Sculpting Creatures and Critters : Bringing Your Ideas to Life in Clay | Neal Deschain | Skillshare

Sculpting Creatures and Critters : Bringing Your Ideas to Life in Clay

Neal Deschain, Professional Sculptor

Sculpting Creatures and Critters : Bringing Your Ideas to Life in Clay

Neal Deschain, Professional Sculptor

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28 Lessons (2h 35m)
    • 1. Trailer

    • 2. Welcome!

    • 3. Introduction to Materials

    • 4. Sources of Inspiration

    • 5. Materials and Planning

    • 6. Building Your Armature

    • 7. Advanced Armatures

    • 8. Posing the Armature

    • 9. Using Foil and Apoxie Sculpt

    • 10. Wire Mesh for Wings

    • 11. Blocking Out with Clay

    • 12. Sculpting and Smoothing

    • 13. Sculpting Anatomy - Dragon

    • 14. Sculpting Anatomy - Gryphon

    • 15. Secondary Forms

    • 16. Detailing the Face

    • 17. Sculpting Horns and Fur

    • 18. Detailing the Hands

    • 19. Detailing Dragon Wings

    • 20. Detailing Bird Wings

    • 21. Environments

    • 22. Finishing

    • 23. Primer and Repairs

    • 24. Intro to Painting

    • 25. Secondary Colors and Details

    • 26. Dry Brush and Wash Methods

    • 27. Patterns and Fine Details

    • 28. It's A Wrap!

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About This Class


Have you ever wanted to bring your ideas to life in clay but weren’t sure where to start?  This class will give you the skills needed to start creating your own original sculptures using Super Sculpey.  We will start from the ground up, beginning with concept creation moving into armatures, building up clay, creating detail and texture, and finally, painting.  At the end of the class, you will have a completed sculpture of your own.  


Students will need to purchase materials in order to complete this class.  Materials list and recommended buying locations will be provided.

Previous sculpting experience is not necessary.  However, at least some working knowledge of art basics (form, shape, color theory, etc.) as well as basic drawing skills are highly recommended.  



Meet Your Teacher

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Neal Deschain

Professional Sculptor


I have been sculpting animals and creatures since 2001.  In my decade-plus of experience, I have worked with a variety of sculpting media including polymer clays, wax, oil based clay, epoxy clays, and foam.  I am also well versed in molding and casting.

From 2006-2012, I taught fine art for the 3D animation program at Full Sail University.  I specialized in sculpting, but also taught life drawing, color theory, and concept art.  I was involved in curriculum development as well as lecturing, class critique, evaluation, and practical lab work.  

In 2013, I self published my first book, Creature Sculpt.  This is a 200 page fully illustrated book that teaches the beginning and novice sculptor how to get started with their own original clay creatio... See full profile

