{"id":529342,"date":"2026-07-07T10:00:25","date_gmt":"2026-07-07T10:00:25","guid":{"rendered":"https:\/\/www.newsbeep.com\/il\/529342\/"},"modified":"2026-07-07T10:00:25","modified_gmt":"2026-07-07T10:00:25","slug":"how-this-artist-turned-a-view-he-sees-every-day-into-a-futuristic-sci-fi-scene","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/il\/529342\/","title":{"rendered":"How this artist turned a view he sees every day into a futuristic sci-fi scene"},"content":{"rendered":"

This painting is based on a view I see every Friday morning while I\u2019m having tea with a close friend. The main subject is the old 1980s Hanoi apartment blocks, which are famous for their ‘tiger cages’ \u2013 extra living spaces built (without permission) by residents using temporary materials.<\/p>\n

This creates a messy and chaotic look, but it also has a lively, modern rhythm. To me, it feels both dangerous and full of character. I wanted to capture this scene with a touch of imagination, so I turned it into a future world with flying cars and floating buildings while keeping the \u201corganised mess\u201d that\u2019s so typical of Hanoi and Southeast Asian streets.<\/p>\n

<\/p>\n

Technically, I didn\u2019t use anything special \u2013 just basic knowledge of perspective. The rest is about arranging the composition, creating the atmosphere, and adding creative details. My goal was to combine all of these elements to make the final scene look both imaginative and believable.<\/p>\n

Latest Videos From\"\"\"\"
\n01. Reference photo and inspiration<\/p>\n

\n

\"Digital<\/p>\n

This is the real-life photo of the view I wanted to capture. The focal point of the scene is an old apartment block featuring messy, improvised extensions. <\/p>\n

While these structures appear somewhat chaotic and unsafe, they possess a unique architectural character that\u2019s very specific to the heart of Hanoi.<\/p>\n

02. Initial rough sketch<\/p>\n

\n

\"Digital<\/p>\n

Don\u2019t worry about whether your lines look \u201cgood\u201d or \u201cbad.\u201d Many artists feel pressured to be perfect, but at this stage, focus only on the camera angle and composition. The most important thing is setting the horizon line and the ratio between sky and ground. <\/p>\n

Cleanliness doesn\u2019t matter at this point; just focus on capturing the vision in your head. <\/p>\n

03. Blocking and shape design <\/p>\n

\n

\"Digital<\/p>\n

Next, I refine the lines and focus on large-scale shape design. I adjust the proportions of the main elements to ensure they have enough cohesion while remaining distinct. I also start visualising elements I will add later. <\/p>\n

This helps establish a sense of depth and distance through relative scale, showing how big or small objects are compared to each other. <\/p>\n

04. Light setting <\/p>\n

\n

\"Digital<\/p>\n

I determine a light source and define the boundary between light and shadow. By limiting the values to a range of three to five tones, I can effectively establish the overall atmosphere and highlight the primary and secondary focal points. <\/p>\n

This simplified lighting scheme ensures the composition remains clear and helps guide the viewer\u2019s eye to the most important areas.<\/p>\n

05. Colour palette and tones <\/p>\n

\n

\"Digital<\/p>\n

The original scene already has a harmonious palette, with yellow as the dominant colour, accented by red and green against a pale-blue sky. My main focus here is deciding whether to exaggerate the warm and cool contrast between the light and dark sides of the main building. <\/p>\n

I want to see if heightening the difference between the sunlit surfaces and the shaded areas will make the atmosphere more dynamic and engaging. <\/p>\n

06. Adding foreground details <\/p>\n

\n

\"Digital<\/p>\n

Typically, the background is detailed first to define the environment around the main subject. However, as my focal point is the apartment block in the distance, I start with the foreground instead. <\/p>\n

This helps establish a solid sense of space and acts as a foundation for the more detailed elements I will imagine and integrate in the following steps.<\/p>\n

07. Defining the main building <\/p>\n

\n

\"UNI267.tut_lelong.Step_06\"<\/p>\n

With the foreground set, I define the apartment blocks\u2019 shapes. I repeat box structures with varying proportions and add green and yellow accents. I introduce a second vanishing point far to the right for upcoming details. <\/p>\n

Although it doesn\u2019t perfectly match the foreground\u2019s perspective, the large spatial gap between planes allows me to \u201cget away\u201d with this slight inconsistency. <\/p>\n

