After the likeness was achieved at a medium distance, I moved into detail work. I also put the curves on a layer so they could be hidden to clarify certain areas if needed. I then keyed a plane so that it would reveal/hide the head sculpt while leaving the curves visible. This step was done in maya, by importing the images into the scene and drawing curves on them. Hours and hours went into trying to emulate what I saw, when my own eyes began to fail me, the lineups came even more into play overlapping the sculpt onto them and moving features millimetre by millimetre until they were sitting correctly. I spent most of my time working at very low resolution in Zbrush, getting the primary forms locked in using my photo lineups as constant feedback.
The sculpting phase was by far the most time consuming aspect of the project.
I was lucky to have access to bald reference in this project as the shape of the skull is an often overlooked yet an extremely important subtlety that can change the look of the face because of its close relation.
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