ts

pr

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Minifigure
Customization

Table of Contents
i.

Dedication...........................................................2

1.

LEGO Minifigure: a History.........................3

2.

What is Customizing?....................................5

3.

Purist Customizing.........................................7

4.

Customizing Toolbox.................................10

5.

Decals
a. Technical Info....................................14
b. Style......................................................17
c. Printing................................................20
d. Application........................................21
e. Advanced Application...................24

6.

Paint, Dyes, & More.....................................28

7.

Custom Parts & Accessories

a. Modification......................................32
b. Cloth, Paper, Film..............................38
c. Clay Sculpting...................................41
d. Advanced Modification.................45
e. Molding & Casting..........................48

8.
9.
10.

f. Best of Hand-Created
Custom Parts ....................................55
g. Grey Market Accessories...............58
Displaying Customs....................................62
Digital Photography...................................68
Custom Minifigure Gallery......................74

Photo by Jared Burks.

Populate your world!

Minifigure Customization:
Populate Your World
Author: Jared Burks
Layout Artist: Joe Meno
Contributing Photographers: Ace Kim, Andreas Holzer,
Anthony Sava, Bluce Shu, Chase Lewis, Chris Campbell, Chris
Deck, Don Reitz, Emily Brownlow, Ethan Hunt, Gaetano
Dooms, Hazel-Tam, Isaac Yue, Jamie Spencer, Jason Burnett,
John Arnst, Jordan Schwartz, Kevin Chu, Kris Buchan, Kyle
Peterson, Larry Lars, Mark Parker, Matt Rhody, Matt Sailors,
Moko, Nicholas Sims, Robert Hendrix, Robert Martin, Tim
Fortney, Victor Sobolev, Michael Xero_Fett Marzilli, and
Will Chapman.

TwoMorrows Publishing

10407 Bedfordtown Drive

Raleigh, NC 27614
www. twomorrows. com e-mail: twomorrow@aol. com
Second Printing: November 2013 Printed in China
ISBN-13: 978-1-60549-033-5

Dedication
I would like to dedicate this book to my wife, who is my
best friend. She has supported my insane exploration into
this hobby and has endured many trips to the hardware,
hobby, art, toy and assortment of other stores. Thank you
Amber, for letting me spend too much time and money on
creating toys.
I would also like to thank a few friends who have helped
me and shared in the insanity: Chris, Mark, and Matt, many
thanks.
I would like to thank all who contributed photos to the
book. It would not be what it is without your excellent
custom figures. Thank you.
Thanks to Joe Meno for his tireless efforts in assembling the
book. Thanks Joe!
Finally, I would like to thank John Morrow for the
opportunity to create this book. Thanks John.

Trademarks and Copyrights:

LEGO,TECHNIC,CREATOR,and related product lines are trademarks

of the LEGO Group of companies which does not sponsor,authorize
or endorse this magazine. All contributions are herein are copyright by
their respective creators. All artwork and photography is copyright the
year of production,its creator; and said artwork or photography or other trademarks or registered trademarks of their respective owners; and
said artwork or photography or other trademarked material is printed
in these pages with the consent of the copyright owner and/or for
journalistic,educational and historical purposes with no infringement
intended or implied. STAR WARS and related characters,vehicles and
settings are TM and Lucasfilm. Iron Man,Ghost Rider,Spider-Man TM
& Marvel Characters,Inc.Batman, Robin, Watchmen, Superman,
Hawkgirl and all related characters and elements are trademarks of and DC Comics. Robby the Robot is a trademark and
Turner Entertainment Company, a Time/Warner Company. This
entire book is BrickJournal Media,LLC and TwoMorrows Publishing
and may not be reprinted or retransmitted without the written permission of the copyright holders. All rights reserved.

Dont miss Book Two!

The sequel Minifigure Customization2: Why Live in the Box? introduces more
complex techniques to alter the lovable LEGO minifigure, with tutorials on
virtual customization; designing decals and advanced decal application;
custom part modification and creation; 3-D printing; advanced painting
techniques; lighting figures with LEDs or EL wire; tips on minifigure displays; and digital photography tips to capture your custom figures in the
best light. Includes a Gallery of custom minifigures from top customizers,
with their favorite tips and tricks. Written by Jared K. Burks.

Available at www.twomorrows.com
2

Chapter 1

LEGO Minifigures: a History

Any student of history knows we build on the past, therefore a

short review of the history of the minifigure will help improve
your custom creations. Specifically, we can learn where LEGO
has succeeded and failed so we dont repeat their mistakes
and can recreate their successes in our designs.
The LEGO Company created the minifigure in 1974. This
figure did not have functioning arms and legs, yet it changed
the way we play with the bricks, allowing for role-playing. In
a short 4-year period, by 1978, this figure was altered into
the figure we know today. The first modern minifigure was
a police officer. In total, 7 different figures were created for
the themes of Town, Space, and Castle in 1978. These early
figures as well as those created today are compliant with all
LEGO system standards. Specifically, the minifigure body is
three bricks high and the head is one brick high. The figure
has the ability to hold LEGO bricks and it can be connected
standing or sitting on top of other LEGO elements. It is this
scale that will challenge your ability to create custom figures
and parts for those figures.
Two months after the release of the initial 7 figures, the LEGO
Group released the first female figure, a nurse. Back in those
days, the torso designs were created with stickers and the
figures head sported the now classic smiley face. During
this era, the goal was not to limit a childs imagination and
play so the figures were supposed to have no gender, race,
or role; these characteristics were to be defined by the child.
The nurse sported a feminine hairstyle, so even from the
beginning of minifigure creation LEGO has been conflicted
in designing figures as the nurse went against their policy to
not define the gender of a figure.

Some of the landmark LEGO

minifigures that have been
produced.

It didnt take the company long to develop the minifigure.

In the late 80s with the release of the LEGO Pirates theme,
minifigures needed to change their facial expressions from
happy and neutral to happy or grumpy and good or evil.
Figures also developed ocular issues requiring eye patches
and required prosthetic hooks and wooden peg legs for
lost hands and legs. These new figures helped drive sales of
the Pirates theme to new heights hinting at the power of
the tiny titan.
The minifigure had a big decade in the 90s as it was
animated for the first time in Panic on LEGO Island and
was incorporated in the first LEGO licensed product with
Lucasfilm Ltd. to create the characters of the Star Wars galaxy.
This resulted in many firsts for the figure; most importantly,
this was the first time a figure took on a specific role as they
represented the characters from the film. It also represented
innovation of the figure itself as LEGO created the clamshell
head to create Chewbacca and later used the same strategy
for the Gamorrean Guard. In the late 90s LEGO had another
first for the minifigure: the Native American Indian figures of
the Western theme sported a nose. Also during the era the
figure was spotted showing off its toes with the release of
the Pharaoh Hotep in the Adventurers theme.

