For those who are just starting, maybe sending the file to ZBrush is a problem because it appears transparent. We can use the Shell modifier to resolve this, but in this case I used Detach (Fig.06).
With all the accessories modeled, I exported everything by group. First I exported in an .obj of the whole body, then an .obj of the head, hands and legs, then another .obj with the jacket etc. After I'd exported all the files into ZBrush, I opened subtools and just used patience and ZBrush to deliver the level of detail I was looking for.
Once I'd finished the sculpting I used the Polypaint option to paint the model. Sometimes I only use this as a guide to give it more texture in Photoshop; it really depends on the results (Fig.07 – 09).
When the model was sculpted and painted, I used the plugin UV Master to create Normal and Diffuse maps. Displacement maps I use very little; sometimes I prefer to export the mesh with thousands of polygons and use only Normal maps – this is something of a personal taste. UV Master can help to save a lot of time, allowing you to focus on the character and the detail (Fig.10).
When mapping with UV Master, and painting in ZBrush, I do not give much importance to the final shape of the UV maps because being good in ZBrush you can make sure the mapping is okay.