Finally with a good head and body mesh I could have some fun sculpting all the details. This step was really enjoyable! Two things are important at this point. Firstly, have a solid base mesh to work with. Secondly, be familiar with the workflow from ZBrush to Maya (as my intention was to render the caricature in Maya) (Fig.07).
I used the UVMaster to unwrap the mesh. Something that saved me from another boring task was to paint all the textures on the model. The hair, eyebrows and upper lip were three characteristics I gave special attention to as I thing they are important parts of his appearance. The teeth exaggeration was very important too. I recognized at this point that maybe I was a little bad and took it too far. Maybe I will burn in hell... but come on! Those who don't laugh can cast the first stone! Just kidding... (Fig.08).
One map that I like to paint is the Scatter map. It was among several maps generated for the material setup. To export the maps and meshes I used the Multi Map Exporter Zplugin. All that was left to do then was to export the maps and meshes to Maya (Fig.09).
I used Shave to create the hair, eyebrows and arm hair. I combined this with the painted color texture to get a better result (Fig.10).
The last thing that I did was to add sweat drops and some specular highlights to the image. In my mind Ronaldo was celebrating a goal scored during a match, so I decided to add this little detail. Using the Paint Geometry tool in Maya, I added the sweat to the model. In ZBrush I painted a sweat Specular map and exported it back into Maya (Fig.11).
With all the materials ready, I moved on to illuminating the scene.
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