A Character Artist’s View on Exploring Fictional Worlds

Hi! I’m Ab Wienk, a concept artist with a love for the dark, the eerie, and the unsettling. You might know me for my creepy creature designs and gritty, atmospheric artwork. For the past several years, I’ve been working primarily in the game industry, contributing to projects like Horizon Zero Dawn, METRO Awakening, and many others...

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Recently, though, I’ve found myself drawn into the world of film—most notably through collaborations with Patrick Chin on the project FAYA, and with Blauw Films, where I had the chance to work closely with Leonardo Verkoelen and Charlotte Simons on Apple Rot. That experience really opened my eyes to the power of character-driven storytelling in a new medium.

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Although my career began with environment concept art, I’ve gradually discovered a deeper passion for character design. There’s something incredibly exciting about building a character from the ground up—thinking about their clothing, gear, personality, and backstory. It’s that narrative layer, that hint of life behind the visual, that keeps me inspired.

Between game projects, I also spent some time teaching at a game art school, helping students prepare for this wild and rewarding industry. It’s tough, no doubt—but there’s nothing quite like seeing your ideas come to life, whether it’s in a cutscene or on the big screen.

Right now, my focus is on fully transitioning into character art, especially as I explore more opportunities in film.

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After spending a few years working at a company in the industry, I’ve decided to take the leap into freelancing. It’s something I’ve been thinking about for a while—I’ve always been drawn to variety. I love switching between projects, diving into new creative challenges, and collaborating with different teams. That constant change keeps me inspired.

One of the things I’m most excited about is getting to work more on films. My experience with Blauw Films was a real highlight—it reminded me just how much I enjoy the energy and creativity of film projects. I’d love to do more of that kind of work in the future.

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Long-term, my goal is to become someone that directors and producers seek out specifically for my style—especially the darker, moodier designs I’ve been developing over the years. I actually had a taste of that recently with FAYA, where I was approached specifically for my visual approach. That experience was not only incredibly rewarding, but also deeply meaningful—it felt like all the years of hard work were starting to pay off.

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And maybe the best part of this journey? I’m now getting to work with friends in the industry. Creating something meaningful together, doing what we love—that’s the dream. And honestly, if I can keep doing that for the rest of my life, I’ll be more than happy.

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