Ian Vicknair is a digital matte painter and art director in the visual effects and game industry. With over ten years of experience, he has contributed to major projects like Justice League, Suicide Squad, Witcher, and Splitgate. Shaped by living globally, he specialises in bringing highly detailed environments to life.
We caught up with him to learn more about his career and influences. If you need to upgrade your own setup for digital art, see our guides to the best drawing tablets and the best laptops for drawing.
Where did you grow up and how did it influence your art?
Growing up was chaotic; I moved from country to country every few years. In a family of teachers, international schools were our lives – living in places like Ethiopia, Brazil, Saudi Arabia, Lithuania, Russia.
This contributed a lot to my art, especially as a matte painter creating wild environments and as a young art director bringing worlds and stories together.
What else has most influenced your artwork?
Truthfully… people. Friends, family, intimate relationships have really added meaning to my work because it’s allowed me to learn and explore who I am and what the world is.
Is there any painting you saw that changed everything?
Three specific paintings changed me. The first was the aerial reveal of Neverland in Hook (1991), painted by Yusei Uesugi. Second was the Eloi temple from The Time Machine (1960), painted by Bill Brace.
And finally, the Underground Sea from Journey to the Centre of the Earth (1959), painted by Emil Kosa Jr.
What was your first paid commission?
It was for an advertisement firm. I had to digitally paint a farm landscape from the future. It had lots of flying tractors and cities in the sky. This is where I learned the term ‘matte painting’ and fell in love.
Since then, it’s been a constant pursuit to matte-paint as much as I can and where I can.
What’s the last piece that you finished, and how does it differ?
It was for the Backrooms movie directed by Kane Parsons. There is a huge difference between these paintings and my very first one.
The first had masking issues, colour grade issues, file cleanliness, depth of field problems, stitching errors, noise variations… the list goes on.
Is making a living as a digital artist all you thought it would be?
Mostly yes. The biggest issue is how volatile the industry is. I’m thankful I’m one of those people who can say their job is what they love. It’s made me a stronger person and continues to allow growth.
What advice would you give to your younger self?
Paint more! A younger me didn’t manage life too well. I was very busy figuring out who and what I was and where I belonged. I just wish I had stopped a bit and painted more.
Has digital art changed you since you’ve been working in it?
Without a doubt. I adore digital work, especially photorealism because you study how pixels work and fluctuate. It’s made me a stronger painter and VFX artist, and now that I’m into directing, it’s given me a stronger eye.
What character or scene that you’ve painted do you most identify with?
Halo! I had to paint a Halo jump of Master Chief leaping out of a ship and skydiving down onto the surface of this alien world. It was loads of fun learning how to make planets at that level of detail.
What's your next step?
Currently, I’m working on a few IP projects and short films. I’d like to get more into art direction and leading teams and making my own stories. I’ll still be painting, though, as that’s my core.
You can see more of Iain's work on his ArtStation profile. .
This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.
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