 Hi there, it's DJB and welcome to part 2 of the 3-part Drastic Fjord custom tutorial. In the first part, we deconstructed the model, so if you have not watched that part, I would recommend doing that now. In this part, I'm going to be reconstructing the model using a variety of techniques for gluing the pieces back together with super glue and baking soda, as well as re-sculpting majority of the model to create the one-of-a-kind sculpture. I will go over a little bit of prepping as well, and getting the model pretty much ready for its final paint. So here I have the model all laid out in pieces. I'm going to get some wire, some craft wire, and some wire cutters, as well as my baking soda and super glue combination. And so we're just going to start by reconstructing certain portions. So I have drilled holes in the model, in the previous part, to reattach the hoof to this hind leg here. And so that's just measuring the wire to a point where it looks good with the other wig, an accurate size. So just setting in the legs and hooves before I add the super glue is really important, so you just want to see visually what's working, what doesn't work. But once I have the model all kind of positioned accordingly, you can see the flaws that are coming out. So that knee looks a little wonky, that foot looks a little wonky, but the hind foot was being pretty easy. So I just add some super glue to that, insert my wire into the hole, and then dunk the whole thing in baking soda so that I can set that super glue really quickly. Using a Q-tip there to just dump some more on. And you can do a couple layers of this to really make sure that that wire is set in there. You are going to have to let the glue set a little bit as well as it takes some time to fully harden so that you can handle the model and re-bend what you've inserted in. So here I'm actually attaching the hoof to the leg. And it works pretty good. The horse actually can stand on three legs, which is very convenient so I can fuss with this front leg. It's the same thing gluing in the wire and inserting that leg into the body. And this leg gave me a lot of trouble throughout the entire customizing process. It really looked wonky all the time. Here you see me bending the wire a little bit because the leg doesn't need to be straight in. It can have a little bend to it as long as it's not going to affect the final sculpture. So creating the right length is really important, making it look as realistic as possible. So sometimes you get frustrated and you need to move on, so at this point I was going to try and attach the head instead because the leg was frustrating me. So I am doing the same thing, just adding wire to the inside of the head and shoving basically the whole head full of baking soda. Adding more glue and more baking soda to create a strong layer to attach the head to. Going back to the leg as I let the head dry and I confirm my positioning and go in through the front of the model to put in that super glue and position it in there using lots of layers of super glue and lots of layers of baking soda, making sure that it's good and strong inside. Using a little bit of a longer wire is helpful so that the leg won't break. If it's too short it could slide out. So I have pretty long wire in the inside there. Now attaching the inside of the neck to the model, it's hard because it's a smooth plastic inside. But I do my best to just super glue that in there. When you add the clay over top the neck isn't going anywhere unless you're really reefing on it. Just gluing it enough so that it will stick and you can get a good distance of proportion there and it is going to look a little funny but I add a second wire on the underneath of the neck as well that I did not film and then I'm just going to put blue masking tape all the way on the outside of the neck. So adding lots of layers of tape and this just gives a better visual for what we're working with here and the neck looks good and in proportion. So the model is looking pretty good at this point. So then I'm just going to fill in some of those holes with a two-part epoxy clay. I was using a combination of epoxy sculpt and magic sculpts on this model but just filling in those really quickly they don't need to be sculpturally accurate but just adding fill and then you can sand it down and add actual detail on top but you need to just fill in that base. I'm using my silicone sculpting tools here to kind of smooth out the edges. You want to make things as smooth as possible when you're sculpting additive clay onto your model because it will create less sanding in the priming phase. You don't want to go too crazy with clay and then have to sand it all down later. So here I'm actually taking a stab at sculpting nostrils. We start with two little globbies and create the nostrils. This video is not an in-depth tutorial on how to sculpt different things. I like letting things dry so I did sculpt the nostrils first and then the rest of the face after so that it had time to set and I wasn't going to wreck the rest of the horse. So I've added filler in the legs and in the face there and the new sculpted nostrils. After that clay headset I came back and I am going to stuff those cavity holes with some tinfoil. I like using tinfoil because it's really light and it's easy to jam in there. This definitely is a learning curve because the tinfoil will fall through the model so you may have to stuff the entire horse with tinfoil. So you want to keep the sheets as big as possible while pushing them into the horse. And then adding some super glue to hold it in place, I was trying that. That sort of worked but not super good. So just shoving as much as you can to create a flush area to sculpt on top of so the clay is not going to sink into the model. I do find clay sinks into the model a little bit and so you will have to do a couple layers of clay usually on those big gap but to create as little work as possible using some tinfoil and some super glue and some baking soda, whatever works for you. So once you have that base down you can add that clay over top. Here I'm just forming it with my fingers making it as smooth as possible. So really working that outer edge so that there isn't a lot of sanding to be done later. I'm using water here to smooth out the clay but you can also use isopropyl alcohol anywhere from 70 to 90 percent. Just really smoothing that in with my fingers. Not creating any real detail here because it will be sanded down and sculpted on top but just creating that filler base of clay. So once that's set I came back and actually started sculpting some ears. I like to let the ears set on the model so that they dry accordingly and then once they are dry you can cut off that excess. Sand down the ear on some flat sandpaper. Mark the spot in which you want to position the ear with a sharpie. Grill a hole into the model using a