{"id":442059,"date":"2026-05-23T20:30:16","date_gmt":"2026-05-23T20:30:16","guid":{"rendered":"https:\/\/www.newsbeep.com\/nz\/442059\/"},"modified":"2026-05-23T20:30:16","modified_gmt":"2026-05-23T20:30:16","slug":"i-assumed-work-in-digital-art-would-become-predictable-it-doesnt-really-work-that-way","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/nz\/442059\/","title":{"rendered":"I assumed work in digital art would become predictable. It doesn’t really work that way"},"content":{"rendered":"

Chris Falkenberg is a concept designer whose work has encompassed both live-action movies and AAA games. He is currently working at Sony<\/a> Interactive\u2019s Bluepoint Games. As part of our Digital First series of interviews, we caught up with him to learn about how he began his career in digital art, how his work has evolved and what tips he would give to his younger self.<\/p>\n

For more inspiration, see our showcase of digital artists<\/a> and our explainer on what is concept art?<\/a><\/p>\n

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Forgotten City: a one-off concept piece. Chris is also an instructor at the online Brainstorm School (Image credit: Chris Falkenberg)Where did you grow up and how did this influence your art?<\/p>\n

I grew up in Colorado and was very fortunate to spend a lot of my childhood in nature. I think having the Rocky Mountains in my backyard was very inspirational and shaped the way I think about scale and environment.<\/p>\n

Outside of art, what has most influenced your work?<\/p>\n

Living life! It took me a while to recognise it, but your experiences end up in your work whether it\u2019s intended or not: the places you\u2019ve been, the people you\u2019ve met, the things that have moved or unsettled you. You don\u2019t always see it happening in the moment, but you look back at old work and it\u2019s very noticeable. <\/p>\n

Other forms of media \u2013 games, film, books and animation \u2013 are also a big source of inspiration; getting immersed in different worlds and stories inspires me to create my own. <\/p>\n

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\"Digital\n<\/p>\n

The Wall: part of the Wanderer series, which charts a sage\u2019s journey through the abandoned lands. (Image credit: Chris Falkenberg)Is there any painting you saw in your formative years that changed everything? <\/p>\n

I think that discovering Craig Mullins\u2019 digital paintings was a turning point for me. I had been interested in art from a young age, but always thought of fine art as the only career path for an artist. Seeing digital art being used in the entertainment industry was very exciting and more in line with my interests. <\/p>\n

What was your first paid commission? <\/p>\n

My first commission was for an isometric mobile game. Looking back, I\u2019m honestly surprised anyone was willing to pay for my work at that point. It\u2019s a pretty far cry from where I am now, but I think it was a huge confidence boost for me at the time and is a nice reminder of the progress I\u2019ve made over the years. <\/p>\n

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\"Digital\n<\/p>\n

The Mistfall Archives: the largest treasury of knowledge in the fantasy world of Aethelion, which Chris is slowly expanding (Image credit: Chris Falkenberg)What about the last piece that you finished?<\/p>\n

My most recent piece was an image from my Mouse Knight series. It\u2019s a bit more stylised than my typical work and a fun way to branch out and try something new. Compared to that first commission, it\u2019s almost a different universe. <\/p>\n

Foundationally the image is much stronger, of course, but I also now have confidence in my work and an ability enough to experiment and play. <\/p>\n

Is making a living as a digital artist all you thought it would be? <\/p>\n

Pretty much! It\u2019s hard to beat a career doing something you love. There are definitely a lot of challenges and stresses, though. <\/p>\n

The one thing I underestimated was the inconsistency. Before I started, I assumed there would be a point where the work just stabilised, became predictable. It doesn\u2019t really work that way. <\/p>\n

Even if you work in house, the industry can be fairly volatile and you have to learn to ride the waves and build your own stability where you can.<\/p>\n

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\"Digital\n<\/p>\n

The Wall Part 2: another piece from the Wanderer science-fi ction series. (Image credit: Chris Falkenberg)What advice would you give to your younger self? <\/p>\n

Get away from the desk and make time for other things! When I was starting out, I thought I needed to spend every waking second doing art and improving. <\/p>\n

It took me a while to realise that your experiences are what feed your art and creativity and having interests outside of art will always help you improve. <\/p>\n

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\"Digital\n<\/p>\n

Forest Protector: this magical creature is the spirit guardian of the forest. (Image credit: Chris Falkenberg)Has digital art changed for good since you\u2019ve been working in it? <\/p>\n

Digital art, and concept art specifically, is constantly changing. It\u2019s a relatively young industry and it seems to have a major disruption every few years. <\/p>\n

New tools, new pipelines, and new platforms force you to constantly adapt. I think whether changes are \u2018good\u2019 is pretty subjective, but it definitely keeps things interesting! <\/p>\n

What is your next step?<\/p>\n

I\u2019m continuing to develop personal projects and original IPs. Commercial art is a great way to make a living, but creating worlds that are entirely my own is what I find to be most fulfilling. <\/p>\n

<\/p>\n

You can see more of Chris\u2019s work on his website<\/a>.<\/p>\n

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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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