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There isn’t a lot of difference among mammals. In my studio I tend to surround myself with a lot of anatomy charts, mainly human.

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Muscles are thick overlapping sheets, essentially, and to draw them any other way is inaccurate, especially when you keep in mind that there is skin over these muscles.

With many anatomy books, the artists who illustrate them tend to over exaggerate and bulk out the muscle groups. I prefer these books to anything else because of their accurate portrayal of anatomy. I highly recommend that book, as well as “ An Atlas of Human Anatomy”, also by Goldfinger. After that I moved on to my favorite anatomy book, which is “ Animal Anatomy for Artists” by Eliot Goldfinger. I got my first anatomy book when I was around 12, and it was called “ An Atlas of Anatomy for Artists” by Fritz Schneider. JSM: Studying anatomy is insanely important. MC: How important is it to study human and animal anatomy both from life as well as photos when it comes time to designing a fictional creature? Do you often visit zoos or local museums, life drawing sessions and or draw anatomy studies from books and reference material online? (Note: Older Traditional Clay Sculptures by Jerad) It’s just more efficient and speed is a big factor in design. I used to need a scanner for my drawings, but now I’ll draw directly in Photoshop.

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As a designer the more portable you are the better. I find that with programs like Zbrush the results come much faster and require no set up or cleanup. Unfortunately I haven’t sculpted in clay for years, but do miss it. I’ll draw, paint in Photoshop, integrate photos in paintings, just photo-bash, model in Zbrush, or sculpt in clay. I feel that being able to switch up the way you work makes the process consistently interesting and it keeps me on my toes when I’m working an eighteen hour day. I design using a wide range of techniques. I really like the tone of that film and the creature was a blast to design. The Burrowers was a great project even though it ended up being a direct to DVD flick. This was also the first big budget film I worked on where I could really see my designs come through. Clash of the Titans was an amazing project and I loved designing for Louis Leterrier. JSM: My Favorite past projects are Clash of the Titans and T he Burrowers. Marantz, Aaron Sims, John Norris, Steffen Reichstadt) Most of his latest jobs have been on big budget films to name a few: Spiderman (2012), Transformers 3, X-Men First Class, Ghost Rider: Spirit of vengeance, Sucker Punch, and Green Lantern.

(At 'The Clash of the Titans' premier, Left to Right: Courtney Bell, Jerad S. While attending the local FX House, he learned everything from sculpting to mold making.

During which time he had taken an internship at a local special FX House. He also attended the Los Angeles County High school of the Arts in East LA. Prior to college, Jerad only started to really study creature design at the age of 13 taking an interest in creature sculpture, figure drawing and character design at a school in Sherman Oaks California called Associates in Art where he was taught by industry professionals. Jerad studied illustration with a minor in entertainment design at the Pasadena Art Center College of Design, graduating in 2005 (at the time the entertainment department was still being formed and entertainment design was not available as a major). His work always stood out to me before I really knew who created it, because of the striking silhouettes and the unique designs of classic creatures. I have come across Jerad's work many times, whether I'm lurking on art forums, or art blogs, google images, looking up art for various films or games.