Cultural Depth & Visual Clarity: Insights from Concept Artist Yicheng Zhu

I am Yicheng Zhu, an independent visual artist and concept artist who graduated from the ArtCenter College of Design in 2022. I grew up in a small inland city in China and began drawing as a child. My parents supported my artistic ambitions despite an education system and social environment that often discouraged art as a career.

In middle school, I discovered video games and digital painting—particularly the concept art for Assassin’s Creed 2—and that experience redirected my aim toward contributing creatively to games. Studying concept art at ArtCenter provided intensive training, peer exchange, and industry connections that shaped my professional foundation.

Recognition from a respected design award validates the time, research and risk-taking that go into personal projects. For me, the award acknowledgement in the NY Digital Awards and the French Design Awards for "Trace of Gold" confirms that work rooted in cultural inquiry, storytelling and experimentation can resonate beyond a studio or classroom.

The materials indicate the award brought visibility to Trace of Gold, helping the project be seen as the most ambitious personal world-building I’ve completed. Practically, such recognition helps position my work to galleries, collaborators and clients who are interested in cultural narrative and digital media.

My design project, Trace of Gold, draws profound inspiration from Chinese culture, with a particular focus on Tibetan traditions. It weaves together visual elements rooted in shamanistic beliefs, Buddhist philosophy, and the customs and daily rhythms of Tibetan life. Through its imagery, the project seeks not only to evoke the aesthetic richness of this heritage but also to offer audiences a deeper, more nuanced appreciation of Tibetan culture.

Experimentation is an essential part of my design process. Considering multiple directions and approaches to a design problem allows me to make more informed artistic decisions. For example, the mysterious “gold” that runs through the narrative and visual language of the project was initially conceived as a colourful bismuth crystal. I chose this form to emphasise the sense of mystery and to present a substance that would be beyond the knowledge of an ancient Tibetan tribe.

However, designing it as bismuth introduced several challenges—its colours were visually overwhelming, and the design language was constrained by the real-world characteristics of the mineral. I then experimented with depicting the material as gold or black, significantly simplifying the visual language. In the end, I settled on ‘gold,’ a choice that became the foundation for the project’s success.

Dreams. The recurring dream of being trapped in a dark cave chasing a faint light directly informed the emotional core of several works. At the heart of the story is the heroine, Nassan, whose adventurous journey leads her to uncover the true nature of the gold. In designing the scenes along her path, I often drew directly from my own dreams.

One recurring dream, in particular, left a deep impression: finding a faint light in the depths of a pitch-black cave, following it through the darkness, and eventually arriving at the remains of an ancient civilisation. This vision became a tangible manifestation of the abstract emotions my dream evoked—a sense of mystery, anticipation, and discovery—and shaped the way I visualised key moments in Nassan’s journey.

Good design is rarely limited to the visual surface. Even in a visual design project—something many might assume to be purely aesthetic—there is an entire process of research, cultural sensitivity, and conceptual refinement that informs the final image. A thoughtful design draws upon an understanding of context, history, and function, ensuring that every element has meaning and purpose.

This holds true across all media: design is fundamentally a form of problem-solving, where beauty is the result of clarity and intent, not simply decoration. In essence, a successful work resonates because it is both visually compelling and intellectually grounded.

My background in concept art taught me to translate narrative and functional constraints into creative solutions: research thoroughly, understand the project’s visual language, then propose original approaches that respect the brief.

In studio practice, I accept that professional projects often limit decision-making to the art director’s direction, so I view those constraints as design problems to be solved. In personal projects, I intentionally remove those constraints to pursue honesty and emotional expression.

Moving from detailed, realism-oriented concept practice toward an abstract, emotionally driven language was difficult. Early on, I felt lost—abstract work required letting go of learned rules. Over time, I discovered that sincerity in conveying feelings mattered more than formal correctness. Technically, combining traditional media with digital post-production required iterative experimentation to preserve the tactile quality of paint while harnessing digital flexibility.

Quiet, focused time with video games and spending time with my dog provides inspiration and relief. I also experiment with materials and allow “happy accidents” to redirect a stalled piece. That playful, low-pressure approach often reopens new directions.

Spending time studying and appreciating art books from games and films, as well as reading project “making-of” and concept development books, allows me to understand the thought processes and experiences of other creators. This practice not only broadens my perspective but also serves as a significant source of inspiration for my own work.

My work is deeply shaped by Chinese cultural heritage, personal memories, and a commitment to storytelling. In Trace of Gold, I drew on Tibetan Buddhist and shamanistic symbolism, while other personal projects take inspiration from the everyday life of China in the 1970s–1990s—a period rich in textures, colours, and domestic rituals that continue to resonate with me.

These cultural references are not mere aesthetic motifs; they are the emotional and narrative foundation of my work. Through visual storytelling, I aim to convey sincerity of feeling while building a bridge of understanding between different cultures.

Stay intellectually engaged: research deeply, learn to solve visual problems, and balance adherence to craft with a readiness to experiment. Be open to unexpected paths—my move into tattooing began spontaneously and enriched my practice. Finally, seek opportunities to develop a personal voice alongside professional skills.

If given the opportunity, I would be thrilled to collaborate with Romain Jouandeau. He is a highly experienced environment concept artist whose work brings worlds to life while simultaneously fulfilling the practical needs of guiding 3D modellers, supporting the storytelling requirements of a project, and providing a visually stunning experience. His work exemplifies the highest standards of design. I believe that having the chance to work alongside him would be profoundly inspiring and tremendously rewarding.

I wish people would ask: “What cultural or emotional story lies behind this image?”

My answer is that I strive to embed layered narratives and cultural references into my work. These may stem from Tibetan-inspired world-building, childhood memories of domestic spaces, or imagery drawn from dreams.

By weaving these elements into the visual design, I aim to create a work that engages viewers on multiple levels—allowing them to appreciate not only the aesthetic surface, but also the deeper emotional and cultural intentions that shape every aspect of the piece. This dual engagement is central to my creative vision.