Think Tank Spotlights: In...When I asked current Think Tank student, Zoé Brening, what game release she’s most excited about, her answer surprised me. Here I was assuming that a conversation with an aspiring Character Artist for games would lead the interview down a rabbithole of video game banter. I was ready for it. I had notes organized, and was fully prepared to talk Final Fantasy VII Rebirth until the cows came home. Yet, despite acknowledging a general excitement for the new God of War, Zoé insisted that she has little time, and dare I say even interest, in the medium her art is geared towards. That said, her passion is unmatched. She exhibits an approach to her work that is both natural and deliberate–a seamless execution of innate talent and precisely manicured skills, all while excelling in her roles as a full-time student, partner, and mother-of-two. Little time for gaming indeed!
So if not video games, what inspires Zoé Brening? The answer meets at the crossroads where art imitates life. Whether it’s the fairy tales of her youth, or the bone structure of a stranger on the bus, what influences Zoé’s acclaimed work appears to be both within her, without her, and with no console required.
I had the opportunity to reach Zoé at her home in Munich. Our interview touched on a range of things, including her artistic process, Germany’s creative industry, and her experience at Think Tank Online. What follows is a transcription from that conversation.
Think Tank: Hey Zoé, welcome to the inaugural edition of Think Tank Spotlights. Thanks so much for being our very first guest. To be honest, you're a bit of a rock star at the campus with just how incredible your work has been over the past year. So this is kinda a big deal!
Zoé Brening: Hi, thanks so much! It’s great to be here.
TT: I’d like to start with where you are. How would you describe the creative industry in Germany right now?
ZB: Well, if we are talking about the professional scene, I can tell you that in Germany, video games have in many ways overtaken not only the music industry, but the cinema industry too. I think that Germany is developing into one of the world's most important production locations for games, at least here in Europe.
TT: Are you seeing this where you are specifically?
ZB: Definitely. I live in Munich, and we are becoming a very attractive location for games startups. But what is more important, I think, is how the German government understands that creativity can be a great economic multiplier, and have rolled out public funding programs for the industry.
TT: Wow, that’s so awesome to hear.
ZB: It's really awesome. And yes, it is true. I can tell you that Germany is the largest game market in Europe!
TT: Your artistic interest actually falls on Character Art for games. When you’re designing a character, or working on a project, where are you drawing inspiration from?
ZB: You know, it's a very good question. I think that my main inspiration comes from my childhood. I remember watching many amazing cartoons by Hayao Miyazaki and Yuri Norstein–they are, for me, both really great artists.
TT: Both absolute legends.
ZB: Yeah, and as far as I know, they were also very good friends. I also have to mention my mother. She introduced me to the world of fairy tales, and she showed me that fantasy has no limits. For example, I don’t know if you’ve heard of Tove Jansson. She was from Finland, and is one of my favorite writers. And I have to just say, I am so happy since I recently purchased a complete collection of her comics. It's great!
TT: On the topic of fairy tales, your recent work, Kuna Nuka, captures a kind of fantasy while still looking modern and realistic at the same time.
ZB: Yes, you are totally right. Actually, this project was based on a concept by David Benzal–he has so many interesting looks- and, yeah, they all look like they come from a fairy tale. So, by sampling that concept, Kuna Nuka is definitely connected to fantasy.
TT: Similarly, your piece that was selected for Editor’s Choice by The Rookies, Piglet Anatomy, is hyper realistic, but at the same time it features wings, and shows elements akin to magic realism. Where did this come from?
ZB: With Piglet Anatomy, the wings and this thing around its head came from when I was studying anatomy for the project. I started to see how badly animals are treated by us humans, and I wanted to spotlight this somehow. So, the idea for the wings and halo came up as a means to present the animal as an angel.
TT: It’s amazing this process of inputting a message into the work. Now, to switch gears slightly…what appeals to you about the wider creative industry?
ZB: It's a big question! But about the industry, what I really like is the people. Everyone I’ve met so far has been really, really cool. They are people who look for the incredible satisfaction that comes from the doing of something extraordinary. It's not just a catchphrase…it's their culture. Or maybe it's our culture!
TT: Wow. I love that idea of satisfaction coming from the process itself. How do you feel about eventually stepping into the industry yourself, what are some of your goals for after school?
ZB: To be honest, I’m not setting big goals for myself right now. I simply need some time to look around, and realize myself as a Character Artist. And this is why I love my time at Think Tank, because I have the freedom to be creative.
TT: So how do you feel about finishing school then?
