sculpting a head in clay part 1 FULL VIDEO


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what's today hello and welcome to this tutorial on how to sculpt a head in clay part 1 or if you want to sound fancy about it we're going to be sculpting a bust so let's talk about our tools and materials first I'm going to be using just two types of chiffon clay medium and hard hard being for really small details like eyes and ears really fragile bits here's a bunch of the tools I'll be using starting with the big ones on the left for blocking things out the ones in the middle are things like rakes for refining the features and then the smallest ones on the right are going to be used for detailing so the first and most important tool you're going to want to use is your hands but second to that is a really nice large wood pallet knife for shifting the clay around making aggressive cuts to block in the shape of your sculpt these are some rake tools and it's kind of like using really coarse sandpaper it gets rid of all the extra bits of clay that are sticking out and just evens out the surface you'll want to use this just before your cleanup pass these are some Lube tools for both cleaning up the sculpt and adding in details if you want these things to last longer because they're kind of fragile which is kind of unfortunate for how expensive they are you can put some five-minute epoxy on the ends of them where the loops plug in and that will stabilize them a lot more and make them last way longer next up you're going to need a cheap small paintbrush with the ends cut off that's going to be used for scrubbing in the solvents that are for smoothing the sculpt out the middle one is a loop tool for adding in wrinkles and the final one is a hook tool also for wrinkles and working on other small details like pores and stuff finally here's what we're going to be using to give everything a nice smooth finish on the left is an alcohol torch just for melting the surface a bit and giving everything a nice bit of a sheen second from the left is this great stuff called Kelton which is a fantastic job of breaking down the clay well not being too toxic like the other solvents like turpentine or terpenoid I'll mix that next with some isopropyl alcohol just so it's not too strong and doesn't turn the clay to complete mud and finally on the far right is some air duster which is used for cooling any clay melted from the alcohol torch alright let's get started if you haven't seen any of my other videos to get your clay workable you can either put it in a toaster oven or sometimes I'll just use a hairdryer just to warm it up a bit it's nice to work with soft clay so you don't hurt your hands and you can work a lot faster so first roll up an egg shape to represent the cranium I'm trying to work with your hands as long as possible it's just faster and way more immediate as soon as you start using tools you can get a little bit finicky and slow down a bit so as soon as that egg shapes made I'll slide a large plane of clay onto the narrow side of it this represents the face so think about how short or wide or long you want it since this will dictate the final look of your character

I'm thinking for this guy I'd like them to be a little slender and narrow and maybe in the next video I'll do like a short stout dude just to show how focusing on the shape of the skull at this point will determine the final result


okay I've got the head in the general shape that I want now it's time to add in a neck and some shoulders we're going to pose this guy later on so just the slightest head tilt can give your piece a lot more character to do the neck just roll up a large tube and plug it in from the base of the skull to under the jaw just like the head I'm going to make it a little bit long to emphasize that this is a skinny guy

with your base neck on throw on a couple thin tubes for the sterno mastoid muscles they don't need to be super exact since you're going to refine them later you can see I'm using both my hands at the same time here trying to get some sort of symmetry down symmetry can be tricky since there's definitely no mirror function like you'd find in ZBrush if you want to check if you're on the right track and not getting too lopsided try looking at in the mirror and it'll expose everything that's wrong with your sculpt somehow the brain just works that way where it catches mistakes once things are flipped alright starting to use my first tool the wood pallet knife you'll want to use this just like a pencil in figure drawing class do a gestural big strokes and drawing on the divisions in between the muscles this isn't for finessing anything yet it's just for determining the length and locations of all your forms and making quick adjustments


next up I'm laying out two tubes to represent the clavicle these are really important parts anything with a bony landmark is crucial because those are the indications of where you're going to start linking up different muscles so for example I could link up the the sternal mastoids to the middle of that clavicle and know it's going to the right spot so you're kind of playing connected dots between areas they're also important because without them the anatomy can feel pretty formless if it's all just muscles and no bones underneath