In 2000, the LEGO Group created soccer player figures that

stood on spring-loaded platforms, allowing them to become
a functional element. From this step, the company launched
basketball figures which placed springs directly in the legs
of the figures. With the launch of the Basketball figure came
the NBA figures which, for the first time, featured figures
with more authentic skin colors. Also during this time the
figure started taking on other ethnicities, which is evident
in the Orient Expedition and Ninja themes. In 2004, all LEGO
licensed products started featuring more natural skin tones
as they represented real-world characters. This was started
with the Lando figure in the Star Wars Cloud City set. This
set was a bit confused for LEGO as Lando featured a more
natural skin tone yet every other figure in the box was still
yellow-skinned. With the release of more natural skin tones,
this has freed the design palette to once again contain
yellow. Designing anything that contained significant
portions in yellow made the figure appear scantily clad or
perhaps even nude. As a customizer, the decision will have
to be made to use either yellow figures or the more accurate
skintones.

More of the landmark LEGO minifigures that have been

produced.

Over the years, the LEGO Group has tried many different
design options on the LEGO figure. The figure has been
featured as knight, astronaut, policeman, racing driver,
space warrior, Harry Potter, Santa Claus, Steven Spielberg,
crane operator, football player, explorer, nurse, basketball
player, Spider-Man, frogman, skier, fireman, skeleton, pirate,
rollerskater, American Indian, queen, and the list continues to
grow. The figure has had various ethnicities, expressions, noses,
toes, flesh tones, etc. As many different designers created these
figures, there has been a continuity issue with the minifigure.
To address this, the LEGO Group has recently prepped a 300page book on how to display and design the figure. This book
was promoted in an internal memo that like (many internal
LEGO documents) was leaked to the public on the internet.
While we dont have access to this book, the memo gives away
several dos and donts for minifigure design. Several of these
new rules have been broken already by LEGO.
In the leaked article about the guide, the company states,
Since 1978 more than four billion minifigures have been
manufactured with different types of clothing, equipment, and
facial expressions.The minifigure lives on in many different
versions but preferably not too different. It is this last
statement that is concerning to the community of minifigure
customization. By limiting the figure it limits our ability to just
imagine. This means we sometimes have to create from scratch
to fill the void where LEGO leaves off.The leaked pages also
reveal that a minifigure may not have a nose except in special
circumstances and gives the example of the Clown recently
released in the Collectible Minifigure Series 1. LEGO goes on to
state that the figure was an accessory to the bricks, originally,
but has become an icon today. Well, LEGO needs to realize
the paradigm shift that in many cases the bricks are actually
accessories to the figures.The article announcing the guide also
notes that figures are not to have toes and that all designs will
portray the figure as modest. As a creator, you will need to decide
when to stand by the rules or examples that LEGO sets and
when to break them.

Chapter 2

What is Customizing?

After an examination of the minifigures supplied by the

LEGO Group, it is important to figure out just what it means
to customize the figure. Where does customization begin?
Can you merely switch out the accessory, change the hair
or hat, or alter the figures leg color? This is a question that
only the customizer can really decide. The way I define
customization requires a vision, much like a sentence
requires a complete thought. When you have a vision of a
custom figure and proceed through a process of executing
that vision to find or create the combination of parts needed
to create that custom figure, you have customized and
created something new. Merely switching parts around isnt
really customizing.
Here are a few examples of some great custom figures:

A diverse assortment of custom-created

minifigures, ranging from brickbuilt figures
to modified figures. The figures are (from top,
left to right) Gunner by Jordan Schwartz, Iron
Man by Moko, Minifig Dissection by Kris Buchan,
Boushh by Christopher Deck, the Watchmen
by Jordan Schwartz, and Napoleon
by Gaetano Dooms.
5

Notice that several of the customs seen in these images

use official parts (known as purist customization), decals,
modified LEGO elements, commercially available third
party parts, and new parts from scratch. Many consider
purist customization as the most difficult; as this group of
customizers commonly use parts in new and creative ways.
The techniques used to create the custom figures seen in
the montage in the previous page will be explained in the
following chapters.

Kris Buchans Darth Krayt.

Mokos custom girl figure.

In the previous chapter, we have examined minifigures

supplied by the LEGO group, which is important as it helps
define a figure and where customizing starts. Now you need
to determine what it means to you to customize a minifigure.
Can you merely switch out the accessory, change the hair
or hat, or alter the figures leg color? Ask yourself: how much
impact does it really make? Changing a leg color for example
could be very impactful, if the right color was used, like flesh or
yellow. Recall that customization requires a vision, much like
a sentence requires a complete thought, therefore executing
your vision of a figure results in a customized and newly
created figure. Merely switching parts around isnt really
customizing in my mind. As one last justification, when you sit
to build something out of bricks, do you merely start randomly
sticking bricks together or do you have an idea, no matter how
vague, of what you want to build before you start trying to
build it. A custom figure should be no different. You need to
know what you are building before you attempt to build it.

Robert Tothiro Martins Bossk

minifigure.

Chapter 3

Purist Customization

Purist customization can be simple and elegant, as well

as complex and innovative. With the understanding of
customizing gained in the previous chapter we can begin
a discussion of purist customization. Purist customization
is simply assembling figures using entirely LEGO-derived
elements. Nothing is purchased from an aftermarket
producer, scratch-built, sculpted, decaled, painted, or
sanded; figures are entirely made from the palette of
parts, designs, and elements that LEGO has produced and
given us. Purist customizing sounds easy, and honestly it
is where many customizers start, however it can be quite
challenging and a great creative outlet. For this chapter
I am going to break purist customization into three
categories; traditional, non-traditional, and brick.

Blade Runner figures, by Jordan Schwartz.

Traditional
Traditional customization is the most limited as it limits
builders to using only minifigure parts. If it wasnt designed
by the LEGO Group to use with a minifigure you cant use
it. These parts are readily found in the Bricklink catalog
categories with Minifig in the title (body part, body wear,
head, head modified, headgear, headgear accessories, legs
assembly, shield, torso, torso assembly, utensil, and weapon).
This will limit what you can create; however there are
thousands, if not millions, of different figures you can create
using the palette that LEGO has supplied. Just remember
you cannot alter any of the parts.

A few more figures (right, far

right, and below)
by Jordan Schwartz.

A figure by John Arnst

of Norm Abram.

Historical Figure Contest

The best reference source for this technique is the Historical
Minifigure Contest I hosted a few years ago (www. flickr.
com/photos/kaminoan/sets/72157602244759515/). This
contest produced brilliant figures by participants of all ages.
This technique doesnt always require the creative stretch
that some customizers use; simple and elegant approaches
can create brilliant figures. If purist customization is for you
the primary skill set is in-depth knowledge of the LEGO
figure catalog. The best resource for this knowledge is the
Bricklink catalog. There are thousands of minifigure parts,
so finding out about all of them is difficult, however this
variety allows for millions of combinations speaking to the
volumes of figures you can create. The Bricklink catalog will
also allow you to also see how LEGO originally used the
elements.

