After I had done this the upper body was ready to be posed and sculpted. The head was a difficult step because of the face deformation. The upper lip needed to be huge to cover the teeth, which made the face modeling process a little different than usual. I couldn't create user friendly polygon topology at this initial stage so I just dealt with ZSpheres to get a nice polygon flow. For this reason my goal was to create an initial mesh with a good distribution of polygons based on the main volumes. The ZSpheres gave a really funny look to the armature and to the adaptive skin (Fig.04).
At this point I was happy that the head was ready and had good, workable polygon distribution, so I was ready to start the sculpting process. I created the face sculpture without thinking about the polygons. I just imagined the mesh was clay and had some fun. The process was very intuitive and fluid. The most time-consuming part of this illustration was the face modeling. After four days I had a model that I was satisfied with (Fig.05).
I was happy with the result as I thought the resemblance was good and I had a good laugh. The laughs ended though when I saw the boring task that was waiting for me. The polygon topology wasn't good. When I tried to increase the polycount to paint details like wrinkles, the polygons simply didn't have enough resolution where I needed it. So I had some fun with the modeling but was later punished because of the retopology... Ok, I deserved that! I spent about five hours crying and then a couple of hours sorting out the topology. It actually wasn't too painful in the end. In fact it was very productive because with less polygons in the model it meant I could create a better mesh (Fig.06).