At the beginning of the project, we decided to carve all of the hair rather than using wigs. This way, the hair is always perfectly in place. Here we have the start of painting of the hair.

A neat trick with neoprene is to slice between the fingers and while they are still rather damp, bending them to the desired shape and holding them in place with rubber bands until the parts dry.
This way, the original sculpt and mold can be much simpler and the final parts, quite complex.

The head of Medusa with her eyes lit up. The eyes have been cut out of the neoprene, the inside of her head sprayed with shiny chrome paint. A single light from below creates the lit eye effect.

Here we have a torso being shaded with pastels, and Medusa's hands and feet drying.In the upper left hand corner
are the wings for Perseus' shoes.

Perseus' head surrounded with the pastels which apply his "makeup". A coat of the chosen flesh color is first applied and allowed to dry. Then the pastels are brushed on until the desired skin tones and hair effects are achieved. The head is then sprayed with clear matte-finish varnish.

The start of the clay for the mask of Athena along with two torsos cut and ready for the neoprene-grommet-elastic jointing system.

Some of the characters need to bend at the waist. Here the neoprene is cut in half, with grommet halves hot glued to the neoprene for strength, and elastic tied between the torso halves allowing the body to bend.

The head of Atlas with its hair paint started. Many layers later it will be done. The goal is to make his hair appear to be on fire.

Bill starts the carve for the mask of Poseidon. It will fit over the puppeteer's face, so it is being sculpted over a life-mask.