Boba Fett built

by Gaetano Dooms.

A couple of alien minifigures by Matt Sailors.

Non-traditional
Non-traditional customization opens the door to any LEGO
element; however the bulk of the figure is still created
using minifigure elements. You will be completely surprised
how people can incorporate and use LEGO elements in
minifigure customization. Aliens, robots, and very odd
minifigures are all possible when you mix bricks, especially
when using bricks in conjunction with Star Wars robot
and Exoforce themes elements. All is possible with a bit
of imagination and various bricks and other small parts.
The figures can even look very stylish when some purists
get a hold of the right LEGO elements. Non-traditional
customization allows for some real ingenuity. Long before
we had Ackbar some customizers figured out ways to
create great likenesses of Ackbar using LEGO elements.

A member of the Union Jack Black

March built by Gaetano Dooms.

Grenadiers
by Gaetano Dooms.
More aliens, this time
by Jordan Schwartz.

Star Wars characters built by Christopher Deck.

Brick
Brick-built minifigures are figures built in the minifigure scale
entirely out of bricks, using non-traditional minifigure parts.
Robots are typically easily built using this technique; however
you will be amazed at what you can build. Here are a few
examples that simply amaze me. This is a very powerful concept,
and if you allow for the figure to grow slightly in scale, brilliantly
articulated figures can be created that are no more than 1.
5 times the height of a minifigure. This really speaks to the
creativity of many customizers.

Napoleon on
horseback, built by
Gaetano Dooms.

This visitation to the world of purist customization has opened

the doors to creative parts use. Using the bricks and the
minifigure parts in new and creative ways will allow one to
create almost any character. Purist customization takes a bit
of imagination as you have to look beyond what LEGO has
intended for the part and see how you can incorporate it into
your creations. I would love to say that purist customization
is the most economical form of the hobby, however with the
growth of the hobby over the years many parts have gone up
in price from a few cents to several dollars. Demand for parts
has grown with the hobbys growth and in some cases it is now
more economical to create your own part. With this information
you must ask yourself, are you a purist or are you willing to paint,
cut, glue, sculpt, and decal to create your new custom figure?

Robby the robot, Santas Ground Crew (with reindeer),

and a brickbuilt toy soldierall fan-built creations by
Matt Sailors.

Chapter 4

The Customizing Toolbox

Before jumping off into any hobby, it is important to understand
the tools needed to get real enjoyment from the hobby. In this
chapter many of the tools will be outlined and if I can provide an
economical source for them it will be noted. Please note sources
referenced are in the US, where I am located.

Cotton swabs and

paintbrush, for decal
work.

The Customizing Toolbox represents the typical tools used for

different customization techniques; these are by no means
absolutes. When I started sculpting, I used paperclips, broken
plastic forks
whatever I could find. This is merely a guide.
Clearly the one group of parts you cant avoid is minifigure
parts, which will not be covered here, so check Bricklink. This
chapter will not cover the tool use, merely what is available,
where to find them, and what skill set they apply to. The point
of this chapter is to point you in the right direction early and
hopefully save you a few dollars on the tools you do purchase.

Decaling
Software
Draw Plus
Inkscape
Printer
Printer
Decal Film
Testors Custom Decal
Micro-Mark Decal Film

www. freeserifsoftware. com/software/drawplus/

www. inkscape. org
www. spoofee. com for deals

~$50

www. testors. com/product/0/9198/_/Custom_Decal_System

~$10
www. micromark. com/decalling. html ~$10

Total Cost
The foundation of minifigure customization lies in custom
decals. Waterslide decal film is used to affix a new design to
the minifigure parts. This part of the hobby requires a few
items: vector art software, waterslide decal film, printers,
decaling solutions, and application tools.
There are several vector art programs out there including
CorelDRAW (my favorite), Adobe Illustrator, Draw Plus, and
Inkscape. The last two are mentioned as they are free, which
are great alternatives to the high-priced commercial options.
Waterslide decal film can be found almost everywhere these
days (hobby and art shops) including Wal-mart. Typically
decal film is about $1 per sheet. You can pick it up locally to
avoid shipping fees. While these brands arent the best, they
are not bad to start with as they are generally a bit thicker
and easy to apply. The most commonly found film is from
Testors. If you cant locate this option, Micro-Mark offers
an excellent film. Testors film is strictly for inkjet printers,
whereas laser and inkjet options are available from MicroMark. You must choose film that is designed to use with your
printer (laser or inkjet). Please review the section on decal
printing (page 20), especially if you choose an inkjet option
as the decals MUST be sealed prior to dipping them in water.

10

Free
Free

The decal film type brings us to the next piece of

equipment required: a printer. If you hunt around,
you can find a real bargain on a printer that is,

~$60
if you dont already have one. If you dont mind internet
purchases check Spoofee. com or other bargain-finding
sites for a few days and I am sure a deal will pop up.
Decal application tools are the next items required. Decal
setting and softening solutions are critical to advanced
application techniques and highly recommended. These
solutions can be purchased at most hobby/model stores.
The typical brands are Badger, Model Masters, and
Microscale. Badger brands can be found at Micro-Mark.
For others you will have to search online or locally (Model
Masters is fairly common and can likely be found locally).
The free option is diluted white vinegar (2 drops of water to
1 drop of vinegar). To apply these items you will need some
small brushes. I recommend inexpensive nylon brushes,
which can commonly be found at dollar stores. I prefer
nylon because they seem to last a bit longer. Wood stick
cotton swabs and tweezers are also very helpful and can be
purchased economically at a pharmacy. Decal sealants are
also needed and are merely clear paint; spray cans offer the
easiest application. You dont need an airbrush, merely buy
spray paint. Model Masters has a great clear lacquer option;
however the $3-5 clear Krylon at Wal-mart works well. Before
spraying, ALWAYS make sure the nozzle is clean so it wont
splatter when you spray your decals or figures. Also make
sure the decals are completely dry first.

