Some materials were applied on each subtool to add volume to the painting. Here it was very important to use the regular materials and not the MapCap materials, because the light in ZBrush works better with the regular ones. Then I started to light the model. First of all, I deleted the basic light that ZBrush uses and created a light rig using the Lightcap tool based on an image. After some tweaking I came up with the first pass for the final image (Fig.11).



I used some other passes to do the final composite. These included a key light pass, where the image-based lights I'd created before were deleted and a new single light was made and adjusted. I also changed all the materials to a basic material with a black color. The same process was followed for the back light pass (Fig.12).



Some other passes were made for the final composite, like an alpha mask for each subtool and a depth pass. Some other passes were made with a MapCap applied to the whole model. That's why I needed to create some alpha passes for each portion of the model. These extras passes were used to enhance skin color and highlights. Here I used the masks a lot (Fig.13).


I used Photoshop to composite the image and create the final version (Fig.14).

Conclusion

I had so much fun doing the character and learned a lot about using some of the tools inside ZBrush to help my workflow. I found it very interesting the way the light cap and the render inside ZBrush can give you a nice preview of how your model will be presented.