Hello all, and welcome Delta. Glad you like the armour piece, Tero.
I promised a step by step that shows how I use my 'tools' (for want of a better word). So here's one for a ruff of fur I've added to his backplate. It basically shows all the steps I go through and how I use each bit, so hopefully it will be helpful – and not just somebody randomly stabbing stuff with a stick.
First pic: I use bits of clay (I use Fimo professional in Dolphin grey, if that helps anyone) to block in the rough shapes I want to have, like so:
The rough shapes blocked in in full:
Then using a cocktail stick/toothpick/kebab skewer/any pointy thing I 'push' the clay down to stick it to the main model. I do this for two reasons: 1 because the main body has already been baked, so it's okay to push against (and you have to do it to get it to stick) and 2. Because in a moment we'll pull the clay away from the model, and if it isn't stuck fast it'll just peel off.
Push in quite hard here.
Then we score lines away from the main body, like this one. Hence it needs to be stuck pretty fast. Basically just use it as a pencil at this stage, drawing lines.
Here it is with that bit done. Looks rubbish so far, right? Yes. Yes it does.
Those fuzzy crumbly bits are really annoying. I don't know if it is a Fimo thing (as the clay cools it gets less elastic and more prone to breaking) or not, but it drives me nuts. You basically have to press down on each little bit with the tip of the skewer until it smooths out but leaves the lines you've drawn. I don't have a pic for this.
At this point with the neck wrinkles I stopped, happy that it was smooth enough. But for the fur I want a bit more texture, so I get a pin and score more, smaller lines on it. (Warning: colossal thumb alert!)
And there we go: fur!
Next up I'll put the finished thing...