Parts Modification/Creation & Color Alteration

General
Hobby Knives
Hobby Knives

www. harborfreight. com/cpi/ctaf/displayitem. taf?Itemnumber=96551 $13

www. harborfreight. com/cpi/ctaf/displayitem. taf?Itemnumber=32099 $6

Rotary Tool
www. harborfreight. com/cpi/ctaf/displayitem. taf?Itemnumber=92880
Rotary Tool
www. harborfreight. com/80-piece-rotary-tool-kit-97626. html
Kevlar Glove
www. harborfreight. com/cpi/ctaf/displayitem. taf?Itemnumber=66062
Micro-mesh
micro-surface. com/index. php?main_page=product_info&c
Path=273_188_189&products_id=53
Paint
Testors Paints
www. testors. com
Dyes
Vinyl or Fabric - Auto part store or Wal-Mart

$10
~$5

Preval Sprayer

www. prevalspraygun. com

~$8

Sculpting
Sculpey III

www. sculpey. com

~$2

Dental Tools
Carving Tools
Clay Shapers
Molding and Casting
Smooth-On Kit
Micro-Mark Kit

$30
$10
$4
$47

www. harborfreight. com/cpi/ctaf/displayitem. taf?Itemnumber=1816 $3

www. harborfreight. com/cpi/ctaf/displayitem. taf?Itemnumber=34152 $5
www. texasart. com/g11/Colour-Shaper-Modeling-Tools. htm $6
www. smooth-on. com/Getting-Started-Po/c4_1217/index. html
www. micromark. com/COMPLETE-RESIN-CASTING-STARTER-SET,8174. html

Total Cost

$120

Modification tools can vary widely from one project to

another, but the basics are hobby knives (X-acto) and rotary
(Dremel) tools. If you buy name-brand versions of these
tools, prepare to spend quite a bit of money, however. Very
nice alternatives can be found at Harbor Freight for very little
money. Harbor Freight is a US brick and mortar store with an
online shop, so if one isnt near, you can buy online.
If you choose to go into the store, make sure to print the item
details from the online store. The brick and mortar prices
are slightly higher and they will price match their webstore.
Remember that knives are sharp and can cut you as easily as
your project, therefore I recommend a Kevlar glove, which
can be found online at woodcarving stores or Harbor Freight.
Please know that many alterations can be achieved with
sandpaper, which is safer for your fingers than a knife. A local
home improvement store will have sandpaper, but I doubt you
will find any paper of grit 800 or higher.To polish plastic back
to a high shine you really need a very high grit paper (~12,000).
Micro-mesh makes professional grade cloth-backed sandpaper
that will last for quite some time.They are expensive compared to
the home improvement store option, but in this case I completely
believe it is worth the investment. Micro-mesh makes a kit for
wood turners to make writing pens, and there are resellers on
eBay that have these cheaper than anywhere else I have found.
The turners kit contains 9 sheets of 3 x 6 inch sandpaper with
gradually increasing grit increments from 1500 12,000. Using
these in series will leave sub-micron (VERY TINY) scratches that
are only visible to a microscope, thus leaving your project with a
high shine.These papers can also be used in sculpting.

$50
$90

Hobby knife set.

Rotary tool set.

Kevlar glove.

11

Paints and Dyes

Of all the tools needed, paints are the easiest to find. You can
pick up Testors hobby paints cheaply at most stores. Look for
the primary color bulk paint packs, these typically run $5-10 and
have 8-15 paints of various color in them. These paint packs are
a very good value for your money. With a primary color pack
you can mix and make most any color. The hobby uses small
items that dont require much paint, so mixing your own paint
with a few drops from a bottle works great. Sometimes these
packages come with brushes, sometimes they dont. Recall from
the previous section that dollar stores commonly offer assorted
brush packages, so one purchase can have two functions
(painting and decaling). Even if most brushes in the package are
not useable the few that are will be worth the price, so check an
art stores pricing for one or two brushes. Personally, I like nylon
brushes as they last quite a while. Typically nylon brushes have
white or brightly colored bristles of uniform color.

Micro-mesh.

There are alternatives to painting such as vinyl or fabric dyes.

These are much more permanent alterations to the parts and
typically cannot be removed by scratching the part as they
absorb into the plastic. Vinyl dyes can be found at automotive
stores, the drawback is it is typically only available in limited
colors. Just be sure you are purchasing a vinyl dye and not
a vinyl colorant. Refer to the color alteration section for the
difference (page 28). Fabric dyes are available most anywhere
including Wal-mart. The liquid versions seem to work better, so
search these out instead of the powders.

Preval paint
sprayer.

Nylon paintbrush.

An airbrush is a nice tool to have, but not always cheap. The

low-cost option is about $30, but these are really only good for
broad coverage and dont always meet every need. Investigate
this tool heavily and only purchase when you are sure you
have a need. A much cheaper alternative to an air brush is a
Preval paint-sprayer. This system has a container you can add
any paint to and turn it into a spray paint.

Sculpting (Clays and Tools)

Dental tools
for sculpting.

Packages of sculpting clay are very economical and can

be found most anywhere. You can work with the clay with
homemade tools: paperclips, tongue depressors or popsicle
sticks, and anything else small. However, some economical
tools are available from Harbor Freight. There are more
expensive options at art stores that have rubber tips or made
from surgical stainless steel that are quite nice, so ask yourself
how much sculpting you are going to do. Most often the lower
priced tools are more than enough.

Rubber-tipped clay
sculpting tools.

While the rubber-tipped modeling tools mentioned above

are not absolutely necessary one or two can be helpful.
These typically cost about $6 per tool. Luckily I find them
locally, but depending on where you are you might have to
look online. These tools are really quite nice and work great
as they allow for very subtle detail work.
Baking sculpting clay uses your home oven (no expense) or
you can cure it in near boiling water. Practice clay sculpting
BEFORE getting into molding and casting as they can get
quite expensive. Not every piece needs to be molded.

12

Molding and Casting Kits

Molding and casting can get expensive quickly and are more
technically demanding than any other part of the hobby. If
you choose to go this route, check what is available locally. I
recommend starting with a kit that contains both rubber and
resin; both Smooth-On and Micro-Mark offer these types of
kits. I dont recommend Alumilite as you get half the volume of
rubber when compared to other options for the same price. As
this is the most expensive and complex off-shoot of the hobby,
just as with the airbrush, weigh your needs before purchasing.

Cloth Accessories
General
Leather Punch
www. harborfreight. com/leather-punch-tool-97715. html $7
Scissors
~$5

Total Cost

~$12

For cloth, outside of the material and a pair of scissors,

there is really only one tool, a multi-punch leather tool. A
leather multi-punch works well, but is not as nice as what
Mark MMCB Parker uses. Mark drives the innovation of this
portion of the hobby and he prefers a set of metric wad
punches. However, the leather multi-punch will give good
results and is significantly cheaper. Harbor Freight also
carries this item as well. Finding a metric set of punches is
quite difficult, an English version can be used, however it
doesnt create holes to the exact dimensions of the LEGO
figures neck and arms. You will also need a nice pair of
fabric scissors to cut the fabric to shape.
Cloth is cheap and can be found at any fabric store.
Remember you dont need much for minifigures; so check
the scrap and discount areas. Another alternative are precut quilting squares available at many stores. Just make
sure you are buying broad cloth, if you want to stay with a
similar fabric to what LEGO uses. You will also need an antifraying solution, which is also available at the cloth store.

Leather punch.

