We caught up with the brilliant and insightful Kevin Yang a few weeks ago and have shared our conversation below.

Kevin, thanks for joining us, excited to have you contributing your stories and insights. Let’s kick things off with your mission – what is it and what’s the story behind why it’s your mission?

Working as a concept artist in both the video game and live action film industry, you begin to realize that entertainment is more than just for entertaining, rather it can help us find ways of understanding through the power of connection. I aim to immerse myself within the beauty and complexity of our world, especially its cultures, and translate those into designs that feel true to form and authentic. I want more than just sham representation; there is a desire to be embodying culture without taking it.

Why does this matter? Because I believe empathy begins with exposure. And while we are living in a time where it feels there is an urgency to build bridges, many do not want or have the capacity to come face to face with these matters. This is where entertainment comes in: A game or film can slip past defenses and show us a different perspective without sounding hectoring about it.

For me, it’s personal. My fascination for the way cultures shape the world has always been present, and I want others to feel that same spark of curiosity. Through my work, I attempt to make something visually interesting yet meaningful that evokes thought around topical real-world inspirations. If I can be a catalyst for audiences to see just a little bit more of the world, and perhaps even feeling a little closer to it, then I know that I did my job.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

I grew up in China, where my grandfather, a traditional Chinese painter, introduced me to the art of ink painting. By the age of four, I was learning how to control a brush, experimenting with traditional ink and water to create vast environments inspired by the old Chinese masters. For 13 years, I painted these sprawling landscapes, often on parchment paper stretching over 6 feet long. Those experiences weren’t just about honing technique—they taught me how environments can evoke emotion and tell a story.

That connection stayed with me. Even as I moved away from traditional painting, my fascination with environments deepened. I realized that the spaces we create—whether in art, games, or films—can shape how people feel and engage with a world. Designing environments felt like a natural extension of my childhood, where I could bring entire worlds to life with the same care and thought I put into those mountain scenes.

As a kid, I loved playing video games and watching films like Transformers, but it wasn’t until I got into ArtCenter and majored in Entertainment Design that I saw a path to combine those passions with art. Since then, I’ve been fortunate to work on projects that push my creative boundaries. I contributed to Griffith Observatory’s planetarium show, Pacific Standard Universe, designing immersive environments and backgrounds for the one-of-a-kind experience. I’ve also spent over two years designing environments and props for first-person games, helping craft worlds that players can explore and lose themselves in.

What sets me apart is my ability to blend my artistic roots with modern design. Painting those massive landscapes as a child taught me to think big, consider the flow of a space, and focus on the emotions a setting can evoke. Whether it’s a futuristic city or a natural vista, I approach every environment with the same goal: to create spaces that feel alive and tell their own story.

At the heart of my work is a desire to connect with people. I want the worlds I design to leave an impression, sparking curiosity or even just a moment of wonder. If someone can feel something when they step into one of my designs, I know I’ve done my job.

Are there any resources you wish you knew about earlier in your creative journey?

Honestly, Google is the best resource I’ve ever used, and I wish I’d realized that earlier. It’s not just for finding images—it’s about learning everything you can about what you’re designing. Good references are essential because they show you what makes something feel real. They help you see where to stay true to the source and where you can push creative boundaries.

When I started, I’d rely on what I thought things looked like, and my work suffered for it. Now, I always begin with research. It’s not just about visuals—it’s understanding the story behind what you’re designing. That foundation changes everything.

What do you find most rewarding about being a creative?

For me, the best part of being an artist is just putting my work out there and seeing how people connect with it. It’s not just about showing off what I’ve made—it’s about the reactions, the stories people tell me, and the way they interpret what I’ve created.

What really gets me is when someone takes what I’ve done and spins it into something new. Maybe it inspires them to create their own work or makes them think about something in a way they hadn’t before. That’s when it feels like true communication, like the art is alive because someone else has added their perspective to it.

At the end of the day, that back-and-forth is what it’s all about. Art doesn’t exist in a vacuum—it needs that interaction to mean something.

Contact Info:

• Website: https://www.artstation.com/kvnyng23
• Instagram: https://www.instagram.com/stories/kevinyang.art/
• Linkedin: https://www.linkedin.com/in/kevinyang-art/