The more realistic the superstructure is, the more realistic will be the figure, so, at each stage of construction, I try to use materials that are similar in density and character to the corresponding parts of the human body.
The skeleton is anatomically drawn before it is fashioned out of sculptural, aluminum armature wire, which is wrapped with yarn and then shaped to the proper thickness by sewing on compressed layers of white felt, which, as on the of the densest fabrics, is useful in simulating bone.
Where muscles need to be flexible, I will use elastic fabric, but for all other areas I use batting, which is a white, nonwoven fabric, that, when sewn onto the bones has much the same feeling as muscle tissue.
Fiberfill acts very much like fat, and can be slipped in between the battle and the outer layers of nylon, which makes wonderful skin. Delicate surface features can be brought up by sewing the nylon layers with clear thread.
Facial features of eyelids, brows, nose, lips and ears can be supported by copper wire scaffolding, covered with nylon and carefully needle modeled.