General
Tools (Light Tent,
Backgrounds,
Photography/Digital
Effects
General
Ifranview
Light Tent

www. ifranview. com

Photography section for DIY

Total Cost

Free

Free

Digital Editing
Please visit the Digital Photography section (page 68) to find
out how to make your own economical light tent. If building
one isnt your cup of tea, there are many versions available
online for a wide range of prices. Many include lights and
backgrounds, so make sure to look for a deal. As for digital
editing, Adobe Photoshop is the standard. However, it is hard
to beat the free Irfanview program if you are on a tight budget
as it can be used to do many editing functions.
So if you want to dive completely into the hobby with the best
options as I see them you will have about $220 worth of items

to purchase including a printer. I dont recommend starting

the hobby by purchasing every item; figure out what you
really want to try first. Work on the skill set required for that
area of the hobby and once you have perfected it, then move
on to another area. I would buy the least expensive items first
and then move on to more expensive options as you improve
your skills. You dont need expensive equipment to get great
results, mainly just time and practice.

13

Chapter 5a

Decals: Technical Information

Printed Ink
Clear Transfer Matrix
Adhesive layer
Dextrose Adhesive and Release Layer
Blue Paper Backing

Waterslide Decal Film

Waterslide decal film is just as it sounds: a thin film used
to transfer a design to a surface using water as a releasing
agent. Specifically, ink is printed face-up on the waterslide
film, which relies on a dextrose corn sugar residue to
release the film from the decal paper and to assist in
the bonding of the film to a new surface. Better quality
decal film also has a water-based adhesive layer added to
improve the bonding of the film to the surface. The film
itself is typically made of lacquer.

Waterslide film is much thinner and capable of taking on

complex curves, something that many other decorative
techniques (such as vinyl stickers) are not. Also as waterslide film
is printed, it can be produced with very high levels of detail. Until
recently, waterslide film was only available through professional
printings; however with the advent of printable film for inkjets
and laser printers, as well as color copiers, custom decal creation
at home using waterslide film has become accessible. Because
of these characteristics, waterslide film is the method of choice
when it comes to customizing figures.

Designing Decals
Designing decals sounds easy: draw a picture of what you
want your custom figure to look like using a computer.
While this sounds easy, there are many aspects that are
critical to achieving good results. The aim of this chapter
is to get you to think about the end result while creating
the decal. To begin this topic we need to understand how
different art programs create graphics, specifically raster
and vector formats.

The Foundation: Raster vs. Vector

Raster image formats are made of tiny squares of
color called pixels; these are primarily used in digital
photography. The main graphic formats of the web, GIF
(Graphics Interchange Format) and JPG (Joint Photographic
Experts Group), are raster formats. When you zoom in,
these images become blocky (or pixilated). Think of a LEGO
mosaic when you can see a raster picture, stand far away
you see a picture, stand close you see squares. This image
format will always have the limitation of the pixel size.
Vector formats are not based on a square pixel but
mathematics, as such, images will never appear pixilated.
EPS (Encapsulated PostScript), to some extent PNG (Portable
Network Graphics) and native formats like AI (Adobe
Illustrator) and CDR (CorelDRAW) are vector formats. When
you magnify vector art, it stays sharp and clean because the
same math applies at whatever the magnification. Think
of looking down railroad tracks, they never meet and will
never meet, even using binoculars, you maintain
14 resolution despite the magnification. In a raster
format because of the pixel size limit the tracks will

Raster Image: All digital photographs are raster-based

images, if you zoom enough or the dpi is low enough the
pixilation will be visible.

meet when magnified. Vector graphics are used in illustration

and design (commercial artwork). Most home users, doing
simple web graphics, drawing pictures, or photo editing
dont have a need for these formats. However, for the best
results it is important that you create your designs in a vector
art program. If you dont have a vector program, consider
using trial versions of the aforementioned programs or for
free programs check out DrawPlus 4 or Inkscape (check the
Toolbox chapter for links, page 10). If you dont want to use a
vector art program, raster programs like Adobe Photoshop
can be used, just remember to set your dpi (dots per inch) as
high as possible. This value is the resolution of your image,
thus the size of your pixel, which is tied to its print quality.

Color
Color is a complex topic. Lets consider the two formats
used to create and display color, RGB and CMYK. These two
formats result from the difference in the behavior of light
mixtures (additive color) and pigment mixtures (subtractive
color). What this means is that color is created by two
very different phenomena. When light is perceived by the
eye we are examining the wavelength of the light in the
visible spectrum. When this light is separated by a prism
you can see all the colors that add (additive color) together
to make white light. As you move up the wavelength you
proceed through the colors (Violet, Indigo, Blue, Green
Yellow, Orange, and Red). When you see color from an
object, it is the result of the reflection of light off that
object. Specifically, all colors except the reflected color are
absorbed by the object, thus this is subtractive color (all
colors are subtracted from the resulting color as they are
absorbed by the object). Therefore we have two formats to
use create color, RGB and CMYK. To understand why this is
important consider how each are used.

CMYK (Cyan, Magenta, Yellow, and Black) values are

mixed by subtraction to create all other colors. These are
used in printing devices and benefit from having a true
black color. CMYK color format is most commonly used in
vector imaging and will look best when printed. Printers
predominately use the CMYK format, thus if you create
your graphics in a CMYK format the colors dont have to be
converted from one format to the other before printing.
This format doesnt always look the best on the screen as
the colors are converted before displaying in RGB, but the
goal is the final printed version, not the intermediate.
Thus, when choosing a color format weigh the objective:
in this case it is printing your decal designs. Check your
printer, as most use CMYK. If this is the case, design in
this format. Luckily, the CMYK and RGB color values are
published on Peeron for the LEGO color palette (www.
peeron. com/cgi-bin/invcgis/colorguide. cgi and www.
peeron. com/inv/colors). If you utilize colors from the LEGO
color palette any design you create will appear at home in
your LEGO structures and vignettes. Remember that every
printer is slightly different and any color value used from
the published palette might not be exact, but it will be
very close. As such, small test printings to perfect the color
match can be performed. Remember to check the color
against applied decal designs, not merely printed designs
as the final application could alter the color slightly.

Templates

RGB (Red, Green, and Blue) values are mixed by addition

to create all other colors. These are primarily used in TVs
and other display devices where they represent small color
elements that when mixed make every other color. White
is achieved by mixing red, green, and blue in equal value.
RGB color format is most commonly used in raster imaging
and will look best when presented on a display device like a
monitor, projector, or television.

Once you have selected an art program and become familiar

with it, the fun can really start. The first thing you will need is
a template of the LEGO minifigure. With a template you will
know the exact size to design any decal. To create a template,
grab a metric ruler and a pen and paper. Merely take the part
you are designing for and accurately measure the outside
edges. Then redraw this structure in your art program to
the exact dimensions. While this sounds easy it can be
challenging due to the curvature of certain body parts. These
surfaces can be measured using fabric tapes. Another trick is
to place the body part on a piece of paper and trace the part;
measure the resulting tracing.

