Matte-painting

How the environments are built

Each piece starts as a painted plate and is refined through test renders — most visibly in the camera projection work behind The Frozen Cliff, where a static image is projected through a virtual camera and reworked frame by frame.

Studies such as Study sit alongside the finished environments, so the same space can be seen both as a final render and as the brushwork behind it.

Lejbs is the portfolio of a painter and digital artist whose work moves between traditional brushwork and futuristic environment design. The practice sits comfortably across personal projects, commissioned pieces, and self-initiated studies, with a clear emphasis on skies, cityscapes, and imagined places. Alongside the paintings and finished renders, the site presents the thinking behind them: how a mood is established, how light is tested, and how an atmosphere survives the move from a painted plate to a final image.

The visual identity leans on a vivid green accent set against dark charcoal overlays, crisp white space, and neutral gray sections. Bold sans-serif headlines carry the page, while lighter body copy handles explanation and supporting detail. Transitions between topics are made through full-bleed color blocks rather than ruled lines, giving the layout a rhythmic, gallery-like cadence as you move from one body of work to the next.

Environment work forms a substantial part of the practice, with project pages that walk through the build of each space. A typical environment begins life as a painted plate and is refined through test renders, so the finished frame and the brushwork behind it can be read side by side. Studies remain visible in the sequence, letting the same location appear first as a final render and then as the raw, working sketch that shaped it.

Camera projection work provides the most technical demonstration of that process. A static image is projected through a virtual camera and then reworked frame by frame, correcting perspective, light direction, and depth. The technique bridges analogue painting and digital compositing, and the breakdown material makes the intermediate stages legible rather than hiding them behind the polished result.

A selection of paintings and framed works anchors the site, covering themes that range from the frozen and desolate to the bustling and cinematic. Titles such as The Frozen Cliff, Lost, and City capture the emotional register of the pieces without overstating them. Frames, matte surfaces, and print treatments are considered part of the work, and the presentation pages show how each image behaves when it leaves the screen and hangs on a wall.

Film and video work extends the imagery into motion, with showreels and short sequences assembled from the same skies, environments, and painted plates. Titles referencing arrivals, vengeance, war, and final episodes suggest a narrative sensibility running through these pieces. Related photography and personal posts add context, functioning as a diary of process and subject matter rather than a separate and unrelated second catalogue.

Interactive elements are restrained and purposeful: clean white cards with soft drop shadows, small outlined pill-style tags for metadata, and compact information strips that pair a small icon with a short line of text. Star ratings and tags appear where they help organise dense material, while generous section-level spacing keeps the page from feeling crowded despite the volume of images. Corner radius stays minimal throughout, preserving a square, architectural tone.

The site's structure mirrors the way the work is actually made, moving from contact and enquiry points back through news, projects, personal writing, and earlier work. Books, trainings, and event material sit alongside the portfolio as signs of an ongoing practice rather than isolated portfolio shots. The overall impression is of a studio site that treats documentation as part of the craft, showing the protected, protected-against-perfectionism side of painting and rendering in equal measure.