Creature Design and Sculpture for Film
Secondary Forms 1
A course by Jordu Schell , Sculptor
About the video: Secondary Forms 1
Overview
“The secondary forms are the smaller shapes and details that will make your creation specific, and help to communicate the character to the viewer. ”
In this video lesson Jordu Schell addresses the topic: Secondary Forms 1, which is part of the Domestika online course: Creature Design and Sculpture for Film. A professional approach to creating fantasy and horror characters out of Sculpty clay.
Partial transcription of the video
“In the last lesson, we covered the primary forms, also known as blocking in the sculpture. In this lesson, we're going to cover secondary form, where we start to bring the sculpture to life through smaller forms that really, really give the anatomy a convincing feeling. And for this lesson, I'm going to have to start wearing my glasses because I'm old. Secondary form is where I not only start getting the sculpture more cleaned up, but I start adding detailed forms, stuff like the rib cage, specific separate ribs in the rib cage, smaller muscle forms, things of that nature that are going to ...”
This transcript is automatically generated, so it may contain mistakes.
Course summary for: Creature Design and Sculpture for Film
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Category
Craft -
Areas
Arts & Crafts, Character Design, Concept Art, Fine Arts, Sculpture

Jordu Schell
A course by Jordu Schell
Jordu Schell is a U.S.-based fantasy artist with decades of experience under his belt. Inspired by fantasy films of the 70s and 80s, designing creatures has always been the most exciting thing in the world for Schell. He got his big break in Hollywood in 1989 when he was hired to assist on a low-budget movie called “The Bride of Re-Animator.” From there, his career took off; he worked as a sculptor and designer on “Edward Scissorhands,” “Predator 2,” “Men in Black,” “Alien: Resurrection,” “The X-Files Movie,” and many others. Notably, he masterminded Neytiri, the lead heroine in the Oscar-winning film, Avatar.
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