15

By creating everything to scale it avoids conversion errors

when it is time to print. The basic template is on the left, please
note that the decal area of the torso is ~1. 42 cm x 1. 2 cm, the
hips are 1. 4 cm x 1. 1 cm, and the legs are 1. 42 cm x 1. 2 cm).
Many other templates can be downloaded at a site I helped
found, Minifigure Customization Network or MCN (www.
MinifigCustoms. com).
The minifigure head is a unique body part that is out of scale
to the rest of the figure. As such, designing appropriately for
the head is quite difficult in relation to the rest of the figure.
To begin, lets think about the scale of the minifigure face.
Lets review what the LEGO Company has done to better
understand the dimensions of the minifigure face. The rule
of thirds, a concept taught when sketching the human face
still applies; basically divide the face into 3 equal portions
vertically. This allows for the scale and placement of the facial
features in scale to the head (Top of brows, Center of eyes, and
Bottom of mouth). Decal designs featuring hair require the
decal to flow onto the curve of the minifigure head to allow
the decal to be properly placed in relation to minifigure head
accessories, which would occupy the space above the brow
line. Please see my template to the left. This template helps me
keep the face in proportion to the LEGO head. I have placed
several reference lines on the template; from top to bottom,
Center of rounding-top, Top of brow, Eye Twinkle, Center of
Eye, Twinkle Low, Bottom of Mouth, and Center of roundingbottom. This template also includes the complete wrapping
area in case the design needs to completely encompass the
minifigure head, which is why the lines extend beyond the
face. A complete wrap is 32 mm long by 8. 4 mm high.

Minifigure template.

Minifigure head template.

For an extensive study of the LEGO Minifigure face please

check out the work done by Kurt Capt. 5p8c3 Meysmans
in his Flickr guide for the minifigure head. He demonstrates
how several official faces fit a similar guide (www. flickr. com/
photos/26161965@N06/3507059999/). He also supplies great
examples of beards and mustaches and the aforementioned
inclusion of hair in the face design.

Remember Your Printer

16

12

10

0. 5 0. 25

Line Weights: The following is a simple representation

of line weights, thinner lines are used for fine details,
thicker lines for bold details.

16

When creating art for minifig decals, it is important to

remember the limitation of your printer. Most printers have
difficulty in printing a line with a weight less than 0. 2 pts (Line
weight refers to line thickness, think of a line drawn by a #2
pencil compared to a mechanical pencil). Just because you
can see the difference in your vector program doesnt mean
you can print it, test printing is important. Vector programs
can create art beyond the abilities of home (non-commercial)
printers due to the nature of vector art. A good point size
range for details is 0. 3-1. 0 pts.
If a highlight or fine detail is required the smallest line weight I
will use is 0. 2 pts. I do this for several reasons: 1, I draw designs
for many people and want them to have good results when
printing (Various printers/color copier types); 2, I convert to
jpg format (a lower resolution format for compression into
a smaller file size for easy up and download from the web),
this means I lose some detail, and thus my details need to be
bigger; and 3, I try to stay in a similar design scheme as LEGO.

Chapter 5b

Decals: Style

With the basics out of the way lets discuss decal design
style. I am sure at one point in your life you have seen a
cartoon. Cartoon styles run the gambit from Mickey Mouse
to very risqu scantily clad superheroes. In order to draw
a design you need to decide or discover your design style;
actually you dont even have to limit yourself to a single
style. For example, the LEGO Company is confused about
its design style; examine the older versus newer figures or
for that matter across LEGO themes. Most recently, some
internal memos have leaked from LEGO that reveal the fact
that the company is trying to address this very issue with
the release of an internal 300-page book that defines how
minifigures are to be represented and created. In order to
help you define your style lets examine others work. This
way, we can better understand what we like and dislike.
Therefore you can better translate your favorite character
into LEGO form. Lets visit variations in the official LEGO
design style; I bet you may never have noticed many of the
options LEGO has included in their design palette. Bricklink
is a wonderful reference for information on various official
LEGO minifigure designs produced over the years.

2D versus 3D
Our favorite minifigure started out ages ago with simple
2-dimensional designs that adorned its chest and head.
These designs are simple and quite easy to create and can
still be used to capture most custom figures needs. Please
consider 2D designs when creating a new custom figure
decal. With time and the modernization of the minifigure
design, the styles used have become more complex
including drop shadows on ties, belts that flop off the
figure, curvy pockets and necklines, and cloth wrinkles.
These all attempt to add depth or a third dimension to a
design. They make the flat surface look more than it is and
give the illusion that the figure surface is textured. The
female hip area on the Slave Leia Minifigure is a classic
example of this illusion. These features can add a great flair
to a design and give the figure more shape.

Expressive Faces

Classic 2D decal style.

The simple smiley face has come a long way, however it

is still at home in the LEGO-verse. Todays smiley features
pupil reflections. However, once LEGO crossed into the
world of Japanimation with Exo-Force and Avatar themes,
expressions took on a whole new meaning, giving the
characters more complex emotions. This is not to say that
LEGO didnt have the occasional scared or grimacing face,
but these themes seemed to free LEGO to dive into a whole
new series including the Christmas carol singer with rosy
cheeks and a tongue. While the customizing community
has been adding more expressions for some time,
especially the stop-motion animation film makers, LEGO
just now seems to be catching up.
As a customizer we can do better to capture those
grimaces, snarls, frowns, and overjoyed expressions. This

Newer expressive faces.

17

is especially true with todays generation who has grown

up with instant messaging and texting services with the
plethora of emoticons (These same emoticons can serve as
inspiration or foundations for your expression creations).
Why can you express emotion in a text message and not
in a custom figure? Make sure you make your figures as
expressive as they can be.

Expressions, photo by Jordan SirNadroj Schwartz.

Notice the humor he employs by using the O expression
to show the figures surprise.

Knowing the scale of the face (pg 16) we can start to

imagine the different expressions we can create. It is
important to match the minifigure expression to the figure
and to the surrounding. By making the expression fit the
surrounding, you will find that this small area of the figures
face can add humor or interest to your figures and MOCs.
Just some of the expressions for the standard figure I have
created are presented to the left. In this photo by Jordan
SirNadroj Schwartz, he has added humor in displaying
the minifigure expression by using the construction worker
with the shocked expression.
The expressions presented in the photo are presented
in flat form to the left. Most of these were inspired by
cartoonists facial expressions and the basic vowel sounds
(A, E, I, O, and U) to allow the figures to have almost life like
speaking mouth movements. If you look into the basic
cartoon shapes of the human face many expressions can
be extrapolated into LEGO form. Remember that facial
expressions dont stop with two eyes, two brows, and lips. I
have added tattoos, scars, ears, noses, ear rings, nose rings,
and much, much more. If you see it in your inspiration add
it to the design.
The next time you sit down to create that favorite figure, ask
yourself what expression he or she would commonly wear.
Once you have established what the common expression is,
think about how you could take your figure to the next level
by adding something a little different. Give your figure a bit
more character by expanding his or her facial expression.