08. Colour adjustment and forms <\/p>\n

\n

\"Digital<\/p>\n

I add details to the main building. After evaluating the progress, I abandon the blue tints on the building\u2019s shadow sides. Instead, I unify everything with a warm yellow tone to capture the essence of a sunny day. <\/p>\n

This emphasises the humid yet vibrant tropical atmosphere characteristic of Hanoi\u2019s old apartment blocks <\/p>\n

09. Designing focal point highlights <\/p>\n

\n

\"Digital<\/p>\n

With the atmosphere set, I detail the focal point by integrating playful, imaginative elements into the original structure. These \u201cfantasy\u201d additions transform the familiar apartment block into something more unusual, provoking contrast while seeking unity. <\/p>\n

My goal is to preserve the authentic character and \u201corganised mess\u201d that defines the soul of these iconic Hanoi apartments. <\/p>\n

10. Planning compositional flow<\/p>\n

\n

\"Composition<\/p>\n

I step back to review the compositional plan one more time. This diagram illustrates how I try to arrange transition areas and leading movements to guide the viewer\u2019s eye. I hope the audience may discover the story and details in the specific order I intended. <\/p>\n

11. Balancing light and colour<\/p>\n

\n

\"Digital<\/p>\n

Both the foreground and central block share a dominant yellow tone, but the foreground sits in shadow to remain less prominent. In contrast, the apartment block receives direct sunlight, creating the high contrast and vitality needed for a focal point. <\/p>\n

Splashes of green and red add variety, while the overall yellow and brown scheme keeps the composition unified. <\/p>\n

12. Refining key elements<\/p>\n

A strange figure on the fa\u00e7ade? A couple on a fancy sport bike waiting for an old lady and her cat to cross the street? I hope these details create some contrast and curiosity to make viewers search for a hidden story. <\/p>\n

I\u2019m never quite sure if these subtle touches are effective, or even noticeable, but for me they\u2019re the essential sparks of imagination that bring the scene to life. <\/p>\n

\n

\"UNI267.tut_lelong.Step_11\"\n<\/p>\n

(Image credit: Unknown)<\/p>\n

The figure on the fa\u00e7ade is adapted from the boxy forms of the building\u2019s improvised extensions. Its crouching pose is inspired by countryside children jumping into rivers during summer, while the Mohawk is a nod to 1970s punk rock, which is also the era these buildings first appeared in my country.<\/p>\n

\n

\"UNI267.tut_lelong.Step_11\"\n<\/p>\n

(Image credit: Unknown)<\/p>\n

Pedestrians and the big bike bridge the foreground and midground, suggesting a moment of tension: is the biker impatient or polite? The vibrant red of the bike might suggest the couple\u2019s impatience, while the old lady\u2019s futuristic walker, in white and dull tones, emphasises her slow and steady pace.<\/p>\n

You may like<\/p>\n

13. A second focal point <\/p>\n

\n

\"Digital<\/p>\n

The real-life scene featured a Thai restaurant with a traditional curved roof. I wanted to keep this reference, but pushed the design further by adding eyes and hands in a prayer-like gesture. <\/p>\n

This transforms the building into a \u201chybrid\u201d creature \u2013 a fusion of architecture and living being \u2013 unlike the Mohawk character, a strange boy \u201csitting\u201d on the building. <\/p>\n

14. Building technical systems <\/p>\n

\n

\"UNI267.tut_lelong.Step_13\"<\/p>\n

I handle the mechanical sections underneath, which enable the structure to \u201cfloat\u201d in mid-air. I keep these details subtle, using just enough silhouette to suggest a massive machinery system hidden below the building\u2019s foundation. <\/p>\n

This addition is enough to spark the imagination of a sci-fi world where traffic and residential districts exist high in the sky. <\/p>\n

15. Final touches <\/p>\n

\n

\"UNI267.tut_lelong.FINAL\"<\/p>\n

I give the scene a final review, focusing on atmosphere and edge management. This helps separate overlapping layers that are physically far apart in the 3D space. Finally, I add micro-details like windows, AC units, and windowsill plants. <\/p>\n

These small touches make the building look believable and \u201clived-in\u201d, showing how each resident has uniquely personalised their own living space. <\/p>\n

\n

\"UNI267.tut_lelong.FINAL\"
\n<\/p>\n

(Image credit: Unknown)<\/p>\n

This article originally appeared in ImagineFX. Subscribe to ImagineFX<\/a> to never miss an issue. Print and digital subscriptions are available.<\/p>\n

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