I used some balsa walls of the exact size of the diorama that I backed with some modeling paste for kids. I then greased thoroughly both the boat and all the contact surfaces of the future form.
Then in used plaster again, I poured a thick layer and created the shapes of the waves. Then one particular notice about the way I am sculpting them. I heard once the great Russian painter Aivazovski watched the sea for hours and then got back home to paint it -that never did he brought his painting material near a sea shore. That's it, he just tried to capture the true idea of the sea and then tried to paint it. Aivazovski I ain't but I realized what worked for him worked for me as well. I indeed realized that if I happened to Google for sea pictures and that I kept an eye on both my computer screen and my plaster bits, I produced dreadful results. So my technique is rather simple: I watch some documentary with boats and sea in it, or I Google for sea pictures, then I empty my mind, have a breather and start the sculpting work while trying to think the less possible. I basically just leave my hands to do the job, and believe me when it works that's just an exhilarating feeling .

Honestly that's for those moments when during a fraction of second I just have the feeling that I connect with something way beyond me that keep me doing dioramas after all these years.

Anyway I had a rather good looking sea in the end, that's probably why I broke the form in 3 pieces -the only way for me to get my boat back for painting...

Anyway, i reglued the 3 pieces, using some plaster to hide the joints, made another frame out of modeling paste and used the rest of silicon I had left from my old Koktebel diorama – arather good surprise was that the silicon was still usable despite it being written on the pot that the stuff is not usable anymore 6 months after opening. There is nothing worth mentioning at that stage, except that I used an old brush and also my cutter as seen on the picture so that I would be sure that the silicon really gets in every part of the mould –especially in the small space where I would end up inserting the hull.

Painting  in sharky waters

Of course I wiped the grease out of my wreck thoroughly before undercoating it with some White Tamiya primer so that I had a base colour that would be suitable for the teeth.

So  I went back to the computer in order to draw and then print the right shark head using the few reference I had at my disposal (mainly that shark headed PT boat under restoration I told about earlier).

Painting  in sharky waters

Of course I wiped the grease out of my wreck thoroughly before undercoating it with some White Tamiya primer so that I had a base colour that would be suitable for the teeth.

So  I went back to the computer in order to draw and then print the right shark head using the few reference I had at my disposal (mainly that shark headed PT boat under restoration I told about earlier).

I glued some large Tamiya masking tape on a sheet of glass in order to be able to retrieve the mask later without trouble, fixed the sheet of printed paper above, and cut out the teeth with an X-Acto. Yet I had a rather hard time to fix those on the hull despite marking the places with a pen.

  I airbrushed rather clumsily the red mouth as a next step -no less because my Aztec is about the poorest airbrush ever, that my compressor doesn't deliver enough air, and the nozzle is mostly broken. Anyway, the use of colour is worth mentioning: indeed if I airbrushed a yellowed red tint on the tip of the keel, I used a slightly darker shade of red below, near the water. I used the same trick for the other painting steps: the reddish underside of the boat is mostly red on the top, and of a much darker brown below, same thing with the green of the upper hull