Week 12 - Ice Druid Sculpt

First version Sculpt

Reference Board

Character Summary

Purah is a once-mortal satyr healer who died and was reborn by the winter goddess Auril, her body now sculpted from ice while her one remaining mortal piece—her heart—is tainted by Yeenoghu’s savage curse. Exiled from the tribe that raised her, she walks the world as a quiet, eerie spirit of frost, gentle in her healing yet frightening in the cold ferocity that lives beneath her surface. She is both omen and protector—a blizzard’s ghost with a warm, wounded heart trapped in ice.

Design Ideology:

Shape Language

Purah’s shape language is relatively circular, her horns curl back, her eyes pull upwards, her ears tilt down - all on curves. However, she is not all angles, specifically in her face she gets very angular. No matter how much she adorns herself, there is something villainous at her core. Typically sharper angles will be seen in her eyes, her ears, and her jaw.

In her earliest iterations, Purah was suffocated by the large angular forms of her cloak. In image, she was this imposing figure, hulking over the other party members in a threatening manner, however this is in contrast to how she played. She was very kind to her party,

Colours

After her death, Purah loses all mortal color. Her warm autumn palette—the oranges, browns, and muted golds that set her apart from the endless white of Icewind Dale—is gone entirely. Her skin, once earthy and alive, is now bleached to icy tones, a near-white with subtle blues and greys. She is no longer the outsider visually fighting against her environment; the land that raised her has finally accepted her, absorbing her into its palette.

Iconography

In life, Purah’s symbols were warm, autumnal, and rooted in nature. In death, those icons become pale, brittle interpretations of themselves.

Owls remain central to her identity—Allomere’s shape appears in the patterns of frost that form on her skin, and the silhouettes of Great Horned Owls seem to follow her like drifting spirits. Their imagery is no longer warm or wise, but watchful and silent, guardians of a druid who walks between life and ice.

Finally, her tiger and sabertooth iconography becomes more skeletal. Where once she carried the shape of Lox in strength and memory, she now carries him like a revenant echo. The tiger marks become faint spectral stripes across her limbs, appearing only when her divine energies flare. Lox’s presence, once protective, now feels ancestral—guiding her, but from a colder place.

Known Critique

Nick (Faculty)

• Look at Dungeons and Dragons references for collectable figures/minatures
• Keep in mind the thickness of the pieces
• She currently looks pretty young - early 20s - when shes supposed to be 28
• Recommends Marko Ploof - Kaos Agents

Kate (Cohort 22)

• Add small dangles to the back if its too empty, however make sure there is still an area for resting the eye

Kaleighia (Cohort 22)

• Add tertiary detail to the stomach emblem

Mark (Cohort 21)

• Get the pose figured out sooner than later - you might need to adjust the fabric afterwards
• Finish all the sculpting that requires symmetry and transition the pose after that
• On the printing side, make sure everything is thickened and merged. All clothing will need thickness and stuff.
• Think about hiding seams in smart places when cutting apart the model.

Willow (Cohort 20)

• The design feels a little greedy, it has its fingers in so many pots that its hard to tell what the story is.
• The silhouette is getting a little bulky, dont be afraid to push te ribs inwards to create a more refined shape.
• The left has all te competing elements, ideally I would say to chose the most important so we can focus on those and have the others more in the background
• With two gods, the Yeenoghu elements should be more subtle than Auril's. The Yeenoghu elements could be in slight disrepair or have been incorporated in or taken over by Auril elements
• The metal elements specifically throw me off because they seem like such a harsh juxtaposition to all the natural elements.

Dasha (Cohort 18)

• I would recommend inflating or scaling the small/thin details like the chains, horns, and the feathers (or just merge the feathers with the dress). These will likely break during printing or when you're removing the supports.

Sarah (UCF GaIM Alumni)

• The biggest thing is figuring out what fabric or what fabric weight the dress is made out of since it will affect how it drapes and lays. Right now it reads more like a thick, heavy weight fabric but if you're aiming for something lighter, it'll need some tweaking. I recommend this post for differences in fabric weights
• The belt feels like its making a very chunky silhouette and takes away some definition in the waist area.
• The skirt is tilted a bit too far forward and should lead more towards the back
• The chains - specifically those in the back - and beads should rest on the skirt, right now they're hovering.