This is part of my personal Christmas Card series that I create most years. For Christmas 2025 I finally went with an idea I’ve been thinking about for a long time, a play on Rudolph the Red-Nosed Reindeer, but with myself guiding Santa’s sleigh.
Usually my cards focus on one main 3D object with a few simple props or a basic environment. This year the idea needed three main characters: Santa, a reindeer, and Santa’s sleigh, plus a more detailed scene around them.
Early on I knew I wanted the style to feel similar to the classic stop motion Rudolph movie. As an environment artist I don’t have a lot (but some) experience with creatures, so this was a fun challenge and also part of why it took me a few years to finally tackle it.
I built all my initial meshes in 3ds Max, then brought Santa and the reindeer into Blender for sculpting. I have experience with ZBrush, but this was my first time sculpting in Blender, and it ended up being a really nice experience and a pipeline I want to explore more in future projects.
As I sculpted I found myself drifting away from a strict stop motion look and trying to land on my own style, something inspired by it but not a straight copy. A lot of my work over the years tends to lean slightly unsettling or spooky, so this was a good chance to push things in a cuter direction. And that reindeer butt… once I started sculpting I couldn’t resist making it a little thicker.
The sleigh is based on one I made for my first Christmas card many years ago, but I feel like this time I finally got it right.
All texturing was done in Substance Painter.
For the Unreal scene I knew I wanted it to feel like early Christmas morning, and instead of Rudolph leading the sleigh it would be me. I pulled inspiration from different Christmas artwork and decided on a small winter village, a frozen pond, and a stone bridge. Since the village would be in the background, I kept it very low poly. I used various Unreal Engine features to create a foggy, moody nighttime scene, and since I knew my final composition early on I was able to dial in the lighting and atmosphere specifically for the camera angle.