Making Talos Awakes – Part 17 of 20
General modelling tasks
I first cut back any remaining traces of the mould seam lines from the restoration stage. The animation model’s seams, which were visible in the film, were retained. Next, using Milliput Superfine epoxy putty, I carefully filled and then shaped:
- The junctions between the grafts
- Air holes
- 3D print line low points
- Other surface anomalies
I added a brown pigment to the white putty, as a neutral tone to blend with the various graft colours.
Helmet brush, neck creases and nose
There were a number of areas that needed more specific attention. First I repaired a deteriorated section of the left side junction of helmet and brush, to match the form found on the right side of the helmet (below left). Next, I modelled creases on the compressed side of Talos’ neck. Although not drawn from film footage, I felt it was an appropriate, characterful addition (below right). Then I modelled a missing connection between the left nostril and moustache that I had overlooked.
Helmet plume details | Neck creases
Forearm and hand texture
The texture of the forearms and hands did not match those of the animation model because they had been adapted from Ray’s later Talos sculpture. So I added texture by cutting into the surface with a die grinder burr on a slow speed, refined it with a curved scalpel blade before filling and modelling it to a finish.
Left hand and forearm texture
Refining the sword grip
To improve the right hand grip of the sword, I made refinements, notably by modelling the webbing between thumb, forefinger and sword hilt.
Right hand and forearm texture
Knee joint skin creases
Based on film footage, I added small curved skin creases to the outside of each knee, which helped terminate the junction line of thigh and calf, and further describe the rotation of the knee joints. On the left thigh, I filled and remodelled a sunken area leading to the knee to improve the flow of the joint; on the right, an amount of modelling, reshaping and texturing was needed to blend the junction between the upper thigh and the graft infills.
Knee detail modelling
Ankle bone texture
In the same manner as the forearms, but on a smaller scale, I applied texture to the ankle bones, which I had rebuilt in wax during the restoration phase but had left smooth.
Knee and ankle detail modelling
And relax!
Finally, after two years and over 2000 hours of meticulous work, Talos is ready for moulding and casting by Raven Armoury.
These sculptures were hand made by Raven Armoury in association with The Ray & Diana Harryhausen Foundation.
Based on effects characters created by Ray Harryhausen for a Charles H. Schneer Production.
TM & © Columbia Pictures Industries, Inc. All Rights Reserved.
