genesis and what makes this project significant to you?
I come from China and have always taken pride in my cultural heritage. One of my deepest artistic aspirations is to share the richness and depth of Chinese history and culture with a wider audience. Trace of Gold is a representative example of my personal world-building projects.
Set in an ancient village, the story begins with the arrival of a mysterious golden substance. At first, it brings prosperity and abundance, and the villagers regard it as a divine blessing. However, the gift soon turns into a curse—madness and plague follow, and the village descends into chaos. The protagonist, Nassan, a skilled hunter, sets out on a journey to uncover the truth behind the golden plague and restore peace to her homeland.
The project is deeply inspired by Tibetan Buddhism and shamanistic beliefs. I envisioned a remote Tibetan village whose people worship this enigmatic golden force. Trace of Gold is the most ambitious and fully realized of all my world-building projects to date. It includes detailed character designs, prop concepts, interior and exterior environment explorations—all developed through extensive research and refined through a thoughtful, iterative process.
Environment Design, Abandoned Room, Digital, 2020 © Yicheng Zhu
Environment Design, Futuristic City, Digital, 2021 © Yicheng Zhu
In your fine art series Talks of Dreams, you interpret subconscious states through abstract expression. How do you translate such intangible emotions into visual form?
This abstract painting approach was a stark departure from the academic training and professional standards I had followed for years. When I first turned to personal fine art, abstraction challenged me to rethink everything I had learned—which opened up a new level of creative freedom. I began to question whether abstract art might also be rooted in real-life experiences or objects, just interpreted differently. That realization led me to explore my dreams as a source of inspiration—those fleeting, surreal sensations that defy logic but are rich in emotion.
In one recurring dream, I found myself trapped in a dark cave, with only a faint glimmer of light in the distance. I was always trying to chase that light, hoping it would guide me out. Rather than depicting the physical details of the cave—the texture of the rocks or the structure of the space—I focused on capturing the feeling of "light in darkness," which became the emotional core of my painting Glimmer.
Similarly, in works like Burst and Eruption, I aimed to express the emotional intensity of release after prolonged suppression—like a volcano erupting or gunpowder being ignited. When I create, I don't concern myself with whether something fits conventional aesthetic rules. I simply try to depict my raw, instinctive feelings with honesty. That kind of unfiltered freedom is what makes my work possible in the first place.
As you mention in your statement, you often incorporate elements of your Chinese heritage into your concept work. Can you tell us more about it? How do traditional Chinese culture and elements inform your work and the message you want to convey?
As I mentioned earlier, my personal project, Trace of Gold, is inspired by the cultural and spiritual traditions of Tibet, blending elements of Tibetan Buddhism and ancient Shamanistic beliefs. The protagonist, Nassan, embodies the archetypal Tibetan hunter. Her asymmetrical coat—covering only one side of her body—is designed to adapt to the region's dramatic temperature shifts between day and night while also allowing flexibility for horseback archery. Her riding gear reflects the intricate craftsmanship of traditional Tibetan weaving. The layered saddles and ornate decorations are not only aesthetically striking but also practical, echoing the way equestrian skills in Tibetan culture are elevated almost to the level of performance art.
In my work Abandoned Room (work 5), I depicted the abandoned bedroom of an ordinary Chinese household. The scene draws from my own childhood memories—furniture that combines a bed and desk, award certificates taped to the wall, and posters of popular music albums. I presented this intimate space through a post-apocalyptic lens, turning nostalgia into a haunting visual narrative.
I believe that the diverse regions and ethnic groups of China each offer their own rich cultural identity. Showcasing these different facets helps deepen the audience's understanding of China—not just as a country of modern skyscrapers and megacities but also as a land of humble villages and ancient towns that still hold onto traditional beliefs and ways of life.
Burst, Oil, Digital, 12x12 inch, 2024 © Yicheng Zhu
Maelstrom, Oil, Digital, 12x12 inch, 2025 © Yicheng Zhu
Blending traditional media like oil and acrylic with digital tools gives your work a distinctive voice. How do you approach this integration on a technical and conceptual level?
My integration of traditional and digital media began somewhat unintentionally. When I first started exploring fine art, I worked exclusively with acrylic and oil paints. However, due to my limited experience with photography, I found it challenging to accurately capture the true appearance of my paintings in documentation. As a solution, I began editing the images in Photoshop. Over time, I discovered the immense freedom digital tools could offer—such as making precise adjustments to small details that would be nearly impossible to alter physically, or exploring entirely different directions in the post-production stage without the constraints of drying time or material limitations.
This process led me to realize how traditional and digital media can complement each other on multiple levels. By combining them, I'm able to achieve the visual quality and expressive depth that I strive for in my work—something neither medium could fully provide on its own.
Both your concept and fine art projects involve strong narrative elements. What role does storytelling play in your creative process?
Storytelling has always been a crucial part of my creative process, especially in my previous work on concept art projects.Whether it's a personal world-building project or a collaborative production for animation, games, or film, the story always forms the backbone of the project. Questions like—what time period is the story set in? What is the protagonist's personality and occupation? What kind of conflicts or challenges do they face? They are all fundamental to the world-building process. As an artist, one of my most important responsibilities is to communicate these narrative elements through visual design.
For instance, in character design, even subtle choices like facial expressions and body posture can communicate a wealth of information. A soldier who stands tall with a stern and proud expression in a front-facing pose conveys something entirely different from one who cowers, clutching a box of ammunition, with fear etched across his face. These choices visually shape how the audience perceives the character's role and story.
Even in my abstract painting practice, where the imagery isn't as immediately decipherable as in concept art, storytelling still plays an essential role. Works that depict the search for light in darkness or the explosive release of emotions after prolonged suppression are rooted in narrative moments. While abstract, these paintings still follow an emotional arc and are guided by a conceptual storyline at their core.
Glimmer, Oil, Digital, 12x12 inch, 2025 © Yicheng Zhu
Looking ahead, is there any new medium or technique you would like to experiment with? How do you see your work evolve in the future?
Recently, the integration of traditional media with digital techniques has opened up an entirely new world for me. It has helped me truly appreciate the limitless possibilities and unique joys that different mediums can offer. Looking ahead, I am particularly eager to explore traditional Chinese painting techniques—especially ink wash and expressive brush painting (xieyi)—which are among the most important pillars of classical Chinese art. Unlike the Western tradition that often emphasizes realism and perspective, Chinese painting is rooted in abstraction, symbolism, and philosophical interpretation.
I studied ink painting briefly during my childhood, though at the time my understanding of it was very superficial. Now, with a deeper appreciation for both Eastern and Western art traditions, I hope to revisit and study Chinese painting more seriously in the future.
Lastly, are there any upcoming exhibitions, collaborations, or projects, digital or traditional, that you're particularly excited about?
I'm especially excited about the possibility of integrating elements of traditional Chinese painting into my own practice. I often think about how I might synthesize the techniques I've developed over the years—such as Western-style drawing, oil painting, and digital painting—with the aesthetic philosophy and brushwork of Chinese art. It's a complex challenge, but one I am fully prepared and deeply motivated to take on, drawing from years of cross-cultural experience. I believe this cross-cultural fusion is capable of producing truly distinctive and meaningful work.
Artist’s Talk
Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.