so now that I know where those clavicles are I can start linking things to them just like a puzzle they'll end up going out to the shoulders and meet the scapula which I'll then connect the shoulder muscles to so everything's just going to link together it's not shown here but you'll want to block out the general size and width of the shoulders before doing any of these link ups and details like bones or muscles you don't want to put any work into those things and then find out their overall proportions are wrong like the heads too large or the body's too small that sort of thing so block in first before going into any detail I just wasn't sure at the time how much of this model I wanted to build or how far I wanted his chest to go that's why I didn't end up blocking in it at first

I'm still just blocking things out and shifting stuff around with that spatula tool adding some more mass to the back I thought that the neck seemed a little too short I really wanted to go for long characters so I ended up chopping the head off and then extending it a bit this is one of the advantages of not having an armature if you want to make big changes it's totally possible and with a model of this kind all that clay packed together you don't really need to worry about an armature because it's all going to hold together

after a while the clay can get pretty hard and tough to work with so just warm it up with a hairdryer and that will soften things up so you can start smoothing it down with your fingers when it gets too messy and lumpy like this it's good to take stock of what you've got and just smooth everything down remember to smooth along the muscle groups so you're not eradicating any forms

he's going to need a lot more mass on that trapezius just to round the back out these are still just Block in shapes but you'll see I actually start using that rake tool to refine things a bit it's also helpful to draw in with that spatula tool again once you've drawn in your lines take like a rake tool or a loop tool and pull out from that line on either side and that'll kind of instantly round off and give you shape to your muscles


all right now that we've got the general shape of the whole sculpt locked in we can start blocking out the skull I'm just going to draw a line straight down the middle to define the middle of the face next I'm going to draw a horizontal line halfway down the face and that's going to indicate where the eye sockets are going to go do another horizontal line halfway down that and that's going to indicate the bottom of the nose once that's done use your loop tool and dig out a couple eyesockets so go just above that first line you drew in since the eyes are going to go straight in the middle you want the eye sockets to go up a little bit higher after the eye-sockets I'm going to carve out a little notch that's going to indicate the top of the brow bone I'm also going to go into those I sockets near the nose and just carve out a little indentation on either side this is just going to kind of indicate where the nasal bone is going to go

next up we're going to add some cheekbones and remember that these attach to around the hole in the ears so you kind of bring them directly back and try and imagine where that hole in the air is going to be and connect those up I'm also going to carve out a little indentation concave part for his his temples there so I was hoping that this wouldn't show up in the video but yes I am wearing a headband Allah Olivia newton-john's hit video physical it helps keep the hair out of the way if you don't know physical I guess Karate Kid

you I'm going to make that area by the eye sockets near the nose even deeper just to even emphasize the cheekbones a little bit more I'm also going to lengthen the chin he's still just not looking long enough for me I actually go in later again and chop the head in two and add even more clay just really wanted to make him look long

and here's some ears just a block in like everything else they're going to get refined later so just roll up a little oval and squish it into the side of the head directly in the middle there and just carve it out just so we get a sense that they're there just block in years nothing fancy also remember to put them on at a slight angle they actually don't go straight up and down as much as I stress the importance of modeling this skull you don't need to go in and literally model it to the tee but you definitely want to indicate the areas that are big bony landmarks that actually show up on the surface of the face like the cheekbones and the brow bone stuff like that but you don't need to go in and model teeth or anything like that if they're not going to be visible on your model you could almost think of this whole sculpting process like building a house first you put up the food framework and that would be your skeleton once that's all done then you put up the drywall and that would be your muscles finally when that's all done you move in and you put up the blinds and hang up pictures and that would be the little details like your eyelashes or creases in the lip that sort of thing so you wouldn't want to move into a house and put up all the pictures and the blinds before the drywall so you got to go step by step and build everything up in layers

with the eyes and cheekbones blocked in you can add a little barrel shape above the chin to indicate where the mouth is going to go you don't want to just put lips on a flat face you want to indicate that there's actually teeth behind them pushing them out a bit to put on the nose it's basically just a big triangle shape with the ends blend it into the cheeks you'll also want to specify that little bump in the nose where the skull ends and the cartilage begins

