Testing out new workflows

During the last couple of weeks I have been studying various video tutorials from Digital Tutors, Gnomon Workshop, Eat3D etc. to try and develop a better and more efficient workflow for my environmental work. The last couple of years saw massive improvements in the technical area of CG, programs like ZBrush for example have been significantly improved through various tools. Now, there is no "one way to do it" procedure when it comes to any CG work. I`ve found that every project requires a somewhat different approach. You need to examine exactly what you need to create and then make a workflow plan that encompasses the methods which best suit the purpose. What I am looking for usually is the fastest and most efficient way to go about a project. Being very swift, without compromising quality is what I am looking for. Here is a list and link of the tutorials I have studied:

Digital Tutors:

-  Workflows for Creating a Game Character using 3DSMax and ZBRush
-  Professional Series: Game Asset Production Pipeline
-  Architectural detailing in ZBRush

Gnomon Workshop: 

- Environment Sculpting with David Lesperance
- Environment Production Workflow : Tips, Tricks and Concepts 
- Environment Modeling for Games Scultping a Rock Face (with Alphas) in ZBRush 

3DMotive: 

- Asset Workflow Series: The Briefcase Texturing an Industrial Door with nDo2 and CryENGINE 3

- Drawing an Environment using Silhouettes 

Yes, it seems I had no life :) . But I`m enjoying all of this new knowledge, the doors it opens up for you as an artist is a feeling one can't describe.

Having gained a much better insight on how to go about different projects, I have tried to develop my own workflow, that better suits my style and capabilities.
I`ve decided to heavily implement ZBrush into my workflow, because of it's very artistic nature. I can focus more on applying theories (color, perspective, silhouette) by having learnt these new techniques.
What's wonderful about techniques is that, after you learn and experience more and more of them, you'r work will be able to focus more on obeying the traditional art rules, instead of struggling within a limited technical boundary.
For example, ZBrush's Polypaint function lets you paint directly onto the model in realtime, which is a much more interactive way of doing it. You immediately see how the colors and textures impact the look of your model, rather than painting a UV cage in Photoshop.