- [Voiceover] So right now I'm just refining the
refining some of the surface areas
and also carving in some of the textures.
This is all just preliminary.
But we want to start putting in
information that's
that's building toward a finished look
for this character.
Okay, so let's add that.
Outfit it again with a torch.
Smooth it out.
And then I'll freeze it.
Okay.
And then maybe I'll put in
a little bit of vein here.
To give it that look.
'Cause predator's are pretty tough,
I mean they have to be buff and super.
Okay.
So you sort of have to know
when the bodies shaped a certain way
or when the pose is in a certain way
right now how the different muscles will be affected.
When the arm's going up sideways
for a very muscular character
there should be a separation between
the pecttoral muscle and the deltoids.
So we want to put that in.
It just, I mean it's,
you don't have to do it
but stuff like that will help
will help sell the sense of tension better.
It will be more convincing, you know?
Because you want the muscle,
you want the right muscles to flex.
So in a nutshell, this whole process
is a constant repeat of
build up, refinement.
I might be oversimplifying a little bit but
in essence that's true.
That's all we're doing.
If you get one section of this process down
then you should be able to just repeat
and cover the entire sculpture this way.
So right now I'm just trying to
position the two characters and see
what kind of
what kind of a look I'll be getting.
Okay.
So some of the (mumbling) are coming off
and earlier I didn't have a wire to support but
I only use support when I need them.
Now would be a time where just take
a little bit of floral wire, just stick that in.
I mean, if you want
a better support system, obviously
you want to go all the way
and build up the entire section
with reinforced with wires.
I'm not doing that for just demonstration.
Just enough to hold that piece in place.
Now again, repeating the process
of checking the composition,
checking the relationship between the two characters.