By Cansu Peker

Anlan Yang is a 3D environment and game artist passionate about building immersive worlds and telling stories through digital art. Proficient in both 2D and 3D across a range of styles, Anlan approaches environment design by bringing together storytelling principles with interactive design. Every digital space is created not just to look beautiful, but to feel alive — encouraging exploration, enhancing gameplay, and creating memorable experiences.

With a BFA in Animation from Renmin University of China and an MS in Entertainment Technology from Carnegie Mellon University, Anlan specializes in computer graphics and game art. Currently working in the educational game industry, she focuses on designing engaging, transformative experiences that inspire players.

We asked Anlan Yang about her art, creative process, and inspirations.

Can you tell us about your background as a digital artist? How did you get started in this field?

I am Anlan Yang, a 3D environment and game artist recognized for creating deeply immersive and narratively compelling digital worlds. With expertise in both 2D and 3D artistry across diverse styles, I excel in leveraging cutting-edge tools and technologies to elevate the visual and narrative dimensions of interactive experiences. I love crafting detailed, immersive worlds, and I’m always pushing myself to refine my skills and explore new techniques.

My professional journey was catalyzed by my foundational training in traditional arts, which evolved during my academic pursuits—earning a Bachelor of Fine Arts in Animation from Renmin University of China, and later, a Master’s in Entertainment Technology from Carnegie Mellon University. These programs honed my skills in computer graphics and interactive art, setting the stage for my current role in the educational game industry. Here, I lead projects that focus on crafting transformative gaming experiences designed to educate, engage, and inspire players. This work not only reflects my passion but also contributes to advancing the field of educational technology through art.

What inspired you to pursue a career in 3D environment and game art?

My inspiration to pursue 3D environment and game art comes from my lifelong passion for art and world building. I started studying traditional art at a very young age, which gave me a strong foundation in composition, color, and form. But when I first tried 3D art, it felt like stepping into an entirely new world. I realized I could combine my artistic knowledge with new technology to explore beyond the limitations of traditional mediums, pushing my creative boundaries in ways I had never imagined.

During my Master’s time, I worked on multi-platform games, including VR, AR, and also PC experiences. Walking through the environments I created in the digital world felt incredibly real—it was like stepping into a world I had imagined and built with my own hands. That immersive experience made me truly appreciate the power of digital environments in storytelling and interaction.

Every time I design and create a digital world, I feel like I’m building a place I’d love to live in. That sense of discovery and possibility keeps me motivated to push my skills further, constantly exploring new techniques to bring my worlds to life.

You’ve studied both animation and entertainment technology — how have these disciplines shaped your approach to game art?

Studying both animation and entertainment technology has given me a well-rounded perspective on game art, allowing me to blend artistic creativity with technical problem-solving. My background in animation, particularly from my studies at Renmin University of China, taught me the fundamentals of storytelling, composition, and visual language.

However, when I transitioned into game art, I realized how different it was. Unlike animation, where everything is carefully directed, game environments are interactive. Players can move freely, explore from different angles, and experience the world in unexpected ways. This shift in perspective challenged me to think beyond aesthetics—I had to consider functionality, player experience, and real-time performance.

So when I create a digital environment I will try a blend of animation’s storytelling principles and game art’s interactivity. Now I will think more about how players will navigate and experience them, ensuring they feel both visually compelling and seamlessly integrated into gameplay.

What’s a project you’re particularly proud of, and what made it special?

One project I'm particularly proud of is Ruins of the City - The Retake, which recently won the gold prize in the MUSE competition and platinum prize in VIDDY awards and AVA Digital awards. This project was special for several reasons. First, it was an opportunity for me to push my skills in creating a visually rich and immersive environment while also honing my technical abilities. The concept of a city reclaimed by nature, allowed me to experiment with blending organic and urban elements in a unique way.

What made it even more rewarding was the technical challenge it presented. I had to optimize the scene for performance while maintaining high-quality visuals, which meant balancing detailed textures, lighting, and complex particle effects without compromising on real-time performance. The project also involved learning new tools and systems, particularly Unreal Engine 5’s Niagara system for particle effects, which helped bring the project more vivid.

What are some key elements that make a digital environment feel immersive and engaging?

In my opinion, the key elements that make an environment immersive start with lighting, atmosphere, and color tone. These elements set the overall mood and feeling of the world we create. For example, in Ruins of the City – The Retake, the story revolves around retaking a lost city, so I chose a cool, dark color palette with low contrast to convey a sense of sadness and the lingering impact of war.

The second key element is details. Details help tell a story—small elements can make a huge difference in world-building. A well-placed broken sign, scattered papers, or worn-out pathways can hint at the history of a space, making it feel lived-in. These details don’t just add realism; they allow players to organically piece together the world’s narrative without direct exposition.

