- [Voiceover] Let's start gettin' some more
clay on these legs.
So okay, as you can see I'm goin' in
and I'm pullin' out some of the form here.
Starting to put the base layer in
of where the detail is gonna go on top of.
And the great thing about Sculpey for me,
about working is Super Sculpey, is that yeah,
it just, it takes texture and detail so, so well.
That's predominately why it's one of my
favorite mediums to work in.
So we got this big wrinkly area here
right above where this disk joint's
gonna be for his leg.
So what we do to quote, unquote
hide the fact that there's a joint in there
is we sculpt the details kind of,
just right into where that whole thing would go
and the wrinkles are just gonna flow right into it.
So again, this is just your typical Kemper wooden tool
that I'm using to apply some of this
wrinkle texture into my sculpture.
And like before, what we'll do
is we'll get a brush and with a little bit of turpenoid
let's start to brush out some of that detail.
Then after, what you can do after
you've carved in some of your wrinkles
if you want another great little technique
is to just go in and make small,
what they call, you know, most call 'em
snakes or worms or whatever you wanna call 'em,
out of the Sulpey and put it on
the end of your spatula
and then what we'll do is we'll go in
and we'll put that in there and it adds
another level to your wrinkle texture,
helps broaden it out a little bit.
As you can see I'm adding more of this
wrinkly type texture with my
little loop tool.
- [Voiceover] And Sandy, let's say you were to sculpt
a part that you'd like to appear
in a clear material on the finished toy,
this is again from Christian, like a visor or a helmet,
do you sculpt it separately and ask the factory
to make it into a clear material? When would you
specify that stuff? - Absolutely correct, yes.
You would sculpt it normally in clay
like you would sculpt anything else
and then you specify when you deliver
the piece to the factory that you
want that made in clear plastic, yeah.
Visor, or, you know, they, all these factories now
are doing incredible work with
translucent materials and so forth.
So now that we've got our,
the, his right side of our tail section done,
I'm gonna move right into the upper
portion of his hind leg here.
Again, this is just simply a different version
of a loop tool here that I like to use.
It's got a, it's more like a little,
I call this a shark fin loop
'cause it looks like a little shark fin.
And I'll just go ahead and carve my detail in with that.
Okay, and as we're comin' up on this area here,
this is where some people might opt
to put what they call a hinge joint.
We opted not to do that, but I am gonna show you
the basic mechanics of a hinge joint
and how it works momentarily.
- [Voiceover] Did you have a rule of thumb
when you were working for McFarlane
or any of these other companies
or did they have a rule of thumb
about what finished texture was all about?
Was there a point at which you just,
it didn't make sense to go further
because it wouldn't reproduce, or?
- [Sandy] Oh, no, they, these factories,
believe me, can reproduce anything.
As a matter of fact, if anything
it wasn't enough, you know, they were just like,
more, more, more, put more, you know,
more wrinkles, more texture, more this, more that.
So that was always, you know,
a first and foremost thing that
a lot of these companies opted for
and certainly looked for when they were hiring people
was how well you could sculpt detail.
How well versed you were in
duplicating different types of detail and so forth.
- [Voiceover] Can you talk about flow?
Because I see a lot of flow goin' on, what's your?
- [Sandy] I'm a fan of following
the forms for detail and I'm a guy that
is a little bit of a less-is-more kinda guy
when it comes to detail, I think, you know,
your forms should speak for themselves,
but you should also have a sufficient amount of detail
to provide the amount of realism,
yet at the same time, you know, without overwhelming
the design or the sculpture itself.
Again, I just, I simply look at the forms
and to me, as you can see with what I'm detailing
here in the back of his leg and this little bit
of the thorax area, I'm letting the form dictate
what the flow of the detail should be.