Thanks man !! I guess tomorrow i can post the relief-maker.blend for reasonable testing.
After finishing proper matcap viewport speed I can relax. Here’s my next contribution to the thread, another portrait, slightly influenced by Doris’s hair styling 
nice work psy-fi, glad to see you sculpting man, you know your stuff 
i always connect to internet at weekends, cos i know that’s when you release most goodies, hehehe
i dont use mats, but this has another future or use if it becomes dynamic enough (can make own mats using some kind of mat editor etc., can change lighting orientations)
zbrushers sometimes use matcaps for post processing in PS, layers like skin matcaps, metal matcaps etc. can be used for shading there, i’ve been testing this out on our own (though the lighting information is static) seems to work (i rendered in opengl, saved images as layers for GIMP then masked areas for skin, metal, cloth and such, the main layer is the sculpt captured in GLSL rendering)
but of course the beauty in blender is we can make our own matcaps in BI and use this instead.
somo zbrush matcap are static image i think is possible to rotate the light information with blender node it need experimentation
my first ok cat (my others looked very very bad :D) :
very cool iceking! nice crown :>
my cats ears are a bit lumpy, but i think real cats are lumpy too
More matcaps will be great indeed ^^
There no one who help to sculpt on blender 
cube of faces 1:
a little test to see how fast i could put something interesting together. this took maybe half an hour (i dont really keep track of time though :)):
this side was meant to represent 1, because it is a “normal” head
this guy was meant to be the number 2, because he has a third eye. hes sticking his tongue out because he cant figure out the square root of -1 (squares are always positive)
this guy was meant to be number 3, because he has 3 extra noses. hes mad because he cant get to the end of pi…
i will add the rest later because i cant attach more than 3
cube of faces 2:
the rest of 'em
this guy was meant to be number 4, because he has 4 extra mouths in his mouth. he is happy because he has powers of 2
number 5. he doesnt really have 5 extra somethings, but anyway hes super happy because he found e=mc2
this ones kind of a wildcard. its a clock with powers of 2 (i happen to be obesessed with powers of 2 :))
so, its very very abstract, and the noses and everything else could be improved, but i like it and it was just a test 
hopefully you like it too, and anyway the blend is here: http://www.pasteall.org/blend/28035
same sculpt. first pic is the openGL render. middle pic is the modified openGL skin shader rendered as openGL and used as matcap texture. third is the GLSL view with vertexpaint and matcap texture combined.
moar cartoony sculpting, INDIAN OVERLORRD
Iceking: whats your workflow like?
Guess its dynatopo -> handmade retopo -> texpaint?
@jjjuho: dyntopo, duplicate dyntopo, decimate duplicate, remesh (constant detail dyntopo) duplicate, smart UV project, bake hi res dyntopo (normal “object”, ambient occlusion) maps to low res, plug maps to low res and texture, bake “texture” back to hi res as vertex paint.
i got a personal addon for fast retopo, but i’m trying to experiment on ways for “spitsculpting” in blender.
edit:
i decimate/remesh only for the reason that i can experiment quickly on resolution but you can skip this and either use only decimate or constant detail (remesh) to use as low poly object for texturing. that’s just how i do it now.
a quick sculpt to test the new dynatopo functions…
i sculpted this portrait with “constant detail”, and while this is great when zooming out and using the snakehook brush, it hinders me when i sculpt otherwise. to my workflow it belongs that for details i zoom closer in, and so i like to automatically get the triangles smaller, when i want create large forms i zoom out, and need large triangles. when having constant enabled, i need to change the detail size manually almost constantly. well it is named “constant”, is it not…lol…
i also tried the flood fill. the result is a mesh that is much heavier (alomost 3 times) than every portrait i did with this kind of detail. making it hard now to get areas smooth… as i smooth meshes rarely with the smoothbrush, but rather by increasing the detailsize and work over the “crumbled” area, and then lower again, i cannot see the benefit of “flood fill”
so, i would love to hear from you guys that love these two additions, why you love them. i am sure i am missing the important point or using it the wrong way… so please speak out!
Nice sculpt !!
Well, I did not use Flood Fill heavily as well, as Sanctuary pointed out it can be used for masked areas only to clean up snake hook oddities.
hmm, yes, but i never got snakehook oddities. thanks ulliroyal. ,other advantages, please let me hear!
i use flood fill for sculpting in blocking stages, (never use this for final output or to get hi res end mesh, unless you got a monster spec then go for it)
this is the zbrush workflow of Dominic Qwek
- sculpt big forms in low res dynamesh
- increase res, clean up forms, add secondary shapes
- zremesh, posable geometry
- subdivide for 3 levels, clean/refine forms on each subdivision
- add detail using layers
my dyntopo equivalent
- sculpt big forms in low res dyntopo (constant detail)
- increase res, clean up forms, add secondary shapes
- flood fill, not too high but maintain sculpted forms from 2 (gets stable mesh for masking, smoothing strokes, posing)
- enter relative detail (subdivide edges mode), clean/refine/sculpt forms on detail specific areas, alternately entering constant detail, detail sampling areas sculpted with relative detail and sculpting with values on detail specific areas
- retopo/shrinkwrap, add details in multires.
you also get a stable res for vertex paint, if you’re using it
with this workflow, or with constant detail and relative at work, the end resolution is much more efficient than the old methods. (this matters because the less res and the more detail the sculpt possess means it leaves you with more space to experiment with additional shapes either in dyntopo or out, sculpting with an even mesh)
bow.
Great tip, thanks!!
Thanks a lot for sharing your workflow, already tried it on the sculpt I posted before! Seems to be quite fast to make textures and final render that way.
Anyway I ended up once again doing most of redefining and detailing in ps as I felt it was just smoother and faster with more control over everything!
Lots of nice sculpt recently, great work, keep them coming !