dremel again and into the base of the ear. Attach some wires and insert them into the head. So here I am positioning these ears and setting them in with super glue. Later I will establish that these ears are definitely in the wrong spot and too far forward. So a good rule of thumb is that you should actually complete the neck before you set the ears because the positioning on this was all wrong. If I did actually finish up that neck after I added the ears so I'm just giving him a little rinse and then I'm going to use my duplicate color automotive filler primer in gray using a rubber glove to make sure that you don't get primer all over yourself. So here he is, he has more sculpture just adding in fill areas and the neck. Primer gives you a really good gauge of what you need to sand down, what you need to work on and it shows any lumps or imperfections that are appearing with your sculpture work. So here you can see that he has a lot of issues to refine in that leg and in the there's a hole there in the neck, some definite lumps and bumps that showed up. But you couldn't see before because he was too many colors and too much happening so you really need to use that solid layer of primer to see your imperfections in the sculpture. So after a lot of thought I definitely knew that the ears were way too far forward. The ears should be in line with the jaw and here they're pretty much touching his eye and I had some comments on Instagram saying that they looked funny so I actually am ripping them out and it's really important to do this in this phase of the customizing so that you don't finish the model and then forever see the flaw. So just using some pliers I'm able to chip away slowly at the clay that was already there and pull out that ear reinforcement and kind of chip off some more of that and then actually sand it down with a dremel and reposition the ear. So on the left is the original ear positioning and on the right is the new ear positioning and you can just see how much more realistic it makes the model. I've also added some additional sculpture in the throat latch and that just helps it look a lot more realistic. So it's a lot of trial and error and learning from your mistakes in this process. Using a fine grit sanding drum to sand down some of those weird areas that showed up with the primer with the dremel helps speed up the process a little bit instead of hand sanding the whole model. So this worked really well to kind of clean up those really intense areas that were causing problems and then I'm going to attach that tail in because I've sculpted the butt enough inserting a piece of wire there and super gluing it in. You can double reinforce tails if they're really crazy positioning which is sometimes recommended but for this guy most of the tail is actually going to be in contact with his body so he doesn't need a ton of reinforcement. For the mane because it's going to be long and droopy I need to create a base and I'm doing that using the blue masking tape so just taping some of that onto the neck and double siding it with quite a few layers. I'm going to draw on the formation of the mane that I want to achieve so how many pieces of long mane are going to be hanging down and then just cutting those out with a pair of really good scissors this creates a template for the mane to be sculpted on top. You can also do this with wire but in this method I'm using the tape and then once that is good we can also do that to the tail creating the sculptural foundation for it. It's going to be pretty big and poofy and thick so just adding quite a few layers of masking tape on one side and then quite a few layers of masking tape on the other side. You want it to be firm so that it doesn't bend around a whole bunch but not too many layers that it's like too thick and crazy and then same thing drawing the formation of the tail onto the masking tape and using your scissors to cut out that shape. Then I'm going to add some thin layers of super glue on top of this blue masking tape so that I create a solid base. This just firms up the masking tape so that it doesn't droop around while you're trying to sculpt on top of it. And so then once I'm ready with that I'm going to actually start sculpting the forelock so here I add some basic noodle shapes in the form of the forelock that I want to achieve following my reference photo pretty closely and then using a combination of different firmness in silicone sculpting tools. They're my favorite for sculpting hair so just adding in those details pushing together those creases of noodles and adding lots of water to smooth out the clay. So this was my first time using magic sculpt and it works a lot better for the hair sculpting process. And then brushing over with a water soaked paintbrush to smooth out all of those details. So here you can see me sculpting in the main the same way. It's a very slow time consuming process and I did the main in several layers so putting a thin layer on one side of that masking tape base and more layers as the clay cured. So you come back multiple nights to complete a model like this. Here's an example of me sculpting the tail. This is one side so clearly I would sculpt one side of the tail. Let it cure come back sculpt the other side of the tail and then you can come back a few extra times to add additional detailing in or additional thickness and hair sculpture. But really thinking about the physics of the hair how it flows how it falls and using my reference pretty closely to the fjord breed. I like the model is pretty good and pretty accurate and I fixed up that leg and detailing sculptural lots of different hair the hair on both sides and fat locks. I can go in and take a fine grit sandpaper sand down the imperfections and add another layer of filler primer. So just keep doing this until you get to a point where the model is okay because the primer is going to show flaws each time you do it. If I have any holes you can use some Bondo to put in those holes. I have a tutorial on that that I will link in the description and sanding that down when it cures. And so eventually this turns into the prepping phase where you're just removing all the imperfections and making the model final and to the point where you can paint it. So here you can see the final primed model and he's all smooth and ready and to a point where I feel I am satisfied with the repositioning drastic customizing and he is ready for his beautiful fjord paint job. Thank you so much for watching and this has been part two of the three part tutorial series and look out for the next tutorial in which we will be painting the final piece. If you have any questions of any kind feel free to comment. All of the tools that I used in this video are going to be linked in the description below. Be sure to subscribe and like this video. You can follow me on Instagram and Facebook at DJB Studios.