All the sculpting work was done in ZBrush. First the shape of body was corrected and the face was refined a bit. After that, the mesh was duplicated so I could turn on DynaMesh and start sculpting the blue part of her outfit. I maintained the original subtool, so I could duplicate it to start other parts of the outfit like the gloves, boots, belt etc. The original subtool was used to create the yellow part of the outfit. With this subtool I used the regular subdivisions of ZBrush (Fig.03).
DynaMesh gives an artist more flexibility when sculpting because, after every re-DynaMesh, the mesh is reconstruct evenly and one can continue the sculpting, so there are no "useless" polygons added to the mesh. I used the same process to create the gloves, boots and belt. For these accessories, all the extra polygons were deleted and the geometry was re-DynaMeshed during the sculpting process (Fig.04).
The hair was sculpted in a similar way (using DynaMesh), but instead of duplicating the body for a new tool, a polysphere was selected. First the general shape was established and then the details were made (Fig.05).
The main sketch was now finished and ready for posing. ZBrush has a powerful tool for posing, called the Transpose Master. I used this to do a first pass on the character's pose. Then the pose was refined with some subtools, especially the hands, face and some wrinkling on the clothes (Fig.06).
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