They say that when a great sculptor begins her work, she first communes with her medium. She caresses it; she bonds with it; they have sad, quiet little tea parties together, and finally they come to an understanding. The artist sees the beautiful sculpture that was hiding within the lump of clay or block of marble. All that's left to do is free it, the sculpture makes itself. Zbrush is my medium as of late, but things haven't been so rosy.
Zbrush speaks its own inscrutable language of clicks and duck calls. Zbrush does not like to be touched. Zbrush has a stainless, self-cleaning coating that prevents bonding. Zbrush does not like tea.
Thankfully my years of both artistic and computer training have prepared me for such an eventuality. Sometimes the best approach to connecting is less about mutual understanding and respect, and more akin to, well, Stockholm Syndrome. Don't let them leave until you're friends for life.
Here's the latest, and I'm quite proud of it:
The skull is loosely based on this series of video tutorials I found on youtube. The big message I took away from them is that, despite all of Zbrush's claims to the contrary, having a good topology for your sculpture is super important. The tutorial author goes through a few techniques to deal with this from quick and dirty uniform re-meshing to constructing a Maya/Max style base mesh over your sketch sculpt right in Zbrush. Rather than go into the gory details I'll let you watch the videos.
If only more of life's little problems could be solved with hostages.