Basic expressions: Row one includes the basic vowel

sounds (A, E, I, O, and U). The faces continue through the
basic emotions. Notice that in some cases the mouth
needs to be oversize to complete the expression.

Some examples of LEGO minifigure musculature.

18

Musculature
Musculature is also something that is still relatively new
to LEGO designs and seems to still be evolving in LEGO
designs. When LEGO tackled the Spider-Man theme it
introduced muscle designs as a base to the outfits SpiderMan wore. These evolved in the Batman series seen in
the image below. Notice that Robins muscles are shaded,
where as Batmans are very rigid. I assume that this is
meant to show Batmans armor is thicker or his muscles are
larger. The musculature changed with the introduction of
the Bane character. Bane is a heavily muscular villain and
LEGO needed to show that he was bigger than the Bat.
This design was recycled in the German Mechanic from the
Indiana Jones theme, Dastan from Prince of Persia theme,
and the Surfer from the Collectible Minifigure Series. So
now a normal mechanic is bigger than Batman. This is an
inconsistency that needs to be avoided if you are creating
a series of figures. Make sure you are staying consistent
with your designs. Also, like LEGO, it is best to reuse design
elements like the musculature as this makes the figure
designs appear to be more cohesive.

Oddest Features
I bet many would make the statement that the LEGO
Group has never included toes or a nose in a minifigure
design. Well, you would be wrong, the company has done
both. I have a good friend that swears by the inclusion of
a nose in a face design. I, myself, have included them in a
design or two as I just couldnt get the feel of the character
without one. Feel free to be open to new styles, if you lock
yourself into what LEGO has done, or commonly done, you
wont grow in your design skills. Over the years I have been
designing minifigures my style has dramatically changed
and I have different styles for specific themes.

Old versus New

Everyones style will change with time. The more you
design the more others work will influence your work. This
is because you better define your style. Look at the new
Pirates theme versus the classic. The soldiers and captains
have changed dramatically. The older designs were more
flat 2D designs, where as the new designs encompass more
of the 3D effects and utilize more color. Be sure to keep
this in mind when designing. Watch for the growth in your
design style, typically these come as you better learn the
program you are using to create them.

A minifigure with a nose? A minifigure with toes?

Perspectives
Now that we have closely examined LEGOs design palette
for the figure, what did you like and dislike? How would you
tackle an iconic figure like Superman? Obviously he needs
a red cape, but what about the torso design, specifically
the S icon and the musculature? People see this differently;
just look at the comics, films, and TV shows. There is always
variation to his design. Here are a few-fan created versions,
just to demonstrate this practice.
So now that you have seen some variations on the theme
of design, how would you create Superman, or for that
matter your favorite minifigure?

The new minifigures step forward

from their older designs.

Superman, Bottom left created by Bluce Arealight

Shu, top left created by Isaac RedBean Yue, and right
created by Chase Vid Lewis. Please note that these are
fan-created versions of the DC comic book character
Superman. DC retains all rights to the character.

19

Chapter 5c

Decals: Printing
This chapter will begin with the best advice I can offer:
before printing on any expensive media always print a
test page. Print your designs on a piece of scrap material
or paper. Confirm your color choices, as colors on your
screen will not exactly match printed colors (RGB vs CMYK
typically, see color section page 15). Also confirm your
details: you may have been working on a magnified design
in a vector art program that is actually quite small when
printed; are your details too fine to print?
At the beginning of the decal section, I explained the
nature of waterslide decal film. It is very thin and clear, and
when applied correctly, the design will appear as if it was
printed directly on the figure. The result should resemble
the appearance of a LEGO printed element. Waterslide film
is available from hobby stores or online. I recommend the
film sold by Micromark (www. micromark. com); they have
a sample pack of clear and white film. Clear film will work
well on any of the lighter colored LEGO elements; however
dark elements create a problem which requires you to use
a special printer or use white decal film. This is because
the darker LEGO element will show through the printed
regions darkening them and in many cases will completely
conceal your design. This is due to the fact that the inks
dont have the opacity to stand out on the dark elements,
because they were designed to print on white paper. If you
use white film, this gives your design the ability to keep
the vivid colors on dark elements, however, you will now
have to print the torso color or closely trim your decal.
Printing the torso color will require a close color match to
the torso (or the decaled element), so be sure use to use the
references listed on Peeron and Bricklink mentioned in the
color section (page 15).

Spray sealant, available at home improvement stores.

20

As most people have access to inkjet and laser printers or

color copies (Kinkos, etc. ), the instructions to follow will
outline how to create decals using these types of devices.
Make sure you select the waterslide film that is appropriate
for your printer or copier. Print your designs using the
highest resolution possible for your printer (just like you
did when performing your test print). Once printed, be
very careful not to handle the sheet of decals until the ink
dries. This may take some time, especially if using an inkjet.
The decal film isnt absorbent; the ink sits on the surface.
This means smudging is very possible, so be patient.
Overnight drying is best. After you have printed using an
inkjet or color copier, you must add a clear overcoat to
the decal film, specifically a clear spray paint available at
any home improvement store. I recommend a Krylon UVresistant clear spray paint. This is required because the ink
is NOT waterproof on decal film regardless of what the
printers manufacturer states about their inks. Apply several
thin coats of clear sealant and allow it to dry between
applications (2-3 applications normally does the trick). This
will protect the ink from the water used in the application
of the decal, use of a sealant is critical! Once printed and
sealed the decals can be cut from the page for application.

Chapter 5d

Decal Application

With the knowledge of how to create waterslide decals, one

needs to conquer the next needed skill, application. Waterslide
decal application is quite easy and can be done by most
anyone. There are basic application instructions, which work
well for flat surfaces and advanced instructions, which are
needed for complex curves (helmets, arms, and odd parts).
Before you apply a decal to any LEGO element, you need to
start with a clean slate or brick in this case. This means you
need an unprinted part/torso. Dont have a torso without any
printing? No problem. A quick trip to the grocery store, Walmart, or most any hardware store will get you what you need
to solve that problem: A $3 bottle of Brasso micro-abrasive
metal polish. Brasso, or any micro-abrasive polish, can be used
to polish or sand the printing off any LEGO element. Microabrasive polishes include toothpaste, metal polish, and some
other cleaning agents. Brasso is the easiest to find and the one
that works the fastest. It is also great for removing scratches
on older bricks or improving the transparency of older cloudy
transparent bricks. It is a great product for any builder to have
and one bottle will practically last forever.

Brasso Instructions:

Now you have an unprinted LEGO element ready for

application of your newly designed decal. This can be done
by either the basic or advanced methods. The difference
is the advanced method helps the decal to conform and
adhere to the surface a bit better than the basic method,
but it requires a few more reagents. The basic method will
be covered in the next pages and the advanced in the
following section. Before you begin, gather the few items
together that you will need for application, these include:

1.
2.
3.
4.
5.
6.

