8. With the shoulder area relaxed, collapse the Relax modifier by right-clicking on it in the list and choosing Collapse To. We now have a collapsed object, without affecting the Symmetry modifier. Go on to relax and collapse any other areas of the mesh that are intersecting. This might include – but is not limited to – the elbows, crotch, backs of knees, and the hand.
In this step I have added edges running from the lower back to the neck. The head simply doesn't have enough detail to provide a clean and smooth silhouette. The broadness of the back dictates our need for more edges in that area (Fig.08).
9. Here I am shaping the new edges into place while in Vertex mode. If you enter Screen mode for translation of objects (Ctrl + Alt + Right-click and select Screen) then you can simply drag vertices around one by one without selecting and using the manipulator (Fig.09).
10. I've added in an edge in the neck to show the sternomastoid muscle. This will start off the flow of topology I want in this area. I'm not worrying too much about keep everything quads (four-sided polygons) at this point as I want to rough out the flow of the edges and then tidy up once that is in place (Fig.10).
11. I'm adding a row of edges in to mark the underside of the chest. The edge loop also runs into the shoulder area to mark the insertion point of the main shoulder muscles. This gives great deformation when the character lifts up his arm. I'm adding in these edges using the Cut tool, which I have on a shortcut key as it's a commonly used tool (Fig.11).
A neat and timesaving trick is to enable snapping when cutting (default hotkey [S]). Right-click on the snap icon in the top toolbar (it will highlight on and off when you press S), then turn all options off, except vertex and edge.
When you normally cut, it can be difficult to see if you're on a vertex or an edge, and many loose vertices get created due to this, leaving the model quite messy after a while. It then requires a lot of welding verts and deleting edges to clean it up. An alternative is to try the above method technique of snapping, which will lock your cut along edges and snap to vertices.
12. I go on to further relax the elbow and wrist sections. As you can see, the topology of the hand leaves a little to be desired. The wrist will not animate well this way and the fingers need a lot of work to get them to a good stage for sculpting and animation. The crotch area topology came out almost perfect, showing the power of ZSpheres (Fig.12)!