ZB: I'm a bit nervous, because I like this time at Think Tank. But I have already chosen my career path, and I know that I will be asked to continually develop my skills. I see that successful artists, they don't quit. They all learn that hard work and persistence pays off. I will also have to work through difficult projects, and I have kind of accepted that is what I am going to do.
TT: It can definitely seem like an uphill climb at times. You did, however, start at Think Tank with some previous skills and actually ended up skipping your first CG Fundamentals term, yeah?
ZB: Exactly!
TT: So what influenced your decision to attend Think Tank as an experienced artist?
ZB: You know, I can't say that I was really an experienced artist. I would rather say that I was a self-taught artist, you know? One day I realized that creating characters is what I like best, but in order to reach my potential, and start creating really good characters, I knew I had to improve my skills. And Art Station is full of wonderful work, and I started to recognize that a lot of it was by Think Tank students. As you know, the student work says a lot about a school, and to be honest, this is what pushed me to join Think Tank.
TT: Oh, that's so good to hear! So how has your craft changed since attending Think Tank Online?
ZB: A lot has changed! And I can tell that, first of all, Think Tank pushed my creativity and divergent thinking skills to the next level. You know, before school, I would practice thinking creatively, but I am finding now that making good art decisions comes more naturally. Ultimately, Think Tank has taught me to be curious. You know, curiosity may have killed the occasional cat, but it's also brought many creative ideas to life. It’s this curiosity that helps me see things that others might not.
TT: That’s such a good point–this idea of how important it is to be curious. You’ve been working with supervisors and mentors since joining Think Tank. What has that been like, and how have they helped you be more curious?
ZB: To be honest, working with my two supervisors, Alex and Jonathan, and my mentor, Denis, has been really nice and easy. Let me start with Alex. He was my supervisor during my intermediate term, and he's very dedicated. He was available most of the time, and, you know, I think that working with him was the first time I’d ever met someone with great technical skills, and amazing artistic taste at the same time. It was incredible. And most importantly, Alex always gave me the feedback I needed for where I was at skills wise. Now Jonathan…he’s actually a guru of anatomy. If you want to improve your anatomy, skills, or work, for example, on likeness, I advise you to go to John.
TT: Were you always interested in anatomy then, or did that prosper under Jonathan?
ZB: Well, I was always interested in anatomy. And to be honest, I didn't know that Jonathan is really good at anatomy. It was like…destiny that he was my supervisor! And, you know, he gave me some great advice, such as using a real human for reference. He really changed my way of sculpting. So thank you, Jonathan!
TT: A perfect match!
ZB: Yeah, they were both really kind and always so patient answering my questions and showing me the best way to solve the problems. And if we're talking about Denis…he's my mentor now that I am starting to work on my final project. Denis has incredible experience and is very supportive and patient. He gives me honest and candid feedback that pushes me to become better. Yeah, he always tells me that “everything in your job is important; everything matters”. And he teaches me not to compromise on doing everything with excellence. So I’m really excited to see what we will create together!
TT: So, you’re working towards a career in games, what are some releases that you’re particularly excited about?
ZB: Yeah, to be honest, I'm not passionate about any releases right now. Especially now that I have a family, and am in school…I have no time. Even many of my supervisors who work in games, are not gamers at all! But, of course, I am excited about the God of War. I think we are all excited about it.
TT: Do you find that being an artist specializing in Game Art has changed your artistic perspective? Do you see video games differently?
ZB: Yes, 100%. When a game is beautiful and appealing for me, I just think, “oh my god, how’d they do this?”. Seeing what others are doing in games is a great way to gauge where my skills are at too.
I am also finding that I’m not only seeing video games differently, but people too. Since I started character art, and in particular studying anatomy, people have become very interesting to me. Not personality necessarily, but in terms of bone and muscle structure, you know, and sometimes I even find myself in embarrassing situations.
TT: Just staring at people?
ZB: Exactly. And in Germany this is a no-no. Sometimes people…it just gets to the point where they get nervous. For example, when we are on public transit, they may even change seats.
TT: I guess maybe the next time I find, you know, I'm sitting on a bus and someone's like, staring at me…I'll just convince myself that maybe they're just this amazing character artist, and they're just paying attention to my big ears!
ZB: Or bone structure!
Zoé Brening is a Character Artist based in Munich, Germany, currently studying at Think Tank Online. You can connect with her work through Artstation, LinkedIn, Twitter, Instagram, Facebook. Be sure to keep an eye out for her final portfolio project that she is working on alongside her mentor, Denis Melenets.
