*Warning: Contains Male Frontal Nudity*
Finishing the retopologising process, I added the newly-created mesh as a Subtool of my original Ztool, and then, with the "Project all" feature that you can find in the Subtool palette, I transferred all of the previously modelled details onto the retopologised mesh. You may find some problems doing this in some areas of your model, since ZBrush sometimes fails to transfer the details in the correct way. In this situation I just smooth out the artefacts and re-sculpt the details without losing too much time (Fig.07).
Once I'd finished the organic sculpting I then posed the model with Transpose, inside ZBrush, to conform the muscles, skin folds and wrinkles to the new pose. I then exported a medium resolution mesh from ZBrush and imported it into Max, using it as reference for modelling the accessories.
The chains were modelled by firstly creating a single ring which was then duplicated and rotated 90° as many times as necessary to cover the distance between the bracelets and the penis. At this point, I created all of the connecting curves simulating gravity (Fig.08); I decided not to deal with dynamic simulation since I didn't want the "bend-factor" of the chains to be completely accurate. Once all of the rings had been collected in a single group, I deformed this group with the Path Deform modifier (from Max) to conform it along the curve. The result was not always perfect, but with some manual work I made sure everything was in place.
To create the little chains that dangle from the face and neck areas, I made very simple geometries and placed them along the curves with Max's Spacing tool, whilst I manually adjusted the variations with rotation and scale (Fig.09).
Once I was done with the accessories I imported them back into ZBrush, adjusting the skin's tension with the Move tool, and I used the Clay Tubes brush to create the wrinkles (for example where the piercings are placed)
(Fig.10 – 11).
Once the modelling was finished I generated the normal maps (Fig.12) inside ZBrush and exported a medium-to-high dense mesh to preserve most of the modelled volumes.
Shading & Rendering
For the lighting I used the Mental Ray SkyPortal, which gave me the nice and natural feel I was looking for. Eventually, I used an Omni light for lighting up a bit of the cavity on the neck with the right attenuation so it didn't interfere too much with the subsurface scattering effect (Fig.13 – 16).