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. . . and apply it around the perimeter of her forearm.
The final step in basecoating the skin tones was lightly misting the original base from a distance of about ten inches to tie everything together.
Her lovely face. Note the gorgeous sculpting here.
Here you can see the gap that's caused by a combination of factors. When the sculptor cuts up the sculpt so that it can be molded and cast, material is almost always lost. This is where good engineering comes into play. The other reason for this gap is because I aligned the fingers with the pulled material from the left glove. We're gonna fxi this with a technique called mori-mori.
Models are three dimensional representations, but sometimes a little extra attention can add even more depth and dimension. Here I use pastels to define the musculature on her arms. I really dig a babe with defined shoulders, so these areas get a little extra love and attention. Note also that I carefully brushed and blended around the tops of her shoulders where they will meet the armholes of her jumper. Be careful not to mess up the highlighting you did with your airbrush back in the last step!
See photo in original gallery.
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