War Pig

WAR PIG

When I watched The Guardians Of The Galaxy Vol. 3 on the big screens, I was captivated by the story and characters. The fusion of robots and animals in the film moved me, and upon encountering the War Pig, the idea to recreate the character sparked in my mind. It felt like the perfect opportunity to showcase my skills and bring the concept to life.

For the modeling, I personally sculpted the organic body in ZBrush, utilizing six subdivision levels and crafting the general shapes and wrinkles. The only external resource I used was alphas for enhancing the skin with extra detail.

I began by creating the initial base of the body, followed by performing retopology in Maya. After that, I imported it back into ZBrush, where I added complex details while adjusting the subdivision levels.

I did put a lot of effort in the details of the modeling as well as the textures.

I carefully managed UVs in Maya to ensure proper texel density, optimal arrangement, and unfolding across the layouts. Consistency was maintained to achieve a high-resolution output of 4K.

The texturing process was carried out in Substance using a UDIM workflow, with separate projects dedicated to the body and the mechanical parts. Smart materials were not used to maintain full control and customization.

I utilized a total of four materials for the character, with one dedicated to the body and three for the mechanical parts. This separation in Substance allowed for improved painting and better organization during the project.

I took extra steps in organizing the project by developing each channel separately and placing them in their respective folders. Additionally, everything was well-named in the Maya outliner to maintain control and clarity throughout the process. Personally, I prefer this approach to ensure a better understanding of my workflow.

Assets besides the character were imported from Quixel Bridge. 

I loved the intricate details on the face and aimed to emphasize the eyes using a subtle, shadowy illumination.

In addition, I incorporated a Subsurface Scattering map primarily for the ears and the top of the nose.

I didn't perform the rigging or skinning process; instead, I focused on posing the character's extremities solely for rendering intentions.

I conducted extensive research on the original character from the film and studied various pig references to bring my idea to life.

I also take pleasure in viewing the black and white version of the renders, purely for the sake of satisfaction.

I thoroughly enjoyed working on this personal project and had the chance to enhance my skills in sculpting and texturing, which are areas I'm truly passionate about. One of the main intentions behind this project was to practice both organic and inorganic sculpting and achieve realistic texturing for both aspects.

The total number of hours dedicated to this project is uncertain, but it involved a development period of two and a half weeks from start to finish. The software used for this project included Autodesk Maya for hard surfacing, ZBrush for organic modeling, Substance Painter 3D for texturing, Arnold for rendering, and a touch of Photoshop for compositing purposes.

I hope you all like it as much as I did.
Any feedback will be well appreciated!

Thank you Rookie Awards for this great opportunity!