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2. Welcome!: - Hi. - Welcome to sculpting creatures and critters. - My name is Emily Coleman from Emily sculpts dot com. - I've been sculpting for about a decade now and teaching art for about six years. - I'm also the author of Creature Sculpt, - which this class is based around. - This class is for beginners as well as novice sculptors. - You're going to learn all parts of the sculpting process, - starting from armatures, - moving into blocking, - and then we're gonna go into texture and detail, - finishing up your sculpture as well as painting. - Feel free to move at your own pace and take in each part of the sculpting process. - Make sure to upload your work and share it with your fellow classmates. - I'll be there to oversee your progress as well. - But remember that the best way to learn is through experimentation. - Thanks so much for joining us and happy sculpting 3. Introduction to Materials: - before we get started with actual sculpting, - we need to go over all the different materials you're gonna use. - And when you start out for the first time, - it could be a little daunting. - Most of the techniques we're gonna go over in this class can be applied. - Teoh. - Just about any clay. - But for this class, - we're gonna be using polymer clay. - Polymer clay is a PVC. - Basically that reacts to heat. - You can bake it in your home oven so you're not going to need to use a kill, - which is really nice that bakes at 275 degrees Fahrenheit. - Um, - the polymer clay that I work with is called Super Skull P. - Uh, - we have the original Super Skull P, - which comes in a beige color. - And then there's Skull P firm, - which is a little bit tougher. - It's got more wax like consistency, - and it's in a great color. - And what I do for my sculptures as I mix the two together half in half, - and it makes the perfect sculpting consistency. - Uh, - it's not. - I don't have one here, - but you can use a pasta machine to roll out sheets of the clay and mix them together. - And it's just great. - We also are gonna be using epoxy sculpt, - which will we will be using in connection with the skull P. - Uh, - while I do do full sculptures in epoxy sculpt for this class, - we're going to be using it to reinforce armatures and to do just some areas that might - create more stress points. - So we're not going to see as much breakage. - This is a two part play, - So you're going to need to mix it together using these rubber gloves here and then once - it's mixed together, - you could just use it as a normal clay. - You're also going to need a variety of tools. - So I got a whole bunch of different ones here that I just kind of use on the fly. - Um, - you really have to experiment with a lot of different tools to figure out what's gonna work - best for you. - And jeez, - I have all these different tools here, - But then these were the four that I use pretty much on every sculpture. - But it is nice just to have this whole kind of slough just to figure out what's gonna work - and, - you know, - every now and then you might pick one out that you need for a specific texture or just a - specific aspect of your sculpture. - So since we're working with a clay that's fairly soft, - you are gonna need some sort of armature toe help. - Keep it up. - So it's not just gonna flop over while you're working it. - So for the armatures I use Ah, - armature wire, - that is aluminum based. - I use three different gauges. - I've got this heavy gauge here. - You also need a medium gauge wire this disease for the main structure of your sculpture on - . - Then we've got a thin gauge wire that will be used for smaller details. - Uh, - you will also need some, - uh, - aluminum foil. - We're gonna use that toe. - Help bulk out your are mature a little bit. - And if your character has wings, - we're gonna use this artist grade wire mesh. - In order to cut the wire and help bend, - you're gonna need a pair of wire cutters as well as pliers and ah, - hot glue. - Gun will help you along as well. - Help keep things in place. - Keep it from shifting around. - Just get a low temp, - a little craft hot glue gun this fine on. - Then you will need, - of course, - some scissors to cut, - as well as a Sharpie permanent marker and a couple of pencils that you're gonna need for - sketching. - At some point, - you also need a wood base of some sort. - I get these at local craft stores, - but you can also just go to a hardware store and they'll cut up some wood for you, - moving on to finishing tools. - I use this 180 grit sandpaper as well as 220 grit sanding pads. - And then we've got some steel wool as well. - To help get a nice finish on your sculpture, - you're gonna need an Exacto knife as well as some extra blades to help clean up your - sculpture. - You can also use this as a sculpting tool. - You also need some rubbing alcohol, - which I don't have at the moment. - But I will be showing that later on, - and rubbing alcohol will help break down. - The oil's in the clay, - and it's smooth everything out when you're done, - and finally we get to painting. - Your first gonna need a nice can of primer. - I use this plastic Sandoval primer creates a really nice vase and it dries fast. - And then you're gonna need some acrylic paints, - just pretty much the only pain I recommend for painting on baked polymer. - I use Delta Ceramic code. - It's a craft paint, - and it's different from the artist paints that you'll find in tubes. - It's more watered down, - and it's a lot cheaper as well, - and I do highly recommend it with artist colors. - You're gonna tow, - use a lot of water, - and they're just more expensive. - So it's just better to start off with these cheaper ones. - And then, - of course, - you're gonna need a variety of paintbrushes. - I again cheap is fine. - I just get the round tipped ones. - I usually work with Pak Lan for a similar material. - It's got really nice spring to it, - and I don't feel as bad ruining them. - And I could just keep buying new ones for the really cheap. - You're going to need a palette of some sort. - I like to get one that has a cover on it so you can kind of take some breaks, - painting and come back and your paint still a little wet, - and then you're also going to need varnish. - We've got the brush on varnish here, - and there's also a spray on to help protect the paint once you're done with it and then - also show you a couple of neat tricks with us per lex powder, - which adds a metallic sheen to your pieces, - so that's pretty fun, - too. 4. Sources of Inspiration: - Before we get started working on your project, - I'd like to touch on the idea of inspiration and how to keep creative ideas flowing. - Dealing with artists Block is one of the biggest challenges we face as artists, - so it's really important to keep yourself creative and inspired. - You can find inspiration all around you. - I draw inspiration from nature and even just going on long walks. - Try going out to museums and exposing yourself to different cultures. - Work with new ideas and methods and styles that may not normally interest. - You. - Always keep a sketchbook candy so you can sketch out some ideas that pop into your head. - You can always revisit those ideas later, - follow support and be inspired by artists you admire. - But be sure to respect boundaries and don't completely copy what they're doing. - Keep a work area filled with inspirational items as well as plenty of reference books. - Make an effort to create something every day, - even if you're only spending about an hour or so. - Skill comes through practice and repetition, - so you're going to get out of it as much as you put into it. - Also, - remember to take breaks as he work you definitely don't want to overwork and always - remember to keep moving forward. - And how fun creating before we get started with Clay, - you definitely want to get some ideas on paper beforehand. - Just start organizing ideas. - You want to start thinking about things like anatomy, - color, - scheme, - posing what? - Your base is gonna look like pretty much all your ideas out so you don't have to worry - about that later and work on the fly. - I like to splurge all of my projects with a Google search. - There's plenty of references out there. - I like to get references for anatomy looking for, - like I said for color schemes, - and you want to get a lot of like nice detail shots showing texture as well as full body - shots. - So for this project, - these two projects that I'll be doing I've got this desert dragon. - So I got plenty of reference of the environment that he will live in some different scale - patterns as well as some different, - uh, - textures and then with this guy. - This Griffin was designed by 18 appearance who won by a tumbler contest. - He is a hornbill mixed with a squirrel, - so I got some good references of both of those animals. - And then I also have all of my anatomy reference. - So these air a couple of illustrations from my favorite avian anatomy book that I always - use when I'm sculpting wings. - And then this is one of my go to books for animal anatomy. - So I'm going to be using combined anatomy of probably some deer and some big cat. - We've got some dog anatomy in there as well with fantasy creatures, - even though they don't actually exist. - You do want to use real life anatomy in order to make it believable. - So now that we've got everything together, - we can finally starts, - um, - sculpting, - uh 5. Materials and Planning: - the figure is only as strong as its underlying structure. - That's why we're going to be taking an entire section just to work on building your - armature at the end of the section, - you have an armature that is completely ready for clay. - For the section they're going to need several gauges of aluminum armature wire. - You are also going to need aluminum foil as well. - Aziz. - Wire cutters, - pliers, - a wood base and the drill. - You may need to use epoxy sculpt for reinforcement if you have a larger figure or using a - dynamic booze. - Finally, - you will need wire mesh. - If you're going to be creating any kind of wings or capes. - Now you're ready to start building your armature. - We're going to start out the armature by first creating a blueprint reference for it. - So I'm starting here with my reference drawing of this desert dragon, - and I've drawn him at the exact size that I want this sculpture to be. - I recommend around 7 to 8 inches. - Were you? - I mean, - if you want, - you can go a little bit bigger, - but I do recommend staying in the size, - at least for this class. - Also noticed with this reference. - It is an exact side view. - So it's not on any crazy angles where I can actually see all the different details of the - character. - So we're gonna start by laying a piece of tracing paper over this drawing just like that, - And we're just gonna map out where the armature needs to lay in the figure. - It could just be a simple skeleton. - I'd like to start just with head to mark that in place. - And then these lines that you're drawing are gonna mark how the wire lays inside the clay. - I'm doing this sort of in the center of the neck. - You can see like that. - And that's gonna help keep even amounts of clay on either side. - So we've got the neck and I'm stopping here at the farm. - I'm just kind of measuring out where the bones would go. - And then at the end of each foot, - you're gonna add just about for 3/4 of an inch to an inch, - and that's gonna be used later to anchor the figure to the wood base. - So just continuing along the torso, - there's leg again with the extra melt toe anchor, - and he's got this nice long tail just like that. - And in addition, - he's got a big pair of wings. - We need to get in there now. - The strong. - I do have this fingers running off the page, - but that's OK. - Can kind of eyeball that later when I come to it. - So now you can see we've got this really simple stick figure and it doesn't look like a - whole lot, - but it's gonna help you figure out your measurements when you're working with the wire. 6. Building Your Armature: - So we're going to start out with a 6 to 8 foot length of the medium gauge wire. - I estimate about one foot of wire per inch of projected height or length of your figure. - So since we're doing a around a 78 inch figure, - this should be just about enough. - You're going to start by folding the wire, - and half