I'm also using that end of that loop tool to ship the clay around the smaller the body part the smaller the tools you're going to have to use so you just keep working tinier and tinier also at this point don't get too discouraged if it looks funky right now there's going to be a large section of time on your sculpting where things just look muddy and messy and you just got to have faith that you're going to pull it all together at the end here's that notch that in the nose that I was talking about I kind of want this guy to have a bit of a boxer's nose really wide and flat here's that compressed air held upside down if your sculpts getting a little too muddy and you're having a hard time making out the details and shifting things around hit it with this spray and it'll harden everything up and you can actually start carving out shapes so when things get too messy just hit it with that spray these two little bumps at the end of the nose are called the aller cartilage and those will kind of give you that bulbous end that you see on any any snows really they're basically teardrop shapes and they blend back in right behind on top of the nostrils you can see putting them on instantly he doesn't have that that pointy nose anymore you'll notice I'm not working on the eyes yet and probably wondering for God's sake when is he going to get to those put something in I like to hold off on the eyes until the very last moment I think if you can get a lot of character out of your scope without having eyes in then I think when you do add the eyes in that's kind of like an icing on the cake so try and get as far as you can and give enough character that you can you can get the gist of who this person is without having fancy eye expressions another good reason for holding off is if you're trying to capture somebody's likeness if you don't have eyes in yet and you can tell who that person is already then you're going to be in really good shape later on things start to get a little more finicky at this point the further along in the process the more the subtle changes become important it's now about taking those basic shapes we put down and then working them until they resemble their final forms it's good to clean up any smaller shapes that you put down with a loop tool just so you can distinguish all the different elements more clearly if everything's just a gestural mess it can be hard to tell what's supposed to be on there and what's just an accident starting to flush out those cheeks a little bit and add some more shape to his chin as well with those luke tools by the way these things I tell you I've been through maybe ten of them and considering a package about 40 bucks it's pretty heartbreaking to have to go back to the store and buy some more of them so reinforce them with that epoxy glue if you can all right it's finally time to give this guy a mouth so draw a line indicating where you want it to be usually it's about two-thirds of the way up it's close to the nose than it is the chin once you've got in that in there use your wooden tool there and just push up that upper lip to form it up

just going to redefine that line again once that upper lip is done for the bottom lip actually carve out a little ledge to it so you're not going to be pushing it with your tool you're actually just carving it out it's going to look a little funky for a while and you just need to keep on shaping it so once you've got your overall size and shape you can start adding in bits of clay you know that little middle bump to the lip that sort of thing and just like if you're drawing a face you'd want the corners of the mouth to be a bit darker so I'm going to carve out a little indent there just to just to express that

there's also two little teardrop shapes that go on the the sides of the mouth putting those on will also add a lot more meatiness and a lot more depth to the corners of the mouth well I'm just trying to refine these these lips I should say that as you're adding on all this kind of meat and mass it's important not to lose that general kind of skull shape that you originally put down so try not to go too far where it all disappears and you lose that original work you put in now we're on to my favorite part of the face these two big puffy parts on either side of the lips I'm not sure why I like them so much there's this amazing animation called ninja scroll by a studio called madhouse and they always accentuate this part and it just makes their characters look super tough and burly is awesome when you're doing the lips they kind of lock together like a puzzle piece the top one has that middle bump so I'll throw that in there and then the bottom lip has two bumps that kind of encase that top lip part so I'm just going to keep on refining this and working on the the shape of the lips for a while and then once that's done we'll move on to doing the ears