The third important element is movement, animation, and particle effects. In a mostly static environment, moving elements immediately catch the audience’s eye. Even a three-second animation of an injured character falling down can tell a powerful story when combined with the environment’s atmosphere and carefully placed details. Subtle environmental movements, like floating dust particles or swaying leaves, also enhance the overall feeling of a scene, making it feel more alive.

Lastly, sound design plays a crucial role in immersion. While I primarily focus on visuals, I recognize how ambient sounds bring an environment to life. The rustling of leaves, distant echoes, or the hum of machinery can reinforce the atmosphere and make the world more believable. Although sound design isn’t the main focus of a visual artist, I carefully consider it at the final stage of my projects. For example, I might add the sound of water before a lake scene appears or a heartbeat sound effect at the end of a video to subtly emphasize the emotional impact of the ending.

What challenges have you faced in translating storytelling into interactive digital spaces?

One of the biggest challenges I faced during the creation of most of the project was optimizing performance while maintaining high visual fidelity. Sometimes we will have a large-scale city environment with detailed assets, dynamic lighting, and particle effects, balancing visual quality and performance is a constant struggle. Real-time environments must run efficiently while maintaining visual quality. High levels of detail, dynamic lighting, and animations can be demanding on performance.

And also in the interactive environment we should carefully design the visual guide. A well-crafted environment should guide players without feeling forced. Composition, contrast, and movement all play a role in leading the player's eye. If a space is too cluttered or lacks strong focal points, players might miss important details. To avoid this, I ensure that key areas stand out using elements like color contrast, depth, and animation.

Are there any specific games or artists that have influenced your work?

For this question the first person that comes into my mind is Jonathan Benainous, an incredibly talented game artist who has worked on multiple AAA titles, including The Last of Us.The talk I attended at GDC by him about the texture creation in game art impressed me a lot. His lecture focused on the importance of materials in game environments, and during the session, he performed a live demo showcasing how some of the textures in The Last of Us were created.

This talk was a turning point for me. It was the first time I truly realized how much detail and storytelling could be conveyed purely through textures. The way he demonstrated how materials not only add realism but also optimize game performance by reducing asset sizes really resonated with me. After that lecture, I started paying much closer attention to the details in my own material work and actively explored different texturing techniques to enhance my environments.

Since then, I’ve been deeply interested in how textures contribute to world-building, and I continuously refine my approach to material creation to make my scenes more immersive and efficient. This experience reinforced my belief that even small details, like weathered surfaces, roughness variations, or subtle imperfections, can significantly elevate a game environment’s realism and storytelling.

What is a fun fact about you?

A fun fact about me is how I first started learning to draw—it actually began as a trade with my parents!

When I was in third or fourth grade, I had already been learning piano for several years in a structured and disciplined way. However, around that time, I discovered my love for drawing and desperately wanted to take an art class outside of school. My parents were hesitant because they felt that piano already took up a lot of my time and worried that adding another commitment would be too much for me to handle.

Determined to learn art, I made them an offer: if they let me take drawing classes, I would practice piano seriously and stick with it. But if I couldn’t learn art, then I wouldn’t continue with piano either. Looking back, it was a pretty dramatic negotiation for a child, but it truly showed how determined I was to pursue art.

In the end, they agreed—and that decision ultimately shaped my path as an artist. It’s funny to think about now, but I’m grateful for that moment because it set me on the journey that led me to where I am today.

What else fills your time when you’re not creating art?

When I’m not creating digital art, I love spending time with traditional painting, especially oil painting. There’s something incredibly satisfying about working with physical materials and textures, which gives me a different creative experience from digital work.

I also enjoy handcrafts—things like crochet, origami, and bracelet weaving. I find DIY projects very relaxing and rewarding, as they allow me to create something tangible with my hands.

Music is another big part of my life. I enjoy playing both the guitar and piano, which not only helps me unwind but also inspires my creativity in different ways.

Where do you see the future of game environments heading?

The creative industry is evolving at an incredible pace, especially with advancements in real-time rendering, AI, and immersive technologies. Tools like Unreal Engine 5, procedural generation, and AI-assisted workflows are not only improving the efficiency of creation but also expanding the possibilities for visual storytelling. As game environments become more interactive and dynamic, the role of a 3D environment artist is shifting from creating static assets to building living, interactive worlds.

In line with this evolution, I aim to constantly explore advanced technologies to help me implement my artistic ideas more effectively. However, I also believe that a solid foundation in art theory is irreplaceable. Aesthetic sense and creativity cannot be substituted by technology alone. Therefore, I am committed to continually refining my artistic theory while integrating it with the latest tools and techniques. This combination of strong art theory and constantly evolving technical skills is the direction I want to pursue in my career.