does have done here on this method. - We're gonna be doing today's twisting method. - So you want to hold the wire in each of your hands, - both hands at once. - You're gonna pinch the looped end here and then pinch just a little bit below and start - twisting the wire, - and you could see that kind of coils of wire together there, - and that's going to create more strength and durability of your armature. - One thing you don't want to dio is wrap the wire like this. - That's not gonna keep nice, - tight coils on it. - It's not gonna create very much strength, - so definitely make sure that you're pinching and twisting. - Okay, - so this first section here we're creating the neck of this character. - So all I need to do is lay down what I've twisted sort of bend it into place and make sure - I'm getting the measurements right. - It's okay if it goes just a little bit longer, - I might have to snip some of this down later. - But you definitely don't want to make make anything too short because it's very difficult - to add length on later. - Now that we've got the neck done, - we're gonna have to work on the arms. - So each side of this wire is gonna go off toe either side to create separate arms. - You need to make sure that you're making each arm on a separate side of wire or else you're - gonna run out of wire very quickly. - So we'll start by leaving a little bit of area for those shoulders, - so it kind of mark that in. - So if this is your front view, - you could see you don't want the arms just sprouting right out of the next. - You're gonna leave a little area for that rib cage in the middle. - So now we can start measuring out. - The length of the arm is starting at that little shoulder point there. - It's okay. - If it's bending in the wrong direction, - we're gonna fix all that later Just measure out that length of that arm. - Kind of marked with your finger where that ending point iss and then pull that piece of - wire back in on itself. - I can no gonna straighten that out a little bit and start twisting again. - Got all nice and even it's got twisted all the way up to that connection point. - I'm now gonna pull this part of the wire out of the way to make sure I don't reuse that - wire. - And I'm just gonna use that first arm is a reference for the second arm. - We have to make it just a little bit short a little bit longer on this side, - Since it will shrink up a little bit as you're twisting, - you're going to notice these little loops forming at the end of each limb, - and this is gonna be cut off later in order to insert the feet into the beast. - So don't worry about those. - Okay, - Now we've got both the arms and we need to create the torso. - We're going to figure out how long that's gonna need to be about there. - Good twist, - that that's very much perfect there. - So now we're gonna do the legs pretty much the same way as the arms where we're going to - need to compensate for the hip area a little bit, - just like we did with the shoulders. - Do that little mark. - Just add a little bit of area there. - We're gonna go ahead and measure out that leg, - starting at that little crimp there and again. - Just like the arms. - Second leg again. - Making sure you grab the other side of the wire reference. - He's got a nice long tail. - So we're gonna use this excess wire here. - Just a twist back. - Create that tail. - Your character doesn't have a tail. - You can just click this off. - Just make sure you wrap little around here, - so it's not sticking up. - Okay, - I take my wire cutters. - This clip right there and I've got the base structure of this guy. - You can go ahead and to spend them into place. - I get all the joints in. - I don't have to worry about losing him right now. - Just make sure you got all the proportions, - right? - Pretty even. - I need to go there. - Matches upper with our diagram. - So the last thing he needs this is a pair of wings. - So these are gonna be created separately for the wings. - We're gonna be using a thin gauge wire. - We're gonna be bundling these together to create the entirety of the arm. - So once they're all tied together, - it's gonna be a little bit thicker and stronger. - We've got wing arm here, - one of the fingers coming off here. - Then we're gonna double that so that we're creating both wings at the same time. - Now you're gonna have to cut either two or three more lengths of wire that are the same - length is this one? - And it all just depends on how maney wing fingers you want your creature have. - I'm gonna do for for this guy. - So we have to have four separate wires. - So now we have our wire ready to build our wings. - Just gonna go ahead and fold this in half. - That is gonna be both wings just to mark that midpoint from there. - It's where we're going to start bundling the wires by twisting them together, - just like you did the main structure. - We're gonna be twisting this till we get to the hand area. - The wing where the fingers split off. - Okay, - Now you got to get these on to the rest of the body. - I like to just start. - Just like to hook this underneath the body there. - Just give it a wrap. - Just hold it in place for a minute, - man. - Take a little bit of more the thin wire and wrap it into place. - Do you really focus on that collection point there? - You can see now that it's just kind of staying place on it, - not have to hold it there. - Now, - once you have this tight in the place, - if it's still shifting around a lot, - you can use a little bit off hot glue toe. - Hold it in place. - These proportions are looking pretty good. - Now, - that is what your basic complete armature should look like. 7. Advanced Armatures: - if you're going to have a larger character or character that supposed dynamically maybe - balancing on an arm, - you're going to need a stronger armature. - For that, - we're gonna use our heavy gauge armature wire. - So we're starting for this Griffin character. - I've already got his armature layout ready to go. - We're gonna start with the heavy armature wire. - This is gonna be a little bit different from the simple armature that we just went over. - We're not gonna be doing any twisting this time. - Instead, - we're just going to start his body off with a single length of this thick armature wire. - I'm going to be using one length of wire for the head neck torso entail. - Since this character is gonna be balancing on his tail, - I want to create just a little bit of extra length there to insert into the base. - You want to make sure to use this thick wire wherever the pressure points are going to be. - So if he was balancing on one arm, - I would also want to create the front arms with thick wire. - But since he's gonna be balancing up on his tail like this, - I don't really need to worry about the arms and legs being made of the thick wire. - So we're just gonna use the regular armature wire for this. - It could be helpful to take your Sharpie pen and mark where those limbs meet the body Just - give you a reference point. - So I like to start respect clipping off a long piece of wire that I know this longer than - what I need, - sort of folding it in half. - And then it's really good to twist this thinner wire around the thick wire like this - because later that's going to give the clay a little something to hold onto. - So it's not slipping around on this nice, - smooth wire. - Not like it. - Sort of just bend and twist as we did with the last armature measure out the length of the - arm and then pulled it back on itself. - In this excess wire, - you could just twist along the back. - You may have noticed I made this other arms a little bit too short. - I can't pull that back in on itself. - This is a good opportunity to show you how to fix something like that. - Well, - I need to dio, - Let's take another length of wire. - They just cut off separate. - I'm just sort of twist that in a place. - Mm. - I could just go in, - cut that down to, - like, - I needed thank and just wrapping that excess along the back. - We're going to the exact same thing for the legs. - I'm sure I line up with that little attachment point mark that I marked early with my - marker again. - We'll be measuring up that link with leg, - folding it back in on itself. - He's about ready to go. - No one other thing we have to do with him. - It's to get those big wings on there. - So the bird wings air a little bit different from the Dragon Wings. - We're not gonna have to worry about wing fingers or anything like that. - And all those feathers are gonna be sculpted later on. - So right now, - we're just gonna create the main structure for the wing, - and we're gonna be using our heavy wire again for that. - So here we're just gonna measure out the link of one wing again. - This isn't taking into account any feathers, - Just kind of the skeleton of the wing. - We're gonna fold it in half. - Cut that down. - So just like with the dragon, - we're gonna hook that right underneath and tie it into place with the thinner wire. - Now, - if he needed to create the arms and legs out of the thick wire as well, - this would be also how you attach those limbs. - Now, - I'm less likely this is gonna be shifting around. - You can see that there. - So we're just gonna use our hot glue. - Help Keep that in place. - Make sure that hot glue gets into all the gaps that all that hot glue is done. - I don't have to worry about those wings shifting around its OK, - if they're still movable, - you just don't want them to be moving with you. - Shake the armature. - Move that around. - All right, - Now we're ready to move on to posing. 8. Posing the Armature: - So now we have a finished armature, - all proportional and ready to go. - So now we need to get him into an interesting pose. - You want to stay away from static poses like the one you've probably ended up with after - creating your armature. - Pretty boring to look at and very linear. - If you look at it from different directions, - there's not a whole lot going on there. - So we're gonna start adding a little movement into him. - I'd like him to be in applying twisty sort of pose and like him to be balancing on his tail - . - We're gonna go ahead and get its tail bent into shape. - No, - I want him just a bit balancing like that. - Maybe a mid flight kind of start spending the spine a little bit. - It's really nice to get those good kind of s curves in there to get a nice line of action. - All the times I like to have them. - The character looking back cannot allice extra motion. - So right now I'm mostly looking at him on the side while imposing him. - But you also want to make sure that you're looking from the front and back. - See, - right now, - He's looking pretty, - pretty linear still on the front and back. - So we start pushing the shoulders to one side and the hips to another side of can add a - nice s curve from the front and back as well. - Now he's starting to get a little more emotion. - Now, - we need to get your armature attached to a base of some sort, - especially with a pose like this one where he's balanced on his tail, - You're going to need some sort of support to keep him standing upright. - Um, - in this case, - this is a very simple attachment. - He only has one attachment point on the base. - I have my pre drill pre drilled would base here, - and his tail just goes right on in. - If you have a character that has all four feet on the ground or two or three, - any number you're going to need to drill a separate hole for each foot. - That way you can keep the figure removable from the base just like this and work on it as - you're going to put it back in when you're done. - All right, - I'm pretty happy with how this is looking now, - so we just have a few more steps to finish off our armature 9. Using Foil and Apoxie Sculpt: - I had a little bulk to the sculpture. - We're gonna start out with some aluminum foil. - I will help keep your sculpture lightweight, - and it will help conserve clay later on. - It's already have here a few small pieces of foil torn off the big role you can use. - Any brand of aluminum foil doesn't really matter, - so you want to start by just sort of crumpling the oil onto thicker areas of your sculpture - . - I generally just stick to the torso for most characters, - but if you have a larger sculpture, - you might need to put for oil in some other areas, - like maybe the fire, - even the neck. - You don't want to go too thick with this because you are