This is early concept art I had done for the Disney's 2020 Mulan film that went to Disney+. I was thrilled to work with Niki Caro and Grant Major. Script aside, it was absolutely pleasure working in the art department.

Black Panther is one of my favorite films to have worked on. Besides the historic precedence it has set as the first major tent-pole film with an all black cast, director, and production designer, it was an amazing experience to world build a futuristic world that was unfettered by pre-existing ideas of western futurism. I worked closely with the production designer Hannah Beachler (Fruitvale Station, Creed, Moonlight, and Beyonce's Lemonade), to come up with a vision of Wakanda that feels authentic to a secretive highly advanced African nation.

Concept Art by Andrew Leung. Production Designed by Christopher Glass. Below is also an early animatic I editted for "Kaa's Hallucination". It includes artwork from Anthony Leonardi, Jonathan Bach, and Annis Naeem. There's also an early test of Kaa's irises I animated in the sequence as well.

Here are a few select concept pieces I did for Disney’s The Nutcracker and the Four Realms. I truly enjoyed working on such a rare, unsarcastic, and earnest take on a Christmas film.

Director: Lasse Hallström, Production Designer: Guy Dyas.

It was an absolute pleasure working with my friends on Spiderman: Homecoming. It was wonderful working with director Jon Watts, Production Designer Oliver Scholl, supervising art director Brad Ricker, and fellow friends and concept artists Rick Buoen, Tani Kunitake, Peter Rubin, and Vicki Pui. Below are concept pieces I had done that are variations on locations we were looking at in NYC, as well as some extended sequences that were cut. Working on this film brought back nostalgia of when I used to live in Manhattan.

This set features an unused idea for the Stark ranch house. In a perfect world with an unlimited budget it could have been built. Concept art by Andrew Leung. Production Designer: Owen Patterson

Concept art by Andrew Leung. Production Design by Jan Roelfs.

This was a fun project in that I got to do more actual painting and less 3D. One of the few shows where I actually used Corel Painter as a production tool.

Here are a few sequences I story-boarded for "Cosmos: A Space-Time Odyssey" starring Neil DeGrasse Tyson.

Spectral was interesting project in that over the 10 months I spent working on it, the art department went through two different directors. Initially, it was a pitch with the directors of "Kon-Tiki", Joachim Ronning and Espen Sandberg. Then a month later it got picked up by Nic Mathieu. The concept art on this page shows work I've done with both.

I did a few 100 ft backdrops for Damian Chazelle's love letter to Los Angeles, "La La Land". It was a lot of fun using Corel Painter to do artist impressions like Van Gogh. All painted digitally and then enlarged by JC Backings. These appear in the fantasy sequence at the end of the film. It was an absolute pleasure working with such a wonderful team.

Concept Art by Andrew Leung. Production Designed by Bill Brzeski.

Miscellaneous Work including VFX work from when I used to be a CG Generalist and Matte Painter.

I worked on an early pitch of "Deadpool" before a director was decided upon. It's interesting to see what ended up carrying through and being used in the actual film.

A small team of people including myself worked on designing the live action basement that appears at the end of the Lego Movie. I learned a lot about legos and how much more than just toys I remembered playing with as a kid.

I was excited to work on this version of Ghost in the Shell with director Rupert Sanders and production designer Jan Roelfs. Controversies aside, it was fun to experiment with forced garishness, maximalism, and retro-futurism. A lot of what I worked on was early days and trying to throw things at the wall to see what sticked. Ultimately, the movie itself stylistically went more of the route of a conventional remake.

Real Steel was my first big time Art Directors Guild union movie. I had a lot of fun designing robots for this film, in particular Atom. Below is some of my work from the film, as well as art dept animations and 3d models I did.

Working with production designer Christopher Glass, I concepted out a bunch of white rooms for Rolex - Legends.

I worked on an early version of "Victor Frankenstein" when it was still mostly a Max Landis script. Here are some early concepts of Gordon.

Back before I did concept art, I was a matte painter. I did two seasons of stylized matte paintings for the TV show Pushing Daisies before the writer's strike shut it down.

Illustrations by Andrew Leung. Production Design by Maher Ahmad.

A few concepts for Adidas. Commercial at the bottom.

In between a couple of shows, I managed to squeeze about a couple of weeks of work for The Fate of the Furious way early on in development. It's always a great pleasure working with one of my favorite production designer Bill Brzeski, supervsing art director Desma Murphy, and a few other friends on the show. Here's an early concept piece I did of the Russian submarine breaking through the ice.

Back before I started working full time as a concept artist, I was a visual effects artist, animator, and matte painter. Below is an old visual effects reel from 2008.

In another life I also worked at Blue Sky Studios as an animatics artist for the Story department. Some of my work included "Horton Hears a Who!", "Ice Age", and "Rio". Below is some pitch artwork I did for "Horton Hears a Who!" as well as a reel of my animatic work.