The moment it wasn't possible to add any more detail to the model due to missing polygons, I retopologized the model directly in ZBrush. I then projected the resulting model onto the base and could continue with the sculpting.

One of the most complicated parts was to pose the characters in a natural fashion. Because I knew this would be tricky I began posing the characters early in the process in ZBrush. Thanks to ZBrush I didn't have to deal with technical issues like rigging and could pose the characters with the Transpose Master. This wonderful tool enabled me to move the characters into their final pose, but also meant I could return to a T-pose whenever I needed (Fig.03 – 04).

Texturing and Shading

The bases for most of the maps were generated in ZBrush (Cavity map and Normal map), to which various layers, details and colors were added in Photoshop in order to reach the desired result.

When I started to think about the materials and textures I decided that I would adopt the same approach as I did when modeling. By this I mean that I would adapt everything to create a visually appealing result, rather than focusing on making everything look very realistic.

The most complicated material in the scene is, without doubt, the skin and its settings, to which I dedicated a significant amount of time. You can see all of the different maps in Fig.05. In this image you will be able to see the Overall Diffuse, Reflection, Epidermal, Subdermal, Normal, Bump and two Specular maps. You can also see the final render before I did any post-production (Fig.06). I also used masks for the Subdermal and Epidermal maps. By using reflection color textures I was able to isolate the color of the Specular highlights on the skin and adjust them. I mainly used azure blue and light pink at this point as I found they worked perfectly. I also combined the Specular, Reflection and Bump maps with procedural maps to get the very fine detail.