3DVF : What is the most complex kind of assignment you can think of, and why ?
Solène Chan-Lam : It’s challenging when the material we’re targeting is something that doesn’t exist in the real world. Like a futuristic material. In that case, there is no proper way to find a reference to match. Texturing without references is a dangerous path. It means high risks of constant and frustrating re-takes and possibly a different vision than the lookdev departement.
Creature work can be complicated. It is more custom work, so more time consuming. If the creature has several layers of deep tissues, transparency, veins and dryness, dirt, smear, sculpt on top and not just one references but (too) many references that the direction could not choose from – for sure, that’ll require a lot of thoughts and preparatory work, a good understanding of lookdev. And some structural research. These kind of assets are challenging and require experience. I had a few in my career.
It is also complex when needing to break down the texture workflow into a non intuitive process to get to reach the best final result possible to texture step by step. This can be a challenge to understand even for experienced artists. These approaches are useful when a traditionnal texture process don’t fit the asset particularities.
I like to think I have not yet experienced the most complex assets as each new asset is a new problematic to solve. Which means, the most complex asset or assignement will always be the next one – if of course I stick to aiming the highest quality work.
3DVF : You are passionate about traditional techniques such as drawing and oil painting. How do traditional and digital techniques complete each other ?
Absolutely, as a parallel art work, I create digital illustrations and practice oil painting too. I currently have illustrative projects in development.
Both traditional and CG activities complete each other. I experiment technically and artistically. What I learn is useful for one is also for the other. It trains my eye on a general aspect. I’ve always been influenced by traditional painters. Since my studies, I’ve been exploring the color science and theory. Paul Klee and Odilon Redon’s work and color research deeply impacted my art.
Did you know a mid-grey surrounded by a yellow color changes the grey to a more purple complementary color to the eye? Did you know there are 7 types of contrasts? Paying attention to the interpretation of the color helps balancing out the texture work to the general feeling of a reference on a 3D asset texture. At a certain point, details are important.
The other way, crunchiness and variation of organic details that I’ve observed in realistic CG is something that I benefit bringing in my illustration work to give more complexity and material feeling, even though my illustrative work is stylised.
It’s all very positive. All experience resonates with an other and in me.
Solène Chan-Lam at Institut Artline, in 2018.
3DVF : Aside from your work as an artist, you have also been teaching texturing at Institut Artline for 3 years. What do you find interesting in teaching and training new artists ?
I love discovering new personalities and potentials. I like to see if my judgement early on is foreseeing their career progression. Mentoring new talents relates to training professionals in the work environment too. It teaches me a lot on how well I share my knowledge and experience with students as well as in studios on professional projects. By asking specific questions that I assumed were obvious, the students help me to have a good understanding of the questions professional working people may have and vice versa.
I like to see the students singular personalities as being an artist is being able to work with others. I do see humble junior artists starting with little knowledge progressing faster than others.
I discovered teaching is something I am natural at since the opportunity came to me, enjoying sharing the passion with humour – my personal touch. I love to see how the students interact and help each other.
Teaching is versatile. Most graduation programms are focused on learning software products. I personnally think learning workflows are the most important as it’s something that cannot be found on the internet and can only be taught by experience. That’s also a part that I really like, because on a small production scale and out of professional world deadlines, it can be hard for students to realise how each action have their importance in real productions – for example: if repeating an action – set it so it’s automated. What’s important is not how well an artist knows a software product, but how well one chooses the way to proceed in order to achieve quality+efficiency and how one trains its eye.
3DVF : Women are still a minority in the VFX industry. What are your thoughts on the place of women in the VFX industry ? Would you say your career is a typical example ?
Diversity within the VFX industry is slowly improving. 3D schools manage to attract more women than they used to. Women are still a minority in the workplace. The CG environment would definitely benefit from variety of profiles. I would not say I am a typical example. Women are most represented in production coordination, some as artists, but still a small percentage of the total workforce and very few in lead or supervision roles. In past experiences, I saw women being judged on performances and men on skills set. The difference is that performances means endurance and consistency. Skills is mostly judged when starting a job and not always questioned as challenges arise. There is still a good margin progress to go to in the VFX industry in general. If my career could inspire other women in the VFX industry, I’d be delighted.
3DVF : Which movies amazed you by the quality of the texturing work, in the last few months ?
The last I can think of, is, suprisingly a serie. I was stunned by the Pogo monkey character from ‘Umbrella Academy’ Netflix serie. I had no clue which studio was responsible for it. Textures/Lookdev. Modeling, facial shapes, animation, and pretty much all. I was impressed by the quality level and thought it looked like a specialists studio rather than a small scale studio of generalists. Indeed, I later got to know Weta digital created the character.
3DVF : You recently joined Weta Digital : could you tell us about your work within the studio ?
I really like my experience at Weta. I cannot say much about the work within the studio. Just come over, I encourage anyone to experience it. The country is unique and people genuinely friendly. It’s exciting to work with people from every part of the globe on major exciting projects. If one wants to learn from experienced seniors artists, Weta is for sure a great place to work at. Everyone in New Zealand knows what Weta is, even non-VFX related people. Visiting the country, it’s definitely impregnated by the Lord of the Ring mood. The city of Wellington, the Weta Cave and Auckland and Wellington airports are populated with Weta Workshop sculpture donations. There is inspiration in every corner.
To learn more about Solène Chan-Lam and Weta Digital
Solène Chan-Lam‘s website ;
Her online portfolio on ArtStation ;
Her Instagram account ;
Weta Digital – official website.
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