The first thing to do was to configure the camera so it fitted the perspective of the artwork while I modeled. The first object I modeled was the barrel (Fig.03), which helped me to configure the camera perspective, more or less. Anyway, while I continued modeling I changed or made some minor adjustments to the camera so it fitted perfectly into the drawing (Fig.04).
Another thing to take into account is that during this process I spent a lot of time switching between ZBrush and Softimage in order to fit in all the details (such as cloth folds and so on) I had made in ZBrush (Fig.05). To make this step easier I made custom script buttons so that I could important middle resolution meshes from ZBrush into Softimage much more quickly, with only one click.
I had to sculpt 28 objects, so the organization of the ZTools was very important. I decided to group all the objects in seven different ZTools, all of them with some subtools. For example the right boot ZTool (Fig.06) has four subtools. The low res subtool is the pieces I didn't want to sculpt – all the other subtools are objects to sculpt.
When I finish sculpting, I started to decimate all the high res objects with Decimation Master until I found a good balance between polygon count and quality of details. Then I imported back all the decimated meshes to Softimage.
I want to explain a little bit about my workflow with ZBrush and UVs. I love the idea of creating all the forms in ZBrush first and then dealing with UVs second, so what I normally do is sculpt, then unwrap the UVs and import the objects back to ZBrush to transfer them to subtools.
Due to the fact that I had more than 100 objects, organization was basic. I made three groups for UVs: one for the skin and clothing, another for the rest of the body objects and the last one for the barrel (Fig.07). Once I had unwrapped the objects's UVs with Softimage's Unfold option, I started importing everything back to ZBrush, like I mentioned above.