Huli-Jing
This is my graduation project. The scene is about Huli-Jing fox folklore. Compared with other myths in Chinese culture, the Nine-tail fox is an integral part of my life. I draw inspiration from the mythical image of the nine-tail fox in traditional Chinese folklore to create the digital environment - 'Huli-Jing.'
HULI-JING
The Huli-Jing (fox spirit) is traditional Chinese folklore. It is unique for me because my mother shares my fascination with it. Unlike other myths in Chinese culture, this one is a topic repeatedly in our family conversations. As a result, I draw inspiration from the mythical image of the Huli-Jing fox in traditional Chinese folklore to create this scene.
Render:
I created these statues, characters, foliage, stone, and other assets in Zbrush. I incorporated a wind effect into the bamboo material, causing it to sway slightly. To enhance the mysterious atmosphere of the environment, I added wave effects to the postprocess box. The building was made in Maya. To improve the appearance of the door, I made this door hollow instead of using transparent mapping.
Reference:
Concept Drafts:
To begin the temple project, I gathered reference images and identified the essential components needed for the scene. Based on reviewing the references, I decided to sculpt a fox spirit statue as the main centerpiece. To add visual interest, I incorporated dynamic materials and particle effects, with the materials applied to the foliage and the particles used for the candle flames.
To add some narrative to the scene, I was preparing to place a character, the devotee, in front of the temple.
Work Progress:
Next, I topologized the fox statue and created materials for it in Substance Painter. Finally, I adjusted the material sphere in Unreal Engine to achieve the desired visual effect.
Using Maya, I created a prototype of the building and props. I then moved the block-out into Unreal Engine to adjust the lighting and post-processing effects better to understand the overall atmosphere and scale of the building. Once I had determined the size of the key assets, I added more detail to each asset one by one in Maya or ZBrush.
I followed the traditional process of modeling the characters in ZBrush, and then performed topology and texturing using Wrap 4D. For the clothes, I used Marvelous Designer to create them and then topologized them in Maya, converting the attributes. Finally, I made the textures in Substance Painter.
Lighting:
Throughout the production process, I continuously iterated on the lighting to achieve the desired mysterious atmosphere.
Comments (0)
This project doesn't have any comments yet.