okay there we go the first pass at the mouth it's not perfect by any means but at least it doesn't look like Deadpool from that crappy Wolverine movie so moving on to the ear now carve out the blocked out shape you made earlier and then just start adding in those smaller elements like the ear lobes that outermost ring around the ear is called the helix and that wraps around and tapers off at the whole of the ear so just roll up a tube of clay to describe that part you can almost think of the year as all these echo chambers and all these weird folds are just channeling sounds into the whole of the year this is a good part to start using that harder clay on you'll find with smaller bits like this ear just knocking your arm against it accidentally can just ruin it completely so having a harder clay just makes it last longer also you can carve in those little details a little bit better with that outer helix put in and we've got the lobe now I'm going to put on it's called the anti helix very fancy name it's the bigger shape on the inner side of the year and with that in on the very top I'm just going to carve out just a little indent on it that tool by the way is a ball stylus it's just good for pushing clay around and doing little holes like nostrils and stuff okay we've put enough work into this guy that he's sufficiently deserving of a base not a very fancy base it's just a piece of plywood and a couple males I'm going to melt the bottom of them so we can sink into it and when it cools it'll Harden and have a really good grip on those nails and it won't tip off if you're not liking how ghetto this looks this just bare base these can actually look pretty good if you paint them white it gives it a much classier look I'm just too lazy to do that right now

okay this is very exciting we're finally going to put in some eyes so roll up a couple of balls small enough to fit into the sockets and then hold them into place with any kind of tool and hit them with that free spray this will ensure they don't turn into little ovals when you push them into the head that I on the left there is just a temp eyeball by the way things are going to look a little crazy for the next few minutes it's just going to be a man with no eyelids next up melt the insides of the sockets a bit and this will keep the eyes from popping back out as you place them in

here's that ball stylus tool again I'm just going to make myself some little pupils there and take out that temp eyeball and just like the other one I'm going to melt the insides of it and plug in a proper one

you might want to put the eyeballs in a little bit deeper than normal just because once the eyelids are on all that clay can make them look a little bit bulgy

so this is a very finicky part and it may take a few tries roll up a very tiny bit of clay and run it along just touching the bottom of the pupil and then flatten it into place it'll be kind of a balance between pushing it on hard enough so it sticks but not too hard that you deform the eye or the lid and I'll do that with the second one now the reason I prefer to do this method of laying down the specific parts as opposed to just carving out the entire eye out of the clay is it can be a bit tricky to both carve out a perfect sphere as well as put in the pupil underneath those eyelids do the same thing now for the top eyelid remember it's angle is a little bit steeper on the inner part of the eye and then just chop off that extra bit once those are on you might have to go in and add a little bit more clay to that top eyelid since it's actually just soaked further than the bottom one and you'll notice it's literally micro millimeters between making your character look sleepy or too excited so how you lay down that top eyelid is very important once the lids are in roll up another piece of clay and fill up that gap between the eye socket and the lower eyelid and then obviously do the same for the other eye sometimes it's kind of cool things aren't perfectly symmetrical so don't worry too much if what you do on the left isn't exactly the same as what you do on the right human beings aren't perfectly symmetrical in the first place anyways so it's always kind of cool to see like a crooked nose or that sort of thing next up is the lacrimal gland and it's that small teardrop shaped gland starting under the eyebrow and then tapering off towards the nose and that'll sort of blend everything together from the eyebrows to the eyes speaking of eyebrows there's plenty of ways you can do them some people sculpt in each individual hair strand and others represent them as just large stylized shapes it's totally up to you how you want to do them I saw in some makeup magazine once that for the perfect eyebrow shape draw straight lines from the side of the nose through the iris and then out to the eyebrow wherever that line hits that's where you should put the top arch of that eyebrow don't ask why I was reading that magazine it must have been in a dentist's office I swear these calipers are a really helpful tool for making sure your proportions are still correct here I'm just checking that the eyes are still in the center of the head there's certain rules you can go by no matter what sort of head you're sculpting like that the face is about five eyes across the nose ends halfway between the eyes and the chin things like that these calipers will just help you verify everything I'm going to start using this rake tool more often now it's great for just getting rid of any big lumpy bits and smoothing things down make sure when you do use it that you go in kind of random directions if you keep going in the same directions you can actually leave in these rake marks and that will be kind of hard to remove later all right let's give this guy some hair he's going to get a helmet later on but I figured I'd play it safe in case I wanted to remove it when you're doing here it's good to break it down into large broad shapes instead of trying to texture each individual strand this will help it read better from a distance it'll give you more volume and it'll keep it from looking too flat so start by rolling up some reasonable size chunks of clay and just have fun styling it and pushing it around just like the rest of the head is all about blocking something in you like and then figuring out the details later this guy's going to get a little buzz cut by the way very long on the top and then short on the side I'm going to go for a military look

