Judith Abelenda Pomar

Review

Tell us about yourself: Who are you, what do you love to do and where are you from?

Hi, I’m Judith—a concept artist based in Spain. I’ve always loved art in all its forms, whether it’s visual, theatrical, or interactive. I’m a big theatre fan and really enjoy going to museums, movies, and live shows or theme parks whenever I can.
Video games have been a part of my life since I was little. My dad, a huge Metal Gear Solid collector, introduced me to them early on. When I was a toddler, he used to give me an unplugged controller so I could “help” him play. That early love for games definitely helped shape the path I’m on now.
I’m also a big fan of tabletop games like Dungeons & Dragons. I’ve got an ongoing campaign with friends, and it’s one of my favorite ways to be creative and connect with people.

Thumbnail

The very first stage and original draft of the shot.

What were the biggest problems you faced when you started as an artist?

One of the biggest challenges I faced when starting out as an artist was the belief that I simply didn’t “have it in me.” For a long time, I thought artistic ability was something you were either born with or not. It took time (and a lot of trial and error) to realize that growth comes from consistent effort. Another obstacle was the tendency to compare myself to others. In creative spaces it’s easy to get overwhelmed by the incredible work being shared online constantly. I’m not a particularly competitive person, so I gravitate towards supportive environments rather than competitive ones. Finding spaces where creativity is celebrated without this competitiveness has been essential for me.

And of course, imposter syndrome has been a frequent companion. It’s a tough feeling to shake, even after gaining experience. But over time, I’ve learned to recognize it for what it is: a sign that I care deeply about what I do and that I want to get better at it.

Final Sylithar

Nestled in the heart of exile, this city thrives as a sanctuary for outcast sorcerers, scholars, and artists. Magic hums beneath its streets, drawn from veins of glowing crystals that power spells and shape the city itself and forgotten knowledge is preserved like sacred treasure.

Why did you decide to sign up for CGVerse online art school?

I decided to sign up for mentorship because I felt like I had hit a bit of a glass ceiling with my art. Despite putting in a lot of effort, I wasn’t seeing the progress I wanted, and I wasn’t sure how to push past that. I knew my lighting skills were lacking for example, along with other areas that I struggled to improve on my own. I reached a point where self-teaching just wasn’t enough.

At the same time, I wanted to get better within my current studio. I knew that improving my skills would help me contribute more effectively to the team, and I wanted to elevate my work to meet the standards of the industry.

Tower

Tower and background building assets with material preview and VFX. You can see the displacement map used.

What did you do during the mentorship and what helped you on each task?

During the mentorship, Chris was my instructor, and he really helped guide me through the process. I knew I wanted to create a design-focused piece, something that radiated positivity and magic, as I felt that was what I needed at the time. With organic elements, and touches of art nouveau and Arabian architecture. Along with focusing on the final piece, Chris also had me work on lighting and color studies to target the areas I was struggling with.

We started with a thumbnail, and we spent quite a bit of time developing it—really refining the concept and making sure the foundation was solid. Then, we did some exploration to push the idea further and try out different approaches. Once we had a clear direction, we moved into 3D modelling, texturing, lighting… Finally, 2D post-processing. Plus, we looked into the presentation so everything made sense.

What helped me the most in each task was the constant feedback and the structured approach. Chris was always there to guide me and give me the push I needed to refine my skills. The best part, though, was that we really seemed to think alike, so our communication was smooth and natural. I genuinely had a great time working with him—it didn’t feel like a typical “lesson”, but more like a creative collaboration.

Buildings

More building assets used near the foreground.

How was the mentorship for you?

The mentorship was great—it was incredibly impactful. Chris really motivated me as an artist, and his sincerity and helpfulness did wonders for my artistic self-esteem. I honestly didn’t know I could push a piece to this level of detail and polish. There were definitely moments when the process felt tiring and daunting. Looking back, I’m really proud of what I accomplished, and I’m so happy I stuck with it. Chris was always there telling me I could do it, so it was always motivating showing up for each session. It’s been a rewarding journey that has helped me grow a lot.

Assets

Ground and foreground assets

What would you say when you recommend us to an artist?

Chris is incredibly empathetic and has an amazing ability to pinpoint exactly where you’re lacking, while always respecting your vision and artistic integrity. The mentorship is tailored to focus on areas where you need growth, and it really feels like you have the freedom to be creative with your project. It’s all about helping you improve while being realistic with your capacities.

Exploration Sketches

Those sketches were helpful during the thumbnail and 3D stage.

What are your next steps?

Who knows! For now, I want to continue working on this project, as I’ve got even more ideas I’m excited to explore. In the long run, I hope to keep working in the industry on projects that genuinely make me happy—whether that’s in games, movies, theatre, or even theme parks. I want to always seek out projects that keep me motivated and surrounded by creative, encouraging people.

Raw Render

Before any 2D work.