According to information provided by MiddleAsanNews, Davaadorj Battugs is an automotive designer and visualization expert at Audi, where he combines design concepts with digital storytelling.
“My name is DAVAADORJ Battugs, I am 25 years old. I work in automotive design at Audi, located in Los Angeles, California, and I deal with 3D rendering and computer graphics. My job involves transforming drawings into 3D models that meet engineering requirements. This allows for visualizing how a car might look and function in the real world,” he says.
He participated in the development of two significant concept cars for Audi: the Audi Activesphere (2023) and the Audi Concept C (2025), which is expected to be an important step in the evolution of the brand's design philosophy.
“My first inspiration came when I was 8-9 years old. My father gave me a CD with the game 'Tsakhim Tsagaan Tolgoi' (The Alphabet of Digitalization), where a child could connect water trucks and roll them down a hill, creating a vehicle. It captivated me, and I thought, 'How cool would it be to create such a car.' Since then, I started drawing cars in my notebook. When I reached the eighth grade, my architect brother asked me about my dreams, and since I always loved cars, I replied, 'I want to work in the automotive field.' He advised me to prepare seriously and start drawing. I kept my drawings and worked on them from the 8th to the 12th grade, preparing for university admission,” he added.
Thus, my interest in automotive design began in early childhood. I have always been attracted not only to the technical aspects of cars but also to the emotional perception they evoke in people. As I delved deeper into automotive design, I became more interested in how digital tools could help realize ideas before the physical object emerged,” he noted in an interview with IKON.
“Visualization through computer graphics became a true passion for me. I realized that it is not just about creating realistic images, but also about being able to tell a story, create an atmosphere, and convey the design concept. By combining automotive design with visual storytelling, I discovered opportunities to work on conceptual projects at Audi,” he added.
“The transition to digital visualization was natural for me, as I began experimenting with 3D tools during my student years. I studied programs like Blender 3D and then Unreal Engine, while simultaneously developing traditional design skills. Therefore, digital visualization has never been perceived as something separate for me. Traditional design taught me the basics—proportions, shapes, surface language, and clear idea communication, while 3D technologies helped to further develop them. I was also fascinated not only by modeling cars but also by creating cinematic, emotionally rich presentations. We design moving objects, so I started experimenting with animation and environments to visually demonstrate how a car can be used,” he continued.
“With the development of tools and the increase in real-time rendering capabilities, especially using programs like Unreal Engine, the gap between design and visualization has become less pronounced. It is now easier to receive visual feedback and use it to improve the design,” he noted.
“My main task was to visualize the project: creating a visual language, narrative, and overall style for presenting the concept car. This included translating design ideas into compelling images that not only accurately depict the car but also convey the emotions and atmosphere that constitute its essence,” he noted.
“The bulk of the work was related to developing the appearance, enhancing materials, lighting, and environment, as well as adding cinematic details to make the car look realistic and align with Audi's concept. At the same time, narrative played an important role. Concept cars are not just vehicles; they represent a scenario for the future, so the visual images had to show how they fit into this world and how they would be perceived,” Davaadorj added.
“It was important to connect design and narrative so that the concept was not only visually perceived but also left an emotional imprint,” he noted.
“Once the 3D model was created, visualization through computer graphics becomes vital. Designers create volumetric models that convey the feel of key sketches, and it is important to see how light interacts with surfaces and how well they look under photorealistic lighting. This helps identify and eliminate potential issues at early stages of development. At later stages, graphics are used to present the project to board members for approval, and it is important that all participants are on the same page at every stage,” he explained.
“It was a process of exchanging ideas between design and engineering teams. For Concept C, new mechanisms for headlights and taillights were developed, implying movement. I helped visualize how this would look before engineers and designers reached a final decision,” he added.
“I would recommend all newcomers in the field of design to study the basics of automotive design. This is important because automotive design evokes much more emotion than other types of design. Storytelling through visual images should always be a priority, while details should take a back seat. Aspiring artists should keep an eye on new tools and technologies to stay at the forefront,” he concluded.