if you're having a hard time by the way establishing a direction for your hair to flow in try and find where the crown at the back of the head is going to be and then radiate your hair out from that point and that might you know give you a little bit of a better direction to go on going back in now with a even finer rake tool you just keep getting smaller and smaller you don't just plow over everything with a big tool his nose by the way is feeling a little too bulbous so I'm going to go in later and tone it down with a loop tool when you're working on smaller scale models sometimes that extra bit of clay can just be too much you've got to take it down later

now that everything's raked down we can actually start smoothing so grab your acid brush dip it in a mix of alcohol and Talton or whatever solvent you want to use and just start scrubbing this surface down in a circular motion since this is an oil-based clay the alcohol or whatever you're using is just going to break it right down and you can really smooth it out if you're getting a dusty look like what I'm kind of getting here you're probably using too much alcohol or maybe a cheaper kind of alcohol that's no big deal just burn it off with the alcohol torch and it will go away right away this can be kind of a balance when you're using these solvents a too little in amount it'll have no effect and too much it'll just break the clay right down to unusable mud so you may have to play around with it a bit for me I find the probably about 60% alcohol 40% Talton works the best I was just using some cheesecloth there to scrub the surface down it was just dipped in that mixture as well it's a great way of smoothing because you can actually feel the surface of your sculpt and kind of push the surface around simultaneously smoothing it at the same time you can use like a sock or an old rag anything will do this whole smoothing process can be frustrating a little bit so stick with it you can find sometimes that mistakes only show through once everything smooth down and then you got to go back in and clean it up again it becomes unsmooth and then you've got to smooth it again and then you find more mistakes so it it can take a while just keep at it and you plug through it eventually I'm going to start putting some clothes on him now as I've mentioned in the other videos there's a few ways you can go about doing this you could roll up a super flat sheet of clay with a pastor roller and drape it over your model or as I like to do you could model the cloth in chunks like you would just the rest of the body with the big blobs of clay and then refine those shapes later you may find with the sheet method that the clay will just rip on you and even though you'd think it would just lay onto the surface and instantly create all these awesome folds it just doesn't work as well as you'd want it to I find with this blackout method that you have more control and having that extra clay thickness on there will help you carve out wrinkles and folds later on as I was making the clothes I just bent that head slightly sorry I didn't film that part just posing like a bus just grab the head and bend it in the the direction you want it's as simple as that the neck may get a little bit messed up you just got to clean it up again that's all

in terms of who this character is I'm kind of coming up with this concept as I go which I'm not going to lie is not the greatest idea it really helps if you've got a Squier goal in mind of what you want to achieve even do up some drawings any prep helps in terms of who this character is I'm kind of coming up with it as I go while it's totally cool to just wing it and sketch out something spontaneously it really helps to have a clear goal in mind of what you want to achieve so even do up some drawings you know find lots of reference any prep helps just so you don't go too far in a direction that you're not happy with some guys like Simon Lee they can just wing up you know a masterpiece on a thin air but for us mere mortals doing a bit of prep it can really help


for this strap I'm going to that is made of two different materials kind of a tougher sturdier fabric on top and then a puffier cotton material underneath so I'm just going to go in and sculpt some folds where the upper parts are pinching down on the cotton and then later I'll go in and add kind of a proper texture on top of the whole thing