gonna be putting play over top of - it. - So I like to leave enough room for about 1/4 inch to 1/2 inch of clay around the foil. - When you're putting the soil in place, - it doesn't need to be a rock solid wad, - but make sure it's not shifting around on the armature. - Make sure again, - you're turning your sculpture as you're applying with oil, - so it's not too thin on any angle. - Okay, - and that's about as much foil is I'm going to do with this particular character. - He has pretty small limbs, - and I'm not gonna worry about the wings at this point. - We're gonna be working with this weight around now. - This character does have a few balancing issues right now. - He's got a lot of weight going right on his tail here. - So there's gonna be a big pressure point right here. - Whenever you have a pose like this, - where all the sculptures weight is based on one or even two points, - you really want to reinforce this area here. - So to do that, - we're gonna use a clay called epoxy sculpt. - So poxy sculpt is a two part play, - and you just mix 50 50 of each part and order to get the consistency that you need. - So when you're mixing together, - epoxy sculpt, - you always want to wear gloves. - You don't need to continue using them once it's mixed together. - But there are some harmful chemicals in the parts separately. - So just a cheap pair of latex gloves. - It's fine. - I like to start by dipping my hand in a little bit of water first, - cause this stuff is really sticky. - And it doesn't matter what part you start out with. - They're just gonna get mixed together. - And you can just eyeball the 50 50 mix. - He is. - You like to roll little balls here. - Okay, - that looks pretty good. - Pretty even. - It's not like to take this and just dip it a little bit more water. - So it's not too sticky on, - then. - Just need them together. - You just want to keep mixing until there's no more streaks left. - Make sure you mix it all the way. - It won't cure properly. - Okay, - this is looking pretty well mixed. - Go ahead and get these gloves loss. - I can sculpt again. - You want to keep your water handy when you're using a poxy sculpt, - It just keeps the sticking us down. - You could smooth everything out a lot nicer. - So this is kind of like when with the foil, - you wanna leave enough room around the outside toe, - build your clay up later. - You don't want to go crazy with this. - It's gonna reinforce this whole tale that's important when you're reinforcing an area like - this that you get both the attachment point to the base here and run all the way up to - where the main armature is. - Otherwise you're just going risk breaking up around the hip area. - In this case, - I could see you can use water on my hands here. - Just just move this out a little bit just to get out some big lumps. - You do want to have a little bit of texture on there, - so the clay can stick to it later. - Once this is secured Little curing about 24 hours. - You have about a Knauer t working time. - So now I finished bulking out this armature. - I decided to take the epoxy sculpt all the way up to the shoulders here just for a little - extra reinforcement. - And I have treats the pose a little bit as I went along. - Just take caution when you are reinforcing this much of the armature to make sure you - really got the right post. - So you're looking at it on all the angles to make sure it's looking how you want it to. - Sometimes you may want to do a more complex base as in with this dragon character here. - I have him up on a sort of a rocky cliff. - So what? - I have done is glued some oil to the base using hot glue. - And then I'm able to set the dragon on top of it. - I could just kind of punch little holes into the base. - Now I can sculpt up this rocked separately and then remove him. - And I can even bake this separate and then put him back in. - And I could just work with each part separately, - which is makes it a lot easier to work with. - Yeah. 10. Wire Mesh for Wings: - So now we need to work a little bit more on these Dragons wings. - He's got the bone structure in place, - but he really needs to have a little bit more structure for the membranes. - And in order to do that, - we're going to use some wire mesh. - This wire mesh amusing here is an artist grade wire mesh. - You can only get it at art or craft stores, - so you don't want to go to a hardware store to get wire mesh. - This particular brand is called wire form and this is the sparkle mesh. - They make several different densities. - And I think this is the most flexible and easiest to use, - but it still has really nice structure to it. - So what we're going to start off doing is already have his wing here posed how I want it to - be. - So I'm just gonna stretch it out just a little bit where there's a little bit more space - between each of the fingers and then also stretched the wing arm out a little bit too. - What this is gonna dio is once I put the wire mesh in place, - I can then compress it just a little bit and get some nice folds in the membranes. - So how we're going to start this off is just by laying the mesh in place over top of the - first segment. - Okay, - you can use this sharpie pen to draw just the rough shape of the one segment there. - Just follow along the wing fingers, - and you wanna we've We've just a little extra space around each edge. - See that you have a little bit of overlap so that you can wrap the mesh around the finger. - The wire finger. - Okay, - so we know the first segment traced out. - We're just gonna use scissors. - Cut along those lines. - Get that piece cut out. - Make sure you're really careful with these edges of the wire mashes It is pretty sharp. - Now that we have this little segment can align it back up again. - Okay, - It's just a little bit off. - I just need to put a crimp that edge around the wire. - So for the remaining segments were going to do something just a little bit different. - Since we can't wrap both sides of the mesh for the next, - we're still going to start by tracing segment again, - leaving just a little bit of room on each side for attachment. - With this top edge, - we're gonna crimp it into place, - just like with the last segment. - Now, - with this bottom part where it's touching the segment we just made, - we're going to run a little bit of hot glue along the scene. - We're just gonna continue toe move up the wing, - creating each segment in the same way for the last segment of wing. - Make sure you have a little bit of overlap on the body, - so it attach is there and this is just hanging free. - - Okay - , - Now we have all the wire mesh in the place, - and the last thing we need to do is just Who's the wing back in place? - Make sure you do everything gently notices I for the wing fingers, - get these nice, - natural folds. - So now we've got the wing all posed in position, - and it looks a lot more natural now with all these nice folds. - So I have to do is repeat it on the other wing and then he'll be ready for clay 11. Blocking Out with Clay: - we're finally ready to start putting some clay on your sculpture This initial sculpting - phases known as blocking. - Right now we're gonna be working with proportions and not worrying too much about details - just yet. - You're going to need to pay attention to anatomy at first, - but not really worrying about all the tiny underlying structures. - The clay we're gonna be using in this section is going to be a 50 50 mix of Super Skull P - and Skull P Firm. - Remember, - many of these techniques can be applied to just about any clay. - And as with every section, - we will have our reference out. - We're gonna go ahead and start getting some clay on this armature. - As I mentioned in the introduction, - we just need to worry about getting the initial form and structure, - right. - We're not gonna be worrying about any sort of details or even anatomy right on this first - pass. - So he's going to start with the torso, - like to start with a torso because everything else grows out of the torso. - So just start with ease, - flat pieces of clay and just start pressing them in shape on the armature. - You don't have to worry about getting everything to smooth. - But do you try to blend the pieces together at least a little bit? - So there's not so too many big cracks. - The arms pretty much blocked in all the way, - and she could see they're still pretty rough shapes on the hands. - You don't see any individual fingers and not even a separation. - It's almost like a little glove, - a little mitten. - They just want to keep that basic shape idea. - As you're working with this, - we're always You always can go back and add detail. - Been getting a little bit of work done on the legs here. - Important thing to remember when you're sculpting a muscle and you could see here. - I just place this piece of clay on here in the shape of the fly. - But there's also the inner part here. - What's left bears, - so make sure you keep sculpting on both sides of the wire. - Another important aspect to remember is that the tail is an extension of the spine you - could see here got a dip going on right now, - and it almost looks like it's his tail is stuck on, - so just adding a little bit of clay on the top here will make it look a little more like - it's flowing better. - We're starting to move away from the body up towards ahead. - Now. - You just wanna reinforce that You really want to get in the habit of moving quickly in this - process and just building up forms. - I always like to do the head last to make sure you get the scale on that right. - Otherwise, - I end up making it either super tiny or super oversized. - Okay, - So pretty happy with this block out now. - Gonna be leaving the wings off for now. - That's gonna be there. - Were gonna be created separately later on. - You could see this is taking me in just under an hour just to get that foreman and you can - already get the impression of anatomy. - You can clearly see what pose the characters in. - You could even tell that he is a bird like character just from the beak shape. - So now you've got a great form ready to start refining. - Just one thing I'd like to point out about this poses just kind of a neat little trick that - I like to use as you can see, - The wire is coming out at the center point of this tale so I can just pull away the clay - here and you can even see as when I did the epoxy. - The wire didn't go all the way over here. - Instead, - it took a 90 degree turn. - It is now going into the base just like that. - So you don't necessarily have to have the armature following the whole flow of the - sculpture. - You can also use that with the clay too. 12. Sculpting and Smoothing: - So here we have a the blocked out form of this dragon, - and we're getting ready to refine him, - though. - Got a lot of cracks and seams that we need to smooth together and maybe start finding a - little bit of anatomy. - So when you're refining, - you can use your hands and tools both to smooth out the surface. - We could start here by seeing all these pieces of clay, - and it kind of got a little cracks going on there. - You can just pull the clay with your fingers until they start to blend away. - You don't need to worry about getting every little bump smoothed out, - but you do want to get all the major cracks and dense. - Another great thing you can dio like to use thes needle tools, - just smooth scenes together like you can see between where the neck and the jawline meat. - Here, - you could just use that to pull some of the clay together. - Get that smooth, - then it's really best if you just go back and forth between using your tools and using your - hands to get everything smoothed out. - May run into spots that need a little more bulk. - He knows maybe this area of the neck Here's maybe a little too thin, - so I can just take a piece of clay, - push that into place and then smooth it. - He still have some scales on the front of his next. - I'm not gonna make this teething, - but that has a much nicer flow to it now. - So in addition to adding clay into a sculpture which is called additive sculpting, - you can also scraped Play away, - which is called subtract, - subtracted sculpting. - So this shoulder muscle here looks a little bit a little bit too bulky for me right now, - especially since I want to go in and add some muscle detail later. - So I'm just gonna scrape some of that away. - Still wanna scrape