At this stage, it is important to think about the edge flow to facilitate the rest of the process.
HOBBIT HOUSE BLUEPRINT FULL
I first create a mid poly in which I invest as much geometry as it takes to capture the full silhouette of my asset.I used a fairly common workflow for modeling: Sometimes, I have to invest additional polygons in the models, and in this case, it was imperative to have elements with beautiful precise curves because curves and roundings are an integral part of the Hobbit style. I had to find a compromise between sticking to references and seeing what looks good in the scene. A material can be very nicely done from a technical point of view but not match the atmosphere of the scene in terms of color, for example. Previewing the material in SD / SP does not accurately show how it looks in the engine, nor if it artistically works with the scene. Export regularly and test in the engine.
I have retained several crucial aspects in the creation of materials (both in Designer and in Painter): I then used this setup to generate my other maps. Main Materials in Substance DesignerĪs I’m not the most experienced Substance Designer user, I used the workflow from the great “Getting Started with Subtance Designer” course, starting by creating the heightmap with first the largest shapes, then medium, then small, and finally the micro details. Since I knew that I would need walls and a floor anyway, I started working on their materials at the same time in Substance Designer.
I iterated a lot on my composition as I wanted to create a playable space with enough room for the player to move around, but at the same time have the feeling of an overwhelmed room with tons of details everywhere. This oriented my research and I created a PureRef doc with two main themes: Bilbo's house as seen in the movies and Victorian-style furniture. I first looked in the book “A Traveler in Middle-earth” by John Howe, artistic director on The Lord of The Rings and The Hobbit movies in which he shares his own inspirations (especially the Victorian style). I wanted to find and master the “Hobbit Style", which makes you feel good and warm, in a mixture of an English cottage and Fantasy elements. It didn’t want to make an accurate reproduction of Bilbo's office as seen in the movies, but rather use it as a base and mix it with other inspirations. The idea of a Hobbit office came instantly, as I am a fan of the LoTR stuff and Middle-Earth related environments. I took his course with the idea of following along with my own environment and in another universe. His environment corresponded to many things I wanted to learn – the level of detail, the composition, the lighting, the textures. I came across the work of Ognyan Zahariev and his course on creating a Harry Potter inspired room.
I was looking for inspiration for my next portfolio piece and I knew I wanted to create an indoor environment. I am now looking for a junior environment artist position, to continue my learning and progress within a team. By joining communities like Polycount or Dinusty, I was able to progress with the help of the experience and advice of many artists, critiques of my work, and all the resources shared by the community. Through many online courses I learned the basics of 3D, then more advanced modeling, then real-time rendering. We then started an artbook collection (still ongoing) with my best friend about our favorite universes and I decided to become part of this industry.Īfter my graphic design studies in France (where I am from), I finished my schooling in Quebec and decided to take advantage of the time I had during lockdown to fully embark on my passion for the video games worlds and become a 3D environment artist. My contact with the creative industry behind film and video games began with the amazing Hobbit artbook “Chronicles: Art & Design” when I was still in high school. Hello! My name is Antoine Moineau, I am a 3D Environment Artist located in Québec City, Canada.
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