wherever put down those little seam lines I'm going to go in and add in a few small folds where the fabric is bunching up where it's been sewn down I find just pressing the end of a wood tool into the clay at random intervals along that seam gives the impression of those folds even though it's not super accurate it it looks all right from a distance I had gone back in and made some changes to his face like scaling down that kind of bulbous end to his nose I took in his underbite a bit things like that as I mentioned before when that happens it can get a little bit messed up and you just got to go back in and smooth it down again you can see or hear one of my old socks has been relegated to the the rag bin now it works just as well as a cheesecloth

you might notice here that the neck is kind of cracking off a bit that's absolutely no big deal to fix that you can either melt either ends of the clay and just plug them back together and hit them with some free spray or draw an X along that crack line and then fill it in with a little blob of clay and that'll just fuse the whole two pieces back together again

here's that hook tool showed at the beginning this is right for just adding in tiny little details like wrinkles little pores and stuff like that be careful when you smooth this stuff down there you go very light with your alcohol or other solvents because it'll just wipe those right out it'll take them right off the surface there I'm going to start making some other little props for him this will be a little shoulder pack same processes doing the rest of the clothing kind of make your seam lines in areas and then you emphasize those folds


this is kind of a fun part here adding texture to your model I wanted a strap to have a pretty accurate looking surface to it so I literally took a piece of a backpack I'm going to melt the clay just slightly and then I'm going to press it right into the strap and that will give it just instantly a cool little pattern you don't need to do any more work on it sometimes it can stick to the clay so it can be good to just hit it with that free spray so it pulls off a little bit more easily and there you go it's a it's a strap watch out after you've smoothed your sculpt down for any areas that have gotten too soft like folds should definitely have pinched points to them and then taper off smoothly so you may need to go back in with your loop tool just tighten things up by just pulling out the edges there so you can see here anywhere that's gotten too soft I'm just tidying it up a bit


here's something you can try if you want to add some pores and skin detail cover your model with cling film and then press into the surface with any sort of sponge this will give it kind of a mottled effect the saran wrap keeps the marks from being too harsh and kind of rounds the pores out so the thicker the the wrap the rounder the marks will be say if you wanted to do a really deep wrinkles on an old person you could use your hook tool with a thick ziplock bag and it'll make really nice rounded lines you have to be careful with this though in adding skin detail it's one of those things where you have to go all in if you're going to do it if you start adding them in in some areas and then leave others totally bare it can look kind of weird also pores are different sizes and frequencies and depths all over the face so if you use stamps that are too large it will blow the scale and give your model kind of a noisy crater II look all right we're more or less out of the woods with working on the face and the clothing for now so I'm going to make this guy a few tiny little props I always like adding tiny hard surface details through the model just to add a little bit more character it's not the best idea to try and do sharp hard lined props in clay that's just not what it was made for if you want to cheat and I totally recommend doing this you can make your prop set of like a model kit material any plastic bits you have and then just paint them clay colored and no one will know the difference as long as your color is correct it'll just save you a lot of headache trying to draw those perfectly straight lines in clay if you are going to try representing like metal or plastic props in clay hit it with that free spray just to harden it up so you can chop into it more and at least have a fighting chance to get some hard edges in

actually speaking of props made out of model kits you can see here that weird little tool I'm pressing in there is actually the original flashlight I made out of plumbing tubes it just had some really weird shapes to it and it wasn't right size and I couldn't get the color right so I ended up scrapping it here I'm just using whatever tools I can to roll in some hard edges it was actually a good thing in the end that I made it all out of clay since I ended up chopping it off at an angle just so it fit the composition of the rest of the bottle the whole thing was just too obtrusive at the full size

so amount any prop to your model just roll up a little piece of clay melt it and plug it right on if you wanted to cool faster like everything else just hit it with that free spray

all right I originally was just going to call it quits here but I figured that if this guy's a soldier then we really need to sell it and he's going to need a helmet so I just blocked out the general shape of a Vietnam and one helmet they have a really cool look where they're usually covered in camouflaged fabric and are just loaded with gear and ammo packs the reason it's split here as you can see is I block this out on his head and then cut it down the middle so when I took it off to work on it separately I wouldn't rip off his ears and hair and stuff now that's all blocked in I'm going to piece it back together by melting both sides and then brushing out the scene

next up is the rake pass I'm going to go in random directions you'll be able to feel when you're done with this thing when it starts to just glide over the surface without snagging on anything

this is kind of a cool technique they use in the auto industry for modeling those big clay car concepts where they need really large flat perfectly smooth surfaces you just run a flat bendable sheet of metal over your large area of your sculpt and it just consolidates the clay two to one plane I love using that that tool you feel like a pro Auto sculptor when you do it

you finally I'll wipe it down with some more Talton mixture remember to air your sculpt out after you've just soaked them with all this stuff it's super toxic and the rags are really flammable so check them out when you're done with them don't let them build up in a garbage can somewhere

I'm not going to put the folds on his helmet just yet he still needs his animal clip and strap and those will somewhat dictate how those folds are placed so I'm just going to melt two little blobs and then place on his little machine gun clip as you can see on that clip drawing perfectly straight lines in clay and then having them stay straight is not the easiest thing actually this is a good time to mention and this is a total cheat but if you've made it to the end of this video you deserve to hear it if there's lots of little ding bits or wobbly areas you don't like in your model and you just had it working on the damn thing you can always revert to Photoshop and clone out any bits that aren't working and modify it in there you can even use the the warp tool anything that sells it if you're not going to be showing this in a gallery or anything like that and you're just putting it on your portfolio why not make it the best that you can and fix the bits that don't work no matter what the method

starting to add in those those helmet folds now just by rolling up large tubes of clay and pressing into the surface pretty firmly so they stick you kind of go in a zigzag pattern with these things once those are on blend them in with any end of a end of a wooden tool these may seem pretty extreme looking right now but they're going to get raked down and blended in and kind of soften into the surface a little bit more better to go heavy handed with this and have the option to take away clay than have to need to go in and add more

you so as I mentioned before since that strap is holding that fabric on it's going to need a few areas of indication where it's pinching down on things so I'm just going to add in a little bunch of teardrop shaped pieces of clay with the the pointy points pointing towards the the strap and that's kind of in going to indicate where it's kind of pulling that fabric down


now it's time to rake all these folds down and blend them into that the helmet so that feels like it's all part of the same surface

you can see that one fold is coming off this is a good reason why you want to press it down pretty firmly so that when you start raking over you can be confident everything is just going to stay in place now it's back to the old sock I didn't spend too much time raking down the cloth since this thing's all fabric it would be kind of cool if some of the surface is a bit lumpy and once that's all smoothed down again go back in and find any areas that have gotten too soft you know where two points of the folds meet up it should pinch there just a little bit so you can see I'm kind of carving out those areas just to tighten it all back up again you don't want your sculpt to look too soft all over

sometimes it's good to really reinforce where the cloth is crimping so bend up a little tube of clay and place it on that pinch point and then will lend it back in I find this gives the folds a little bit more logic and form and your eye kind of goes to that pinch point and then it tapers off as it gently you know dissipates into the rest of the cloth


so we're nearing the end now I'm just going to add in a few little final touches like where his helmets been sewed together I'm going to add in a seam there and then blend it in once that's done I'll use the ziplock bag to put in some small stitch lines and then finally some dangly straps these straps you're going to see same technique as his shoulder ones just rolling up a flat sheet of clay and imprinting a texture stamp alright on they go and that'll really be about it so I hope you guys got some help out of this video I'm going to do another tutorial on sculpting a bus pretty much the same techniques but a very different style of character so best of luck on making your own awesome cool little projects take

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