with the contour of the muscle. - So when he smooth it out, - it still looks to be the proper shape. - You can also use tools to define seems between different parts of the body. - So right now, - the arm is kind of just blending in to the rib cage here, - So just like pressing the barrel of your tool and there to help define that separation a - little bit more, - they can't even go back in with one of these rubber tipped tools to help smooth that out. - A lot of refining is going to be defining lines where they look very card and prominent, - but then going back and smoothing them back in a little bit, - so they look natural. - So in addition to getting everything smoothed out, - another aspect you want to focus on this portion is to keep everything symmetrical. - So once you smooth out, - defined one area. - So we just worked with the left shoulder. - We want to make sure the other one kind of matches that one. 13. Sculpting Anatomy - Dragon: - We're starting here with our smooth dragon, - so he's nice. - Symmetrical on now, - Start needs to start getting some anatomy. - Details in there seeking already get a good impression of the different forms in the legs - and the arms neck, - but there's not a whole lot of muscle definition. - We're going to go over a few techniques on how we can tool that in there. - Just a reminder that you definitely want to have anatomy reference out at this point. - Say you could be referencing different muscles of the body for the first ways you could do - . - Muscle definition is just by laying down strips of clay in the shape of the muscle, - the starting on the arm here, - just laters in notice. - How the muscles taper off towards ends get a little thicker towards the middle. - Notice also that the muscle is interest laying flat on the piece. - It actually wraps around arm, - so you want to make sure those connection points earn the right spots. - Once you have this shapes in place, - you can use your tools to start smoothing them in. - You still want to leave definition in especially, - and seems like this where the arm is meeting the torso. - I have to take a lot of care to not blend away. - Seems completely, - but you just don't want them so prominent either. - You also want to keep in mind skeletal structure. - So areas like the elbows and the shoulders and the wrists. - You're really going to need to define that joint. - I like to use little flattened balls of clay. - Just help this stand out a little bit further. - Another way to add muscle definition is by doing in a line first with your rubber tool. - So for the muscle on the neck, - I can draw this line following the contour and then going back in and sort of blending that - line on either side. - So I go from the center and then blend outwards. - Otherwise, - you're just gonna blend the line away completely. - Do the same with the opposite side. - A similar technique can be used or for creating ribs. - We control in the separations between the ribs, - maybe upon them in. - But But you can also go back at a little bulk to them matter as well. - You have to be careful not to leave these two to find where your character is gonna look in - , - be seated, - but maybe one, - but I the hind leg we're gonna be using kind of a combination of everything we talked about - . - Start by finding this muscle with the same and one that seems into the rest of sculpture - move on to the knee and ankle joints, - pressing on the small bits of clay. - I'm blending them in, - making sure to leave a little bit of definition on the ankle. - Maybe a little bit more. - So can this dragon have already gotten gone ahead and roughed. - And the rock that he's standing on just so I could get started on his hands, - start getting the fingers in there. - Let's start with this front hand here by laying in the A triangular shape for the palm. - Now that I have that shape in there, - I'm gonna use my Exacto knife to refine the edge a little bit to get more of an arc going - on. - If you look at your own hand to say that your knuckles follow that kind of park there - fingers and make individually just by rolling out rule tubes of clay, - you kind of pinch a little bit to get basic shape going up knuckles like to form a little - rough. - ClA just toe uses a reference point later on. - When we get more detail, - you could just lay the finger and a place and smooth it into that. - I got toes on all four of the feet. - Now they're still pretty rough, - but at least have a good idea of the positioning in the proportion, - though we can go back in detail later. 14. Sculpting Anatomy - Gryphon: - this'll Griffin character is going to be pretty fluffy, - so we're not going to see a lot of anatomy details with him. - However, - I do want to start working with the feet a little bit, - getting some more detail in there as well as the face. - So we're gonna start on his little feet, - which are pretty Paul like so the first thing I like to dio sort of mark in where the - separations between the twos are just using this small metal loop tool. - But I have this little reference points. - I cannot take little pieces of clay and bulk up the twos just a little bit. - So now that I have the twos booked up a little bit more can then going to refine the - separations between them just maybe the making the line a little less harsh in some areas - and that is the T two is on the side or a little bit smaller and further back than this - front, - too. - One little technique I like to use help with symmetry is just drawing simple center lines - on certain parts of the body to help we keep each side. - Even You could see here that I've already got a center line going on around the neck, - since he's got his neck twisting that could be very helpful. - To help keep symmetry even easier. - I just like toe lightly. - Marken. - That center line was a tool, - and then you can really get a nice look to see if you've got enough clay on each side. - This is also a great way to do facial features. - Keeping lose even. - I like to start with center line just like this. - Splitting the head down the center and then going the opposite direction as well can also - create an eye line. - Help you later. - When you're putting on the eyeballs, - he's got that big beak. - It's a little trickier to draw those lines on here. - We're gonna get to detail in the head in the next section, - but we're going to block out some of the larger forms on this head first. - So this character has a big crest on his nose. - Since he is based off a hornbill, - we're just gonna get that shape in there again. - I can use this little guy Bynes toe figure out the ends where that crest is gonna go. - I also want to get some ear shapes rough done on this guy. - Just real quick, - just like how I did with the crest. 15. Secondary Forms: - e have most of the form roughed in on this dragon now, - but I want to go in and get some more details done. - I need to look at getting some of the belly scales in in the chest skills. - We're gonna work with the wings a little bit as well, - too. - So with larger scales like chest scales on this dragon, - you like to start start at the bottom of the stacking order. - So in this case, - I'm going to start right at the base of the neck here and then work up towards the jaw. - I like to form flat shapes, - usually a big heart shape where? - Or a triangle, - even where there's the tip and then the broad base that I can smooth into the rest of the - body. - Once you have the first scale, - it's moved into place. - Start another scale that over. - Make sure that the seam lining up properly make sure they beat up there. - Make sure the tips line up a swell. - Might have to stretch it a little bit to get it to line up properly. - Okay, - you can just move that into the body. - Sometimes it could be need, - especially the height of a curve. - Have a scale almost sticking up a little bit. - We really give the impression of solution. - Okay, - We got all the scales lead in notice, - how they started a little bit smaller near the base of the head. - Get a little bit larger and then start to taper off again. - So you really have to think about the part of the body that you're putting the scale on - that smaller. - The scale should be smaller than its larger. - Obviously, - the scale needs to be larger. - Two next up. - We're going to start getting some wing membranes on our wings here. - We haven't done a whole lot with them yet, - so we're going to start by keeping this stretched out just a little bit so we can get some - clay onto there in order to keep the wings relatively thin. - You can see on this swing over here already have it done in advance, - not too bulky. - And I, - in order to do that, - I use a pasta machine to get the clay nice anthem, - and it keeps it even a swell. - So there's no big lumps on the wing. - So this here is a rolled out sheet of skull P from the pasta machine Here. - As you can see, - it's nice and thin and even got some flex to it. - There's a couple imperfections, - but all I need to do is work around those. - And now I could just cut out little shapes to press on to the wings. - So I just use a metal tool to cut out some triangular shapes to use on top of the wing - membranes. - They don't need to be exact. - Usually just make him pretty big, - and I can cut him down. - Once I will lay them into place kind of just press it into shape on the mesh there. - I'm just tear it off where you need Teoh. - Make sure you wrap it around the edges. - I like to do each section at a time. - I think it makes a little more natural. - Sometimes you may need to patch small areas like this just tiny little holes that you may - have not covered all the way just to use a little little bits of clay to fill this in. - You know, - we've got the top part of the wing pretty much covered with clay, - and I could just apply the same technique to the underside of the wing. - Okay, - so we finally have both of the reforms done for our sculptures. - They've been refined. - All the major details are put in. - So now it's time to move on to text oring and fine details. 16. Detailing the Face: - adding texture and detail to your sculptures is really going to breathe a lot of life into - them. - We've got great smooth forms, - toe starter textures here spent a lot of time on anatomy and getting the proportions right - . - So this is gonna be a lot of fun for this section of choosen several techniques that I - think you will find most useful. - But keep experimenting to figure out your own ways of texture and detail ing for this - section, - you're going to need your entire arsenal of sculpting tools as well as your reference - images. - Once again, - make sure you're experimenting with all kinds of different tools so you can figure out - which ones they're going toe work best for you going to work on sculpting the face of your - character on this part. - I'm going to work on Booth the Dragon and Griffin characters is they have different, - distinct features that I want to show. - So we're going to start with the beak on this griffin and start defining the top from the - bottom part first gonna use the trusty metal weep tool here to mark in that separation on - the beak. - The mouth line sure looks good from the front repeated on the other side. - I also like to add a little bit of clay to the top part of the beak to help it make it look - like it's overlapping the bottom part and also to give it a little bit of separation from - the cheek here, - which is going be feathered said as a little bit of textural difference. - Right now, - we're going to get the ice in the place and eyes are set into the head. - So we need to get some eye sockets and their first like to use the end of my rubber tool. - To do that, - it's gonna press nice big socket in there. - I like to repeat on the other side, - make sure it's on the same level. - Okay, - now that we have the sockets in place, - we can go ahead and insert our table's Already have these little balls of Skull P rolled - out and ready to go in. - Now we're going to get the kind of fleshy ridge around the eyeball, - just a small pieces of clay. - When you're working, - make sure to preserve this inner edge along the I hear you want to keep that nice, - crisp line so that the I stands out properly. - Okay, - We're gonna go ahead and start getting some detail in this dragon's face. - He's gonna have some similar features to the Griffin, - but he's also gonna have some unique stuff, - like horns as well as kind of a different mouth structure and wells the cheekbones. - I've already got the eye sockets started on here. - We're gonna hood, - go ahead and get started with eyes first, - since everything's gonna built around the eyes once again, - I've got my little balls of clay for the eyes and get those into the sockets. - No restaurant building up around. - I starting with the cheek bone here. - Just a little strip. - Likely for that again preserving that nice edge along the I do the brow the same way it's a - cheekbone. - - Get - some nostrils in there. - Next. - Just press my tool into their nostrils. - Usually flared out a little bit tapers off. - I was like to sculpt the 2nd 1 from the front, - so make sure there booth fairly, - even I can get his mouth. - I want him to have sort of a tip mouth, - but not not too overly prominent there. - It's a little better 17. Sculpting Horns and Fur: - Okay, - now we've got facial features late in, - and now we need to get his horns going. - He's got a couple sets of horns we're going to be putting into place on its head. - You start with this large horn here, - it's gonna be the main set of horns. - Just gonna press it into the skull. - Make sure it's got a nice anchor there. - I'll get it from the side as well as the front to make sure it's in the right position. - I mean, - it's in there pretty good. - Now I can use a little strip of clay, - create that little fleshy Ridge said. - It doesn't look like it's just stuck onto his head. - That's gonna really help the illusion that the horn is growing out of the head. - So now the dragon has all his horns in place, - even got some with a ridge along the head there, - and I also went back and added a little more detail in the face and used this needle tool - to really go in and define things like the mouth line in the areas around the eyes. - That will help add a little more contrast to your faces, - like to start out with areas of the body that are gonna have some longer for a lot of times - . - That happens along the back of the leg. - So I just used these little tapered shapes to form the larger clumps of fur in. - This character also has a nice separation around the twos, - some thicker for I definitely don't want to overdo it with this. - Just be very selective about where you put these pieces of for you can go in with your - detail tool. - Start refining the edges a little bit, - smoothing the pieces together, - so don't look. - They're standing out too much. - I also like to you add some pieces of for like this to break up the contour the body. - So it's not just this straight line coming down. - You've got a little bit safer coming up, - adding a little more motion to it. - You can also add more texture to certain areas. - A lot of areas you will want to leave smooth, - kind of leave the impression of hair. - But there might be areas that have longer hair that you want a little more texture detail, - which can be told in It's like the fist with line work you just want to keep in mind to - change the length of the for depending on the part of the body you're on. - This character's tale has pretty long bushy for so I could get away with longer strokes. - Got a lot of work done on the for. - Now it's getting close to being done. - There's just a few more other tips that I'd like to point out, - especially with Thea shorter for I like to go in and pretty much cover the body part with - these little strokes. - But then, - as I mentioned before, - you don't want to see every hair detail are just gonna become too much. - So what I like to do is in this great boy, - this little boogers, - and then smooth away certain areas selectively so some of the hairs blend together and - maybe even get smoothed away altogether. - There also may be areas you want them to. - You want the hairs to be maybe a little pouf here, - so they're not all just flat against the body. - You can do that by just adding a little extra clay. - They still want to follow the flow of the other hairs as well, - sort of get this blended in there like their flowing in with the rest of the for might take - a little bit of work they could see, - adding that bulk in there just broke up the monotony of that texture a little bit can also - see in areas like this, - like here, - where I already smooth the way some of the for texture. - And that also breaks things up pretty nice. - You can also use that same method on the longer for, - like this tale and add a little bit more bulk in there like that. - I was like to pick a few spots to do this in. - As you're working, - you do want to remove some of the larger kind of clay burgers that come off like this. - But there may be some really tiny ones in there that are hard to get. - So don't worry about this right now. - We're gonna be cleaning this up in a later step. - But do you try to keep some of the larger imperfections out? - Okay, - so the griffin is now finished being furred, - and hopefully you can see how selective texture and really helps bring life to your piece - by choosing areas to do longer for with more detail and then also shorter for with some of - the detail removed 18. Detailing the Hands: - we already have the main form in on this dragon's hands. - He already has his toes and fingers. - But we do want to add a little more detail, - gonna add some actual clause in there to get rid of these placeholders and also add in some - tendon detail. - So I already have a little set of pre baked clause here. - We're gonna be inserting them into the clay. - Avery's in a very similar fashion as we did the horns. - We're just gonna start by cutting off the placeholder claws on each finger. - Okay, - now that we have this place, - holders out of the way could take these pre baked clause, - Just push him into place on the finger. - Sometimes when you push the clawing to shape, - the finger will thicken up a little bit. - You could just take an Exacto blade can run it along the edge to get rid of some of that - excess clay. - Okay. - And I've got his claws in place and the fingers or shaped I want them to. - I just want to get a little cuticle going around each nail. - So going to take these little strips of clay, - I'm just gonna wrap him around the nail and then smooth them into the finger. - So we already got the hand pretty detailed. - But I just want to do a little last tendon detailed and some more life to this. - So I just take my tool and kind of run it between the fingers up the hand. - A little bit - kind - of defines this separation between the fingers just a little bit more. - If you want to add a little bit more, - you can even Houston tubes of clay just blend them in. - Okay, - so we have this hand all finished up. - Now it's all detailed with the clause in place. - Just want to do one last thing that's adding a few accent skills along the top of the hand - . - So do that. - We're Tuscany's really tiny, - flattened pieces of clay. - You can just see him taking off tiny bits of clay, - flattening them, - just carefully, - laying them in place on the finger, - kind of pressing them so they flatten out along the contour. - - All - right, - the scales pretty much finished off the foot, - and you can also feel free to use that scale technique on other parts of the body as well. - You could see on the average here, - I added a few more scales just for a little bit of accent. - So experiment with that and just to add a little more detail in texture to your sculpture. 19. Detailing Dragon Wings: - we're gonna start adding a little detail to the wings on this dragon. - It's already got the main form set in, - but we wanted to find the wing fingers a little bit more as well as getting a few wrinkles - into the membranes. - So I'm going to start by defining the fingers first. - And for that we'll just need to roll out some thin strips of clay and lay him into place - onto the fingers. - I have that claim place I could just start. - No, - Once you have the finger flushed out a bit more, - you can go on with their tool and define the edge of that a little bit more. - - You - can see here that the wire already created a nice ridge there, - so I don't like, - really got lost up in this part. - - All - right, - we've got the fingers late in on the wing. - You may have noticed, - as I was sculpting that I added little claw tips to the end of each finger. - And I can help add a bit of realism to the fingers, - maybe just extending them beyond the membrane a little bit. - And I'm going to go back in and add a few wrinkles to the membranes Is waas a little bit of - tattooing along the edges. - So I'm just going to start by marking and where I want a few wrinkles to go, - seizing my tool here. - Now, - just gonna book these wrinkles up just a little bit with some strips of clay. - I really got some folds worked into the wing, - and now we're just going to do a little little bit tattooing along the edge so doesn't look - quite so clean. - Okay, - just adding a couple little lines just like that. - Cannot break it up a little bit. - All right, - doing that just broke up that that edge a little bit. - So it's not just a straight line. - Okay? - The last thing I want to do is add a little thumb to the wing hand right up here. - Just got a little piece of clay to work on their smooth it into the hand can just like we - did on the toes. - Add a little strip of clay wrong around the Neil there. - All right. - The wing is all complete now. - We've got some texture going on. - We added the wing fingers and I just need to repeat this on the other wing and he'll be - good to go 20. Detailing Bird Wings: - we're ready to start working on the wings for our griffin. - Now, - you could see here. - I've already got a little bit of the wire mesh in place, - and that's going to keep all the feathers upright and straight. - So you'll also notice I have my references laid out here. - You're going to need a lot of references for wings. - Right here. - I have the diagrams for the front and back of the wing. - I also have my character reference out as well as photo reference of the birds wings. - All right, - so I'm going to start by getting some play onto this wire mesh so we can put the feathers - down on top and I've got a gut. - I've got a good base going to my wing here where I can start laying in some feathers. - You could start with a secondary feathers. - That is the large feather flight feathers down here. - And we're gonna be starting with the feather closest to the bodies. - You notice the feathers stack on top of each other going in this direction, - so we want to start at the bottom of the stacking order. - So we're gonna started the feather closest to the body, - get that into position and then smooth the base into the rest of the wing. - If you noticed that, - it's overlapping. - That main shape I did started with, - and that means you're gonna be able to see it from the other side. - Okay, - now we have all of the secondary feathers late in there on you could see I've got some - wires up at the top of the wing here that's gonna be for the longer primary feathers. - So I'm gonna get clay onto these wires and then place them back onto the wing. - - Okay - ? - Now we have all the main feathers, - the primaries and secondaries all Aidan. - We're going to start doing the covert feathers, - which are the smaller feathers that cover the primary and secondary. - Now, - we're gonna be doing those as one big shape first, - and then we're gonna go and carve in the individual feathers. - So once again, - we're gonna start at the bottom of that stacking order. - Start toy in the lines for the feathers. - All right, - so now that we have the guidelines tooled in there, - we can go back and start scraping away some of that clay to make it look like those - feathers or overlapping. - As you can see, - just using this rubber tool to pull some of that clay away makes it look like these - feathers are overlapping each other without having to create each one individually and - physically overlap them. - Okay, - we're almost done feathering the wing. - So we just finished up with E covert feathers. - And there's just one Siris of smaller co vertes that's going to go on top of that. - And I'm gonna create this in the same way that I just created this first set. - Okay, - so where once again laying in that made shape for our feathers and we will go go back in - and tool on the individual detail when you're Julian, - a layer of feathers over top of another layer. - It's a very important that you don't line up the edges, - so I see an edge here on this under layer. - I wouldn't want to do the edge of the next weather up here. - You're gonna get that kind of weird pattern like that. - Instead, - you want to make sure that the tip of the feather lines up with the edge of the feather - underneath it, - so it's a little confusing. - You can see that. - I just sculpted that tip tow line up with that line there, - right in the middle. - I'm just going in and kind of rounding out the tips of these feathers a little bit. - So not quite a square looking. - Okay, - now we have the wing. - All feathered and complete may seem to take a lot of time, - but as you can see, - the results are well worth it. - Just one thing to point out when you're doing the other side of the wing, - make sure that you use proper reference for that side as well as the feather layout is a - bit different. 21. Environments: - really great weight at a little more story to your sculpture is to put your character in an - environment. - So with this dragon here, - I'm thinking of him is a little desert dragon. - Maybe that he crawls up on rocks and bill some hunting. - So I have him up on a rock right now, - and I already have it blocked out with Super Skull P. - I often like to do the base just impure, - super sculpted, - just cause it's a different color, - and it's easier for me to separate between the two, - but you're welcome to use the grey mix as well. - So I'm just going to start working with my medal ribbon tool, - and I just work with the shapes that have already created just by blocking it in. - So you see, - as I was blocking in the rock here just formed some natural creases. - So just go ahead and work with US planes that are already there and just define them. - With this not over been tool. - You can just use your hands to smooth out some of those some of that texture that it - creates. - You really want to focus on creating pretty hard edges between the rocks so that they don't - look overly lumpy. - Also, - when you see cracks, - you can dig into this a little bit more, - make him a little bit longer. - They will sometimes take the clay that I scraped off from the rock and going to make some - smaller like pebbles to set on top of that larger stone. - Once you've got the main shapes of the rocks, - walked in there, - start going into early in some some cracks and some divots into the rocks. - I t. - Is my rubber tools for that, - maybe doing some scratches to alleges we can also, - deep in the crevices between the rocks as well, - creating some little pits. - - Okay - , - as you can see, - I went back in and added, - Some smaller students out around this main structure just toe. - Give it a little more believability that he's actually in the environment and not just a - rock, - said on top of a wood base there, - and I will probably go back in later and paint some extra details. - But for now, - the bases all finished 22. Finishing : - so we now have our completed sculpture. - It's fully detailed and seemingly ready to go. - It may be very tempting to jump into baking and painting, - but there are a few more steps we need to take to ensure that the surface quality is the - best it can be. - We're first going to work with rubbing alcohol to work out any imperfections left in the - clay. - Then I will move on to some tips about baking, - and then finally, - we're going to work with sanding and prime in the sculpture. - Before we bake our sculpture, - we're going to use some rubbing alcohol toe work with the surface a little bit. - I like to use a bottle that's dedicated only to sculpt just cause you're going to be - dipping your brush in the bottle, - and it might have some residue on the brush. - So let's start here with this wing they could sort of see it's a little great. - You can sort of see clay crumbles that have come off during the the tooling, - so rubbing, - brushing the rubbing alcohol over the surface will help remove this little particles. - You can also go back with either your finger, - your tool and help smooth out any smaller wrinkles that you might not want in there. - You do need to be careful not to overuse this stuff, - though, - or it's going to draw out your clay because it is pulling oils out of the clay. - You can also use it to clean up edges like I see looks slightly rough edge there. - Now that I've got some rubbing alcohol brushed on, - I can just go through. - Clean that right up. - If you don't need that much rubbing alcohol, - you can also take your tool and just dip it directly in the rubbing alcohol so you don't - necessarily need to brush the rubbing alcohol over your whole sculpture. - There may be areas that don't need as much of the alcohol. - The segment of the wing seems to be a little less smudged than the others. - Another technique I like to use is to help may smooth out. - It is like this tale where maybe it's a little bit lumpy. - Along the contrary, - I can just brush the rubbing alcohol over, - maybe get a little bit on my hands and then just smooth away those lumps makes it a lot - easier. - Then just using your bare hands on play. - We're done with the rubbing alcohol here. - He's got nice and smooth, - and he's finally ready to go in the oven. - Now we're finally getting ready to bake the sculpture. - We already have our oven preheated to to 75 which is Thedc. - Preacher recommended by Skull P. - Um, - you want? - Make sure the oven preheat all the way before putting it into the oven, - or you might get your sculpture burnt. - Okay, - so we're gonna go ahead, - place this in the oven. - It's good to get it fairly centered. - We have the rack here in the middle. - You don't want it too close to the heating elements. - So have it on a sheet of foil here. - We're just gonna slide it on it. - We just got set a timer for 20 minutes. - After the 20 minutes are up, - you can go ahead and crack the oven door, - and you want to let the sculpture cool off inside the oven before pulling it out so that - the sculpture does not crack. - Okay, - we have our griffin out of the oven now, - and he just needs a few more steps before we start painting him. - We're going to start by doing a little sanding as well as some edge clean up with the - Exacto knife. - So I have my 180 grit sandpaper. - This is great for my initial sanding. - And then I'm gonna move on to this 220 grit sanding pad, - and then I also have steel wool for the final finishing. - So I'm going to start here on the wing, - which is a nice, - smooth surface you're standing. - You want to move a circular motion that helps keep scratches from appearing. - I like to use a broad, - dry paintbrush to help keep the dust off of the sculpture can kind of get in the way. - Hard to see what you're doing As you're standing, - you'll start to see the surface gets a little bit lighter and you'll see these little - darker spots. - And if you rub your finger over this darker spots, - it's usually gonna be a slight indentation, - and you want to work on just getting rid of this darker spots. - I will often fold the sandpaper to get into tighter areas, - and if I'm going along a scene, - I could just fold it all the way to get that edge, - and then I can run it along. - Between these two feathers here, - it's a nice way to clean up edges. - Sometimes they'll still be a little darker spot where there's not an invitation, - and that's fine. - As long as it's smooth. - Sometimes will be an area like this where I didn't get a very good clean edge with the clay - , - and I don't really want to take the time to san all that down. - So I'll take my Exacto knife that worked really good and just run it along the edge to - clean that up, - that I could go back in with sandpaper, - smooth it out. - Sometimes you'll find little either little pits or little imperfections that you can't - really stand out there a little too deep. - And in order to fix those, - we're gonna use just a little bit of epoxy sculpt. - So if you look along the edge of this wing here, - I've got a couple areas, - I believe, - where the wire mesh had some issues, - and there's just symbol indentations and also a couple lines that I didn't smooth out very - well. - I'm just gonna take tiny amounts of epoxy sculpt honorable men there. - He's pretty much any told a work that in there you can use just a little bit of water - that'll smooth right in there. - Okay, - so I've gone over the wing with 100 80 grit sandpaper, - and now there's a bit of a rough surface on there. - So I'm gonna go back with my 220 great standing, - pat, - and clean up that surface a little bit. - You really just need to dio kind of a light dusting with this just to get the rest of the - imperfections out. - Then you can take it one step further with fine steel wool to get a final shine on the clay - really helps make a nice surface for the primer. - So we've already Ghana, - where several different sanding techniques. - Those techniques are mostly used for smooth surfaces with textured surfaces like this for - you kind of just want to do a light dusting. - I usually just use the sanding pad to get rid of any type. - Just residue our little clay boogers particles sticking off there. - You don't want to stand too much. - You're gonna get rid of all that nice detail you put in. - Okay, - so I like to do that last final dusting just to get all of the residue off from the sanding - . - Now he's gonna be nice and ready for primer. 23. Primer and Repairs: - Okay, - we've got the Griffin all sanded. - He's been dusted off, - so he's got a nice, - smooth surface, - and now we're ready For primer. - I use plastic coats. - Sandoval Primer It's very fast drying, - and it applies and very thin layers. - It creates a really nice base for our pain. - You just need to be sure to do this outdoors, - because there are a lot of fumes from it. - So we're gonna go out now and prime the sculpture. - You may notice after prime in your sculpture that there's sort of a grittiness to it, - especially if you live in a human environment. - You can just use some steel wool over the surface of the sculpture to get rid of that - grittiness. - Just a quick dusting, - just like you did before. - Prime ing the sculpture again, - using the paintbrush just to get rid of the dust particles. - Sometimes, - even when you're really careful, - sanding breaks do happen. - So, - unfortunately, - ASCAP this little feather off, - Uh, - but fortunately, - all you need to do is use a little bit of superglue and you'll be able to reattach it in - their time. - Make sure you wipes the excess off right away cause that will dry very fast. - So as you can see, - it's good, - isn't you know, - if you have any sort of seem visible, - seem look. - Most likely the paint will fill that in, - but if it's a thicker crack, - you can use just a little bit of a poxy sculptor. - Philip Cleanup work may not be the most exciting part of sculpting, - but it's really important that you take this steps in order to get a really nice surface - for painting. - So we done all of our sanding. - We've got a nice and primed and finish the surface from there, - so he is ready for paint. 24. Intro to Painting: - so we're finally ready for painting. - Painting is a very expansive subject, - and I only have a few videos that I can use to cover this topic. - So I do encourage you to research color theory and painting techniques further than what I - go into. - But I am going to go over some really major ideas that you need to know. - For this part, - you're gonna need acrylic paints. - I recommend craft acrylics. - I used Delta surround koot brand these air a couple bucks at the craft store. - They're really nice consistency. - Nice of them. - If you are using artist acrylics and the tube, - you are gonna need toe water the paint down a bit, - so just keep that in mind. - You're gonna need a palette as well. - I prefer to use a ceramic palette that has separations as well as a top. - And then you're gonna need a nice variety of paintbrushes, - mostly round tips and also a watercolor pencil to draw on designs. - If your character has some patterns, - you will also need some form of varnish. - Either of the spray type that comes in a can. - And there's also brush on. - I like to use both Matt and gloss varnishes Matt for an overall varnish and then gloss for - selective areas like on his case, - the beak in the eyes. - And you also need some clean water as well as paper towels. - The first thing we want to do with painting is to apply a base coat. - That's gonna be a layer of paint that consists of actually 3 to 4 separate layers. - So we're gonna build it up really slow. - Now, - this character, - he is about half black and half white. - But I'm gonna go with white for the base coat. - And the reason for that being is it takes longer to build up white. - So I'm going to do about four or five layers of white versus black, - which only takes a couple layers. - And I'd rather paint black on top of white than try to do white over top of black. - So I'm gonna start first with this white paint here. - When you're mixing paint, - you always want to start with the lightest color first and then mix the darker colors into - that. - You never want to use a color straight out of the bottle, - especially in the case of white and black in nature. - There are no true white and black, - so I'm going to add a little bit of yellow. - This law is a little bit of orange is this character is sort of cream base. - So I dip my brush into water just a little bit before mix a little bit or injure than I - wanted. - Teoh. - That's okay. - Sometimes when that happens, - I'll just move the white to a different part of my palette. - Samir probably should have used a little bit more yellow versus the orange that was pretty - strong orange. - So I'm just gonna take a little bit of that and mix it in, - and sometimes it's nice. - Just do a little dab next to your reference to see you're getting it close to what you want - . - There might just use a touch of brown in there. - You also want to remember that wet paint is gonna look a little different than dry paint, - usually going to be a little bit darker once it dries. - It just depends on the color, - but it usually will be a shade or two darker. - When you're doing the base coat, - you want to make sure the paint is very thin in order to keep a nice, - smooth surface on the sculpture. - You don't want to glove the paint on right out of the bottle and get a really plasticky - finish. - It's just not gonna look realistic at all. - Says time consuming to build up the paint in layers. - But it is just going to have a nicer effect at the end. - Okay, - Sometimes I will just work with add a little water as I'm painting as well. - Hope spread the pain out and keep it nice and then notice. - I'm just working with spreading the paint around, - making sure it doesn't get too thick in any area. - Just working into those seems there with this first coat of paint. - You really Your goal is to keep everything smooth and make sure you get full coverage. - Okay, - so we've got our first layer of the base code dry, - so you go didn't do the second coat. - Now with this character again, - I mentioned that he was half black and half white, - so normally I would cover the entire sculpture with one color. - But since he's only white on about half the sculpture, - I'm just gonna focus on those areas for the second coat. - Okay, - so we've got all the white painted on now. - I did about four coats of paint and it's pretty opaque, - So happy to move on to the other colors now. - So normally I would move on to the other dominant color, - which in this case is black. - But before I do that, - I want to get in these nice, - bright orange is just cause it will be easier to paint over any mistakes with the black - versus trying to paint over black with orange. - So when I go to mix this orange umm it's pretty On the yellow side, - I'm using the same orange and yellow that I used when I mixed my white. - And that's gonna help keep a nice flow to the colors as it will create a color scheme. - Okay, - after just a little fine tuning, - I've got that yellow looking how I want it. - Okay, - so it's a little bit of a Grady int on these feathers. - I'm gonna start. - It's a little bit of yellow on here. - So now that I've reached the end, - where want the yellow to be, - I rinse off my brush and leave just a little bit of water on it. - A dab it off on a paper towel a little bit. - I start pulling the color down. - Have to keep rinsing my brush and dabbing it off. - I'm slowly pulling it down so you get smooth, - greedy in this does take some practice - wants - your paint dries a little bit. - You can go back and see if your ingredient needs just a little more touching up, - which this only needs just a little bit to smooth that out. - Have you ever accidentally paint into an area they did right here? - Accident. - This should have been the base coat color on the bottom part of the beak, - and I accidentally got some yellow on it. - So fortunately, - I still have some of my base coat, - and I could just touch that up. - So I always like to mix a whole lot of my base coat colors. - I can go back and fix mistakes even after finished applying the base coat 25. Secondary Colors and Details: - Okay. - Next, - I'm gonna be moving on to the black. - And as I mentioned before you, - do you want to mix the darker color into the lighter? - Once I'm gonna put a little bit of white down. - Well, - as a little bit of orange and yellow, - make sure that black stays warm. - Yep. - Here we go. - Well, - I'm painting on another color like this. - Eso I'm gonna have a black stripe on the tail here so I will go in and sort of define the - edge first, - I'm just kind of filling in the center as I go along. - Now, - on areas like the wing, - we need to really watch my edges switched to a smaller brush. - I'll switch back to my larger brush. - I can start filling in that space in between also defining this side - when - you're painting. - Always make sure to go back and get rid of any visible brushstrokes. - Really Don't want it drying with that texture on their I just go back. - If I ever see brushstrokes, - I just go back and keep working over that area with my brush until they disappear. - - So - we have all of the main colors late and now just finished up the black, - and now all we have to do is go back and do some detail works. - I'm going to start by defining the lines between the feathers as well as getting some of - the hair details darkened up a bit. - Some starting by adding a little bit of black, - a little bit of more black to the black that I painted on these feathers. - It's gonna be a darker shade of that black. - I'm just using my very thin detail brush to go in, - and just to find those lines just a little bit more, - it's gonna define areas like the mouth flying here. - Also in between the twos, - anywhere that's recessed a little farther back. - I also went in and kind of added shadows of sorts to certain areas, - areas that are just inherently darker, - like this separation between the arm in the body. - It's a little bit darker. - The overlap where the white for meats, - the shorter black for on the foot and I also included just some shadows randomly in the for - Okay, - we're getting really close to being done here. - I just want to add a few more shadows in the white areas of the sculpture. - So in order to do that, - I've added a little bit of brown and a little bit of orange to this white base color. - We're going to use that just like we did with the black to add a couple of shadow accents. - Now we're ready to just put the final touches. - So we're gonna I've already got a little bit of light blue on his eye. - They're gonna do another layer. - Make sure you're using smallest brush. - You have to do a little details like this also going to you little edge around the eyes. - Got a dark room. - Finally, - we're gonna thought the people onto the I. - You know, - we're gonna get just a little final push and texture difference by using this brush on - glass varnish. - I'm gonna use that on his beak and that horn. - Krista's wealthy I to make it look a little bit shiny er than everything else 26. Dry Brush and Wash Methods: - I'm going to be demonstrating the dry brush and wash techniques on this dragon. - These techniques air really great for natural environments like this rock. - Some going to start with a wash, - and that's going to be a darker shade of gray than this rock. - Alright, - so I've added some water to the starter color to get it pretty, - pretty milky. - You have got my paper towel handy here. - I'm gonna tear off just a piece of it. - I know what I'm gonna dio. - Just apply this color to the rock and you can see it's gonna just be flowing over top of it - . - And that's exactly what you want. - Might drip a little bit. - That's okay. - Just gonna quickly get it on there. - Usually just do a small portion of the time just so it doesn't dry. - You do want to give it enough time to set in a little bit, - get into those cracks. - So now you take your paper towel and just wipe away and you'll see that it removes the - paint from the higher areas, - but it will stay inside the cracks just kind of like automatically painting shadows for you - . - You can also dip your towel into the water might not show up very well, - but you can pull up even more of the paint, - so there's a little more of a highlight on the rock now that the washes dried all the way. - We're going to go and do a dry brush layer, - and that's gonna add some highlights to Iraq. - Start with a little bit of white at some of the color we used for the wash. - I will keep in the color scheme. - Now, - with the dry brushing technique, - you're gonna take a paper towel and wipe the paint off onto the paper towel until just a - little bit of paint is left on the brush. - You're then going to go on your sculpture and just brush right over top that area. - See how the higher areas pick up that paint and then the lower areas stay nice and bark to - add another layer of depth. - I like to hit it with a dry brush with a little bit of more white mixed in, - just to add some hotter highlights on the rocks, - so I'll pick certain areas selectively. - I don't want to do it all over, - just maybe areas that might be catching the light more. - Maybe areas that look a bit more worn 27. Patterns and Fine Details: - now going to go over a technique that I like to use for spots, - stripes and other patterns. - I like to start with a watercolor pencil and mark in where the patterns going to go and - then I can paint over top of that. - The great thing about watercolor pencil as you can go in with water and erase your mistakes - if you make any. - So in this dragon I want to do a sort of tiger stripe pattern. - I'm just gonna roughly mark in where I want the stripes to go. - Now that I have all the stripes marked in where I want them to go, - I'm going to use paint in order to put the final markings in place. - So I've got this nice, - dark brown color. - I like to use multiple strokes to make stripes to, - so they don't just look like solid lines. - The dry brush technique can also be used to help bring out detail like these scales. - Make sure to remember to remove all of the paint off of your brush. - There should only be a little bit of color when you are brushing onto the towel. - Otherwise you're gonna get paint gloving onto your sculpture. - We don't want that. - Small details like these claws can really help. - Add life and believability to your sculpture. - See, - just adding the color on the I just made his face come life. - A nice way to put a little finishing touch on your sculpture is to use a pearl X powder. - Most of these are metallic. - When they come in a hole, - a variety of colors, - some of them are more shiny than others or more sparkly. - This one's kind of a dull, - muted gold. - And I'm going to just brush that over top of him in the more highlighted type areas. - So I just did my finger in the powder and just run it along like this wing finger here. - All right, - We're all finished painting this dragon here, - and now we need to varnish him for that. - I'm gonna be using this Matt spray varnish because I don't want him to be really shiny. - However, - I do want the pain to be protected, - and I want to seal in the Pearl X that I rubbed over top of them. - So we're gonna go outside and get him varnished 28. It's A Wrap!: - congratulations. - You've made it through the class and hopefully now have a complete sculpture. - I hope you learned a lot in this class and are now inspired to keep creating. - Remember that with practice comes skill. - And you will realize that with each sculpture you're going to get a lot better. - Thank you so much for taking the class and happy sculpting.