3DTotal: Can you describe your role on Cell Factor and the challenges that you faced? Eduardo: Cell Factor has been one of my favourite projects and was the first one where I faced the challenge of visualisation in the video games industry. I also experimented with many techniques to represent visuals that allowed me to enrich my artistic attitudes and be able to express optimum visual production for game development. For me it is a great challenge to produce images with an impact that display a visual quality. Working as an art director carries a huge amount of responsibility and a need for
a high level of professionalism, and it’s great to be able to hold my own and earn recognition in this field. Seeing so many talented artists and facing the limitations of being in Colombia only motivates me to
grow even more. Every day I research and explore new possibilities that enrich my ability and contribute to the growth of the company where I work, all of which I hope is helping to set high standards for the quality of video game production in Colombia.
3DTotal: Can you tell us a little about the new techniques you used for this project and the key lessons you learned? Eduardo: Rather than using structured techniques, I work by experimenting and I’ve learned to play a little with the errors that I make, to help enrich the composition and to generate new visual sensations. Nevertheless, once I have what I consider to be the general piece, I start the finishing process. And as in every piece that I work on, I always learn something new; I am always on a continuous personal exploration to create new pieces that have their own accent and own communicative visual force.
3DTotal: Which artists have you drawn on for inspiration and which do you feel you have learnt from the most? Eduardo: I particularly admire Syd Mead, Stephan Martiniere, Sparth and Craig Mullins. Other people whose work I’ve enjoyed include Frank Frazetta, Ashley Wood, Jean Giraud (Moebius), Enki Bilal and artists such as Gustav Klimt, Rembrandt Harmenszoon van Rijn, William Turner, Claude Monet and Leonardo Da Vinci. I have learnt certain techniques from all of them, and also a great deal about artistic intention, which for me is – and always will be – the most important element in my everyday work. However, my priority at the moment is to mature in this discipline and to be able to explore new creative forms and designs within the language of art.
3DTotal: One last question: if you could own one painting or artwork in the world, what would
it be and why? Eduardo: Generally, I would not have any preference for an artwork in particular… because among the preferred ones, each one awakens a specific state of mind within me, and contributes to my daily education in some way. For me it would be selfish to have a piece of artwork from someone that I admire; I’d rather share words, brushes and talk about the creative process. I think that, in some ways, I would like to share this experience with the artists that I mentioned in the previous answer.