I am a concept artist currently working in Los Angeles for the entertainment industry. Over the past 10 years I’ve have the opportunity to work on major franchises such as Astroboy, The Croods, How to train your Dragon and Sonic the hedgehog. I am also an art teacher with a wide range of expertise, from brick and mortar traditional classes to online mentorships.
You can check out my credits on IMDB or a more detailed resume on my Linkedin page.
Feel free to contact me directly for work inquiries through this online form.
I was born and raised in Paris, France, where I lived until 2005. I have a B.A from Ecole du Louvre (History of art, Archaeology major) and a Masters degree from ESAG Penninghen (Graphic design). As much as I learnt in these excellent schools, the place where I was really taught what I use on a daily basis in my professional life, is the studio of Yannick Francois.
I spent a hefty part of my childhood reading comic books. Artists like Uderzo and Franquin were my first major influences, followed later by Claire Wendling, Sergio Toppi, Regis Loisel, Benoit Springer, Mathieu Lauffray, Nicolas De Crécy, Grzegorz Rosiński, Stephane Levallois, Dave Mc Kean or Georges Bess.
The years I spent in the Louvre also made me familiar with artists such as Caravaggio, Rubens, Gianbattista Tiepolo, Toulouse-Lautrec. I was especially stricken by Rembrandt’s etchings and Victor Hugo’s drawings.
And I would not be the same if I had not been an avid role player during my teenage years, walking down the mysterious trails of imaginary worlds before coming up with my own.
Today I feel extremely fortunate to work among extremely talented concept artists, and their amazing work hugely influences me on a daily basis.
I usually draw on paper first. For the feel of it and for the subtle influence it has on my work : helping the flow of ideas, sometimes generating happy accidents, then forcing me to make decisions and to stick with them. Most of the time it does not go further than the sketching phase but sometimes, time permitting I push the sketch to a final pen or pencil render. But more often than not, I take my sketch to Photoshop for the final colored render. I also use a little bit of digital 3D to explore the shapes and spaces of some sets. I’ve also had the rare opportunity to build a few physical pre-production sets.