1. Pour a small amount of Brasso (about the size of a

quarter) on a paper towel or cloth.
2. Place the cloth containing the Brasso on a flat
surface with the Brasso side up (Please note DO
not place the cloth on a surface it could damage).
3. Rub LEGO element or minifig part vigorously
against cloth containing the Brasso. Apply more
Brasso if necessary. Removing the printing from
a torso should take 15 seconds to 1 minute
depending on how much elbow grease one uses.
4. Once the original print has been removed, wash
the LEGO element with soap and water, making
sure to remove any residual Brasso. Rub the
element dry with a clean paper towel and verify
all Brasso residues were removed. Stubborn Brasso
can be cleaned up with a cotton swab.

Small paintbrush
Q-tip or cotton swabs
X-acto Knife
Tweezers or forceps
Pair of scissors
Tray of distilled water

21

Basic Waterslide Decal Application Instructions:

1. Disassemble the minifig completely. If the minifig

has printing that needs to be removed use Brasso
to remove the printing (see previous page for
instructions). Wash and dry the minifig after using the
Brasso to removing any residual abrasive residue.

2. Trim the decal with scissors or an X-Acto Knife

preparing it for the distilled water.

3. Using the tweezers, dip the decal into the distilled

water. Dip the decal; do NOT soak or hold the decal
under the distilled water for any extended period.

4. Allow the decal to sit for 60 seconds to allow the

distilled water to release the decal glue.

22

5. While the decal glue is being solublized by the distilled

water, apply some distilled water to the application
surface with either the Q-tip or paintbrush.

6. Gently slide the decal from the paper backing onto the
wet application surface.

7. Position the decal into its final location with a wet

cotton swab. Gently roll the cotton swab over the
surface of the decal to remove any trapped air bubbles
as these can detract from your finished figure. If the
decal shifts slightly during this stage, reposition and
allow the decal and torso to sit and dry untouched.

9. Reassemble your custom minifig once everything is

completely dry.

8. Once your decal has completely dried, protect it by

applying a clear coat of clear spray paint or hobby
paint such as Krylon Crystal Clear or Model Masters
Clear Acryl. The Model Masters will have to be applied
with a brush or airbrush. Recall that the ink is merely
resting on the surface of the film, this protective layer
helps protect the decal from scratches.

Basic application is pretty simple: the keys are quality

purified water and removal of all air trapped below the
decal. Any trapped air can create a problem referred to as
silvering. The trapped air creates a space between the decal
and the figures surface. When light hits this space, it reflects
and creates a silver or reflective appearance. This will
detract from your finished figure, so do your best to remove
all the air. If you find you just cant remove it, then it is time
to start using the solutions used in advanced applications.
These are designed to drive all air out from under the decal
surface and alleviate this specific issue.

23

Chapter 5e

Decals: Advanced Application

With an understanding of the basic instructions, you have
the foundation for the advanced instructions. The basic
is great for decaling torsos and heads; however, it can get
much more difficult when you attempt helmets, shoulders,
and custom parts. This is because flat surfaces are pretty
easy. Complex curves get much more difficult and require
solutions to help the film conform to the curved surface.
The basic application is the same for the advanced or basic
techniques (summarized below).
1. Completely disassemble the minifigure.
2. Remove any printing on the parts using Brasso
that you wish to decal. Wash the figure parts
to remove any residual abrasive.
3. Trim the decal with scissors.
4. Using the tweezers, dip the decal into the
distilled water.

Decal application kits in use. Work area is in top left with

decal application kit. Application of decal softening
solution is shown in the bottom two images and the
final figure is shown in the top right image. (To see the
complete application of the decals used in Figure 1
check this Flickr set: www. flickr. com/photos/kaminoan/
sets/72157605952528360) Custom headpiece by Bluce
Arealight Hsu. Photos by Jared and Amber Burks.

5. Allow the decal to sit for 60 seconds to allow

the decal glue to release the backing paper.
6. During the 60-second interval, apply water to
the application surface with a cotton swab.
7. Gently slide the decal from the paper backing
onto the wet application surface.
8. Position the decal into place with a wet cotton
swab.
9. Gently roll a moist cotton swab over the
surface of the decal to remove any trapped air
bubbles and excess water. If the decal shifts
slightly during this stage, reposition and allow
the decal and torso to sit and dry untouched.
Advanced decal application starts with using a chemical kit to
improve the adhesion and contouring of decals to complex
curves.These kits help make the decal crystal clear when applied
properly, thus making the design appear painted or directly
printed on the figure parts. Kits can be found at many hobby
stores or online (Micromark www. micromark. com). If you are
from a foreign country, you will have to find these application
kits in your country as they contain a mild acid that cannot
be shipped internationally. I recommend two kits, Badger and
Microscale, both of which contain the two key solutions: decal
setting solution and decal softening solution.The critical solution
is the softening solution, so dont skip this one.The homespun
alternative to decal softening solution is white vinegar; use it as
described below for the softening solution.

Advanced Waterslide Decal Application

Instructions
Step One: Setting the decal

24

After following the basic instructions above,

apply decal setting solution with a paint brush

to the decal and let dry. Decal setting solution

strengthens the bond between the decal and the
part surface. It also helps remove any trapped air.
Step Two: Softening the decal
Decal softening solution makes the non-printed
areas of the decal more transparent, giving the
part the appearance of a directly printed design
and it allows the decal to conform to complex
surfaces. Using a soft brush, gently apply Decal
Softening (solvent) Solution to the surface of the
decal. Do not touch the decal until the solution
has completely dried as the decal is VERY
FRAGILE at this step. Repeat the application of the
Decal Softening Solution until the decal has fully
conformed to the surface and all air is removed
from under it. Be sure to allow the solution to
completely dry between applications; otherwise,
you may damage or wrinkle the decal while it is
soft.

Decal solutions.

Step Three: Protecting your new figure Application of a

clear top coat
Next, apply a clear top coat to the decaled area
and decal edges to protect the decal. Clear
gloss hobby paint works well. Hobbyists have
been known to use quite a variety for overcoats
including nail polish (which yellows in sunlight, so
I dont recommend), Futures floor wax (sworn by
many model makers www. swannysmodels. com/
TheCompleteFuture. html), spray paint, airbrush
paint, and brush on overcoats. I prefer Badger
overcoats, which I apply with a water-moistened
paintbrush, and Testors clear gloss spray lacquer.
Both work well and are easy to use.

Overcoat paints in gloss, satin, and flat finishes.

Tips and Tricks for Application

There are several tricks that can be used at every step of the
basic and advanced decal application, so be sure to read
the following and think about where to use them above.

Cotton Swab:
The power of the cotton swab has been mentioned,
but I really cant stress this tip enough. The cotton swab,
especially the wooden stick version, is the best tool to
apply decals (see figure 2). Use a very wet cotton swab
when positioning the decal. However, a slightly damp
swab is called for when removing trapped air bