Delphine Doreau CG portfolio

At this point of my career, I find that an article about my work is more explanatory than showing a bunch of pictures and movies without explanations. I hope you’ll enjoy the ride-as much as I did.

Realistic texturing/Lookdev for feature Movies

May it be this skull texture I did in just one day in 1998 or Sergent Turley’s (Rango, 2010) accurate conjunctivitis and perfectly derelict outfit inspired by ancient uniforms unearthed after a century, it’s not exactly what you expect from me after checking my illustration and watercolor website.

I have my own style when I create personal art, but my true talent is being able to reproduce any material and adapt to any style.

This clip is Transformers Dark Of The Moon (2011) Intro Title, special effects made at ILM. It’s a fun clip because I designed all the textures from the scenery to the inside of the eye of the Sentinel.

For the Transformer projects I invented new techniques to make displacement edging on metals, brushes for dirt, and wrote scripts to pre-texture vehicles that I shared with the team so we could tackle characters and vehicles that had thousands of objects per model.

Digital GROOMING and Leather

I’m comfortable with all kinds of materials but my favorites are hair, skin, and leather, as they are tough to render, as shown here on Rango (full CG ILM 2011) directed by Gore Verbinski. I worked some of the Posse characters, all the bats, and all the javelinas, something like 80 characters, and part of the decor.
RANGO won the Academy Award for Best Animated Feature.

I worked on several movie projects in Europe and United States, including:

Catwoman (2004) directed by Pitoff, CG scenery lookdev.
This is one of the first projects I worked on , City of Lost Children directed by Caro& Jeunet, 1994 : CG scenery lookdev, TD, models, Flint.

Art Direction : Style Guides and Bibles

I worked at EA games and for several other companies, first on textures and lookdev, then did several Style Guides (bibles) for different projects, including set designs and character designs.
I study biology, botany, history of daily life, fashion, anthropology, and color history in my spare time, so building tangible worlds for CG is actually my favorite part of the job! Sometimes, just one detail can make a whole scene credible.

Interactive Style Guide for LOTR IV ( Lord of the Rings), defining style and colours for populating a whole world. It defines styles for populations more than characters. On the EA version, clicking on textures would open texture samples and motifs to use for character design and texturing.

Style Guide for EA game “from Russia with Love”, on sixties fashion:

Explaining proper sixties attire in detail to modern artists isn’t as easy as it sounds.

The Godfather (I), EA games: set design. This is one of the numerous style guides I made for the different mafia compounds in the game. Each guide came with textures I create. Each set had a specific colour ambiance for each compound. It was a very interesting project, as we had to give an exact idea of the movie, but not copy exactly the textures for copyright reasons.

Character design

I also worked on several character designs, for different video games, including:

My Sims (I and II)

Character design including : sketches and research, heavily detailed character drawings (not 3D) for outsourcing, different colour ways, variations, accessories and motif textures when necessary. Creating designs for outsourcing isn’t easy. While designing a character in house just needs a few sketches and a discussion with on-site artists, a design for outsourcing needs to address any detail, any question for an artist to work by oneself.

MiniTycoon: Casino

Kawai, chibi Casino game. I worked on this with a former EA art director.

Character design, texture design, colorways, fashion ideas, props.

More recently, I was one of the Art Directors on this announced project. Official website : please click and enter Date of Birth to watch .

Let’s just say that this project created some interesting problems in terms of voice and vision, and the opportunity to solve them was one of the most pivotal, and enjoyable, moments of my career.
Until we can talk about it more, here’s one of the official announcements:

Thank you for your attention. To contact me: