Transcripts
1. Introduction: You a fan of Macabre art, Japanese culture or both? Looking to explore a
new and exciting hobby? Then this class is
perfect for you. Hi. My name is Christopher Dino. I've been sculpting as
a hobby for five years, and I love sharing my
passion with others. Here on skill share, I focus on teaching sculpting techniques
tailored for beginners. I'm excited to guide you
through this project. Let's create something
amazing together. In this class, we'll
bring an Oi mask to life using polymer clay and turn it into a striking
refrigerator magnet. Whether you're a beginner or already have some
sculpting experience, this step by step guide will
walk you through creating a detailed and expressive piece while learning
essential sculpting and painting techniques. By the end of this class,
you'll have a custom made pony mask magnet that you can proudly display or
even give to someone. So grab your materials
and let's get sculpted.
2. Materials: This is an art tutorial,
so, of course, we're starting with the
materials and tools. These are all the
materials we need. You can grab everything in a single trip to your
local art or hobby store. I also have links in
the description for each material in case
you can't find them. Our main material
is polymer clay, specifically super sculpi firm. This clay is popular
among professionals, but is also great
for beginners due to its firmness and detail
holding properties. This clay needs to be baked in the oven to harden
and become solid. Next, we have lighter fluid. This will help smooth
the clay surface and remove any unwanted
fingerprints before baking. The magnet we'll use is
a nine millimeter long, nine millimeter
diameter neodymiumgnet. It is a very strong magnet, perfect for holding securely on a fridge or any
metal surface. Right here, we have water
based acrylic paints. These are easy to use, dry quickly, and are perfect
for painting small models. Since this class
is for beginners, we'll keep it simple with just four colors to
paint our model. This will make the process more approachable while still
achieving a great result. Next, we have gray primer, which we'll use to prepare
our model for painting. This helps the paint
adhere better. Then we also have clear varnish to seal and protect the paint, preventing it from
chipping easily. We'll also need some strong
glue to attach the magnet. That's it for the materials. In the next part, let's
go over the tools.
3. Tools: Right here, we
have all the tools we need for this project. Starting with the boll stylus, this tool has rounded
tips on both ends, each with a different size. It's great for sculpting
details like eye sockets, smoothing curves, and
adding subtle indentations. Next, we have the dental carver. One end features a flat spatula perfect for shaping
and smoothing, while the other has
a knife like tip for carving sharp details
and refining edges. Another useful tool
is the wooden rod. It's effective for blending
the clay seamlessly, helping to smooth out joints and create a more polished look. Right here, we have a rake tool, a looped guitar string attached
to a paintbrush handle. This tool is great for
smoothing surfaces. A cutter will also be
useful for this project. We will use a wooden platform like this to serve as a base, giving us something to hold onto while we sculpt
with the clay. As mentioned, the polymer clay
will harden after baking, so sandpaper will be
helpful for smoothing out any rough areas
and refining details. For painting, we will use a small paintbrush and a
palette to mix our colours. Not required, but having a hair dryer to dry the
paint faster is a good idea. Then we have a drill, which we'll use to create a
hole for the magnet. Lastly, we will use an oven
toaster to bake the clay. That's all the tools we
need. In the next part, we'll start sketching
our design.
4. Sketching: Let's start with a sketch. We need a platform for our
sculpture so we can hold it without touching the clay and messing up its
shape and details. For that, we will use
this wooden platform. Since this will be our base, it will also determine the
size of our sculpture. So let's trace it
for our sketch. Now that we have an outline, we can start drawing the face. Let's begin with an egg shape. Let me also add some guidelines. The vertical line
helps center the face, and the horizontal line marks
the middle of the eyes. Okay, I'll admit I'm not
the best at drawing. So let me refine my egg shape. There you go. Now we
are on the right track. A Japanese only face
typically has a fierce, menacing expression
meant to instill fear. Is eyes have a grin like shape, yet they also appear
to be smirking, almost as if it's mocking you. A Japanese Oye's nose is big, bold and a little beastly, always adding to its fierce, mischievous look
with flared nostrils and an exaggerated shape, it's as menacing
as it is iconic. I suggest to look
online for references. Check out different styles and
looks that catch your eye. It's also great if you can add your own personal
touch to the design. The mouth of the Oh
a specific outline. You will draw exaggerated
shape of an apple. And now it's time for the fangs. The only fangs protrude
outward rather than inward. There will be fangs on each corner of the
apple shaped mouth. As I mentioned, they have a smirking or laughing expression with the skin between their
eyes already curling upwards. Let's add a jaw as well, similar to the
shape of the ball. And, of course, the horns. I like a long, slightly bend
upwards with wooden texture. Let's add some pointy ears, too. Otherwise, it'd be odd
if you didn't have any. And there you go.
This is our design. I think it looks really cool. I can already imagine it
hanging on my refrigerator. Next, we will start sculpting with clay. See you
on the next part.
5. Sculpting - Main Shape: This is the clay that
we're going to use. Again, this is super scopy film. I already run it on the pasta machine to condition
it and prepare for use. The first thing we need to do is to form a treaty egg shape. I want you to grab large
lumps and press them together with your pumps
to form one solid piece. Gradually add more to the
piece to increase its size. You can also press it against the table to speed
up the process. Now, finally, we have an egg. Let's pull out our sketch to see if we have
the right size. Alright, looks like
we're good to go. Now, choose the
front of your egg or the side that will become
the frieze of your ni mask. Once you've decided, mark it with the vertical
and horizontal line, just like what we
did in the sketch. Then turn it to the side to
see it from a side view. The goal now is to flatten
the face slightly. I prepared an
illustration for this. Imagine a head in a side view. What we have now
is an egg shape. Our goal now is to turn
it into this shape. Doing this, we already got
a flat face and a chin. So we need to move the tip
of the egg into the side. You can do that by gently
massaging the clay into shape. You can also press it against the table to achieve
a flat surface. And there you go. This is the shape that we
are aiming for. As you can see, we
already have that in, and it looks a lot
more like a head. Now, remember this is
a refrigerator magnet, so the back of the
head needs to be flat. Now it's time to glue
it to our wooden base. The wooden base will
act as your handle, allowing you to hold
it while working on the clay without
messing it up. This will give us more confident as we work on the details. That does it for this part. I'll see you on the next one. I
6. Sculpting - Eyes: For this part, we're
going to work on the Ice. Let's mark the lines again to
create a clearer guideline. This time, we'll be more
precise with the placement. Again, the vertical line
marks the center of the face and the horizontal line marks the center of the eyes. These guidelines will help us place each facial
feature correctly. The forehead is slightly elevated compared to
the rest of the face. We'll add a sheet of clay just
above the horizontal line. Then we will blend the
added sheet of clay to the main shape
using our roller tool. Press the clay in a
rolling motion, like so. Using your thumb, push the center of the
forehead inward to. This will form an
arc for the eyes. Now let's draw the
outline of the eyes. Using the outline as a guide, carefully carve along the
lines with your carving tool. Then cut sideways to shape
a slightly rounded surface. Using the wooden spatial tool, I can then refine the
curvature of the eyes. We will do the exact same
process on the other eye. There you go. This will
be his eyes for now. Next, we'll focus on his nose, but we'll get to that
on the next part. See you on the next one, guys.
7. Sculpting - Nose: Welcome back. On this part, we're going to do the Ons nose. First, we will prepare a
cone shape just like this. Ensure the size is in
proportion to the face. Then attach the piece and
use both thumbs to shape it. Keeping your thumbs in sync ensures better
symmetry in the shape. Use a cutter to trim and
maintain flat even surfaces. We can refine the shape
with our dental carver. Take your time.
Alternate between using the carver
and your fingers until the shape is just right. We'll use the carve part of the wooden tool to etch
the sides of the mouse. Now let's add the nostrils. They don't need to
be actual holes, shallow indentation
on each side. More like minicabs.
And there you go, looks like we have a
decent looking nose. On the next part, we're going to do his cheek bones.
See you there.
8. Sculpting - Cheeks: Okay, welcome back. Let's start working on the check bones. Let's roll a small
worm shaped piece and place it just
below the eyes. And then blend the added
piece into the main shape. Et's trim it to create space between the
nose and the cheeks. From this point, it's all
about refining the shape. Just be patient and
take your time. Sculpting is all about patience. Seriously, if you rush, things can get wong real fast. Take your time,
twick the details, and don't stress if it's
not verbic right away. That's all part of the process. Think of it like slow
motion magic trick. The more you refine, the more
your peace comes to life. So relax and let's
keep shaping together. If something doesn't look right, don't be afraid to reshape, smooth things out
or even start over. Every mistake teaches yourself. And honestly, sometimes redoing a part makes the final
piece even better. So take a deep breath, adjust what you need, and keep going. Remember, lay is forgiving, and so should you
be with yourself. From here, all we have to do is apply the same process and
patience on the other side. Things are getting exciting. Let's move on to
sculpting the mouth.
9. Sculpting - Mouth: On this part, we will focus
on the outline of the mouth. Let's start by rolling
along avid strip. Lay the strip along the
outline of the mouth. Remember that
exaggerate apple shape. You can achieve that by pressing the side and bottom of
the outline inward. I use my wooden roller
to refine the sheep. Next, let's do the top of dip. First, we will prepare
a shape like this. Let's cut the shape out
using a thin sheet of clay. It's a bit bigger
than our proportion, so let's trim it
down a bit more. Position it under the nose and adjust it until it
fits perfectly. Now his grin is showing, and the whole piece is
really coming together. That's it for now.
Next, we'll add some details to the forehead and build up the
chin a bit more.
10. Sculpting - Chin and Jaw: Let's get straight
to it. Add a lump of clay to the
bottom of his face. Then pinch the middle to
create a fin like shape. I think it really adds
to the character. Then blend the added piece into the main shape using
both of your thumbs. Japanese ani are often
depicted with long, exaggerated faces, adding to their fierce and
intimidating appearance. Their elongated features,
sharp expressions, and wide grins make them look both menacing
and supernatural, perfectly embodying
their role as powerful demons in
Japanese folklore. Next, let's add the jaw, roll out a strip of clay
with one end tapered. The thicker end will
become the actual jaw and the tapered end will
connect the jaw to this chin. When working on a
long shaping process, I want to emphasize
again, be patient. Remember this is Clay and you
are John, James, or Jane. You're in control. You should not follow it. It
should follow you. Ja is complete. We can
leave it rough for now. I'll show you how to
smooth it later. Oh
11. Sculpting - Teeth and Fangs: Now it's time to get to work
on his teeth and fangs. Cut a few strips from
a thin sheet of clay. Place the strips under the top lip and trim it
according to proportion. Then using the sharp end
of my dental carver, I'll carve the separations
between the teeth. Using the other end of the tool, shape each tooth to give it
a slightly rounded form. I'll repeat the same process
for the bottom set of teeth. I've decided to add
canine teeth as well to really emphasize
his fierce look. Now for the fangs, we need
equal portions of clay. Start with a lump
of clay big enough for both fangs, then
cut it in half. This way, we ensure
they're evenly sized. Roll then into coon
shape like this. Press a rounded tip on each side to make positioning
the fangs easier. The fangs of a Japanese One are one of its
most iconic features. Whether in traditional no masks, folklore or modern art, these sharp curved teeth
instantly signal power. Their exaggerated shape, often jutting out
from a fierce grin, makes One instantly
recognizable and adds to their legendary fearsome
presence in Japanese culture. The bottom fangs will have
the same curved shape, but will be slightly smaller. I think we nailed the fangs. How's your Oni looking so far? More exciting things ahead.
See you in the next part.
12. Sculpting - Emphasize Expression: Let's focus on refining the
expression of our One's face. Using the carved shape
of my wooden tool, I'll create an interesting
fold on the One's forehead. Then I'll refine it further
using a smaller tool. Just like I mentioned, only have a laughing expression that is both intimidating
and fascinating. So using both thumbs, press the clay at
this specific point to enhance the expression. At this point, you
might be noticing all these rough lines from
the clay blocking process. Don't worry. We'll fix
that in the next part.
13. Sculpting - Smoothing: This is where our rake
tool comes into play. It's basically just
a guitar string looped and secured onto
a paintbrush stick. Just like the name suggests, this tool will rake the clay, smoothing out any rough
spots and imperfections. Take as much time as you
need on this process. Now it looks much cleaner. Don't worry about the grainy texture left by the rage tool. We'll take care of that in
the next smoothing process.
14. Sculpting - Pointy Ears: Might have expected the ears
to be tricky to sculpt with all their intricate organic
shapes, but don't worry. We're going to keep it simple. First place a flat yet
pointed piece of clay. Then press a hole into the clay and gently
tilt the tool upward. Repeat the tilting
technique using a tapered tool just next
to the hole we made. Then blend the front part to seamlessly connect
the ear to the face. There you go. For
me, this is enough. It doesn't need to be an
anatomically perfect ear. It just needs to look like one. As long as someone
can recognize it as an ear, that's
all that matters. Now repeat the same
process for the other ear. That's it for this part. Next up, let's
work on the horns.
15. Sculpting - Horns: Using the same proportioning
technique as the fangs, prepare a portion of
clay for the horns. Roll it against the table until you achieve your
desired horn length. Then simply press each
horn into position. With the horns in place,
it's looking really cool. How's yours coming along? Feel free to post
it as a project. I'd love to see it.
In the next video, we'll add the final details.
16. Sculpting - Adding Details: Let's start adding
the final details, beginning with the philtrum, the small groove that runs from the center of the nose
down to the upper lip. Let's also refine the lip
line for a more defined look. Using a small ball stylus, we'll press a hole
into his eyes. I like adding texture
to the horns to give them a wood like appearance
and a more organic look. We can do that with any
pointy tool you have. Simply scrape it
along the horns with random strokes to create
a natural texture. That's it. This definitely looks a lot better than
plain looking horns.
17. Sculpting - Baking: The sculpture is finally done. Now it's time to bake the clay. Right here, I have a pretty
standard oven toaster. I'll cover the model
with aluminum foil to shield it from direct heat, reducing the risk of cracking. We're going to bake it at 150 degrees Celsius
for 5 minutes. After 5 minutes,
here's our sculpture. It has a few burnt spots here
and there, but that's okay. After baking, it will
become as hard as a rock. Now that it's solid, we can
remove the wooden base. For extra smoothness, we'll sand it using
progressively finer grits. We will start with 120 grit. Now we will move on to 180 grid. After all that sanding, let's hit it with a coat of primer to prep it for painting. The primer will also add a smooth layer to the surface enhancing the overall finish. When applying the primer, keep the can about a foot
away from the model. Spray in a smooth
sweeping motion like this to ensure even
coverage across the model. Guys, make sure to do this in a well ventilated area and
wear a mask for safety. Keep rotating the model until every area
is fully covered. There you go, guys. We'll start painting in the next
part. See you there.
18. Oni Painting: For the painting,
we'll keep it simple by using just four basic colors. Here we have red,
white, black and brown. We will use red as the base
color for our Oni mask. First coat of red paint goes in. Simply cover the entire
face with red paint. This will be our base color. One masks are often
painted in bold colors, each carrying its own meaning. Red is the most common
symbolizing strength, power, and ferocity. Blue one are typically
seen as more calm and collected but
still intimidating, while black and white one can represent darker or
ghostly spirits. The vibrant colors not only
make the mask striking, but also enhance its
supernatural presence. Once the first coat dries, we can apply another layer
for a nice even color. Now, we'll paint
the horns black, but instead of pure black, we'll mix in a bit of white
for a more natural look. Now, let's mix a darker
red for the eyes. Dark or shadowed eyes
are often used in movies to depict characters
with mystery or dark intent, and I want to incorporate
that look into our Oi. Let's also paint the fangs black to set them up with
a pre shadow effect. Next, we'll prepare
a light gray mix. We'll use a painting technique
called dry brushing. Basically, it means using very little paint on
a nearly dry brush. This is great for
adding highlights, texture, and depth
to raised areas. To do this, simply
brush your paint brush on a piece of tissue to
remove most of the paint. We're going to apply it
to the horns and fangs. Keep brushing and dabbing
on the tips of the horns. The paint will stick
to the raised areas making the details more visible. We'll do the same on the fanks. While they don't have as
much detail as the horns, dry brushing will create a nice highlight
effect on the fangs. Take a look at this.
With that technique, the horns and fangs now have more depth
and a rugged look. I think it makes them
much more interesting. Now we're going to use another advanced
painting technique. This technique is called a wash. First, we'll mix a dark
colour diluted with water until it has the
consistency of milk. The idea is to make the paint more fluid by mixing
it with water. Mix a tiny bit of
liquid detergent into the wash to help the
paint settle into the details. The detergent reduces
surface tension, allowing the wash to
flow effortlessly into crevices and tiny
details of the model. Now it's time to apply the wash. Cover the entire Oni mask with the mixture. Be
generous with it. Use a tissue paper to dab
off the excess paint. This will create a
nice dark texture and enhance the details. Uh To enhance the wooden
look of the horns, I've decided to dry brush
them with a brown color. I also painted the hair, a solid gray color that
sits on his forehead. It's simple but adds to
the overall character of the One. Uh huh. Let's not forget the back
of our refrigerator magnet. A solid black color
will do the trick. The painting is done. Now, let's seal everything with
a clear varnish. This will add the protective
coating to the model, preventing the paint
from chipping easily. Let it dry overnight. In the next part, we'll
attach the magnet.
19. Oni Sculpting 13 Attaching the magnet: To complete our own
refrigerator magnet, of course, it needs a magnet. We're going to attach a nine
millimeter high and nine millimeter diameter
cylindrical neodymium magnet. First, let's mark our drill bit to indicate the depth
we need to drill. This will help ensure
we don't go too deep. I suggest drilling with a gradual increase in bit
size to prevent cracking. I will start with a four
millimeter drill bit. Then move on to slightly
bigger 6 millimeters. Then finally, we'll drill
a ten millimeter hole, which is 1 millimeter
bigger than the magnet to ensure a snug fit. Let's drop some glue into the
hole and insert the magnet.
20. Oni The Project is Complete: Let's try out our only mask on the fridge, and there it is. Seeing the final piece in place really makes all
the effort worth it. Our project is now complete. I hope you had fun throughout this sculpting journey and picked up some new
skills along the way. Remember, every piece
you create is unique, so embrace the imperfections
and make it your own. If you followed along, I'd
love to see your work. Feel free to share your finished
pony mask as a project. Thank you for joining me, and I'll see you in the next one.
Cristopher Dino
