Modeling - Jewel
For the model of the pendant, I worked with polygon modeling tools in XSI. I made a UV map for the stone and then exported the whole pendant to ZBrush where I subdivided the model twice to smooth out surfaces (Fig.08).
Modeling - Base
For the base model, I again did some poly modeling in XSI and then exported the mesh to ZBrush.
Modeling - Detailing
Having the base model of the bust with the eyes, the spikes and the base ready, I imported all of them as an .obj file into ZBrush, where the multiple polygroups were transformed into ztools by pressing Groups Split.
Keeping the ztool of the bust active, I selected a Clay brush, set Z intensity to 20, Draw Size 25, turned the Freehand option on, and started defining the volumes of the head, face and torso in loose strokes at first and refined portions later.
From this lowest subdivision level and up, I tried to add as much information as I could on every higher Sub-D level, using mostly a set of modified Standard, Slash and Pinch brushes, while quite often picking the Move brush to enhance the volumes and correct proportions. Sometimes I was in need of the Flatten and M-Polish brushes, to make some areas less convex and to define boney regions of the scull, or parts like the lips outline.
In this way, I ended up at Sub-D level 6, where the fine detailing of wrinkles, pores, lips surface and such was depicted, using mostly brushes with simple stamps from the ZBrush installation folder. Using layers like this during the detailing phase was a safe way to test and lock the intensity levels on the skin surface.
After I was done with the detailing, I went back to Sub-D level 1 and using a Transpose line and Rotate, I gave a rotation angle to the neck, according to the reference photographs. Climbing again up to sixth Sub-D level, and then made some minor refinements to the neck.
Among the final touches on the bust was to apply Surface Noise on a discreet scale and Depth to complete the high frequency detailing of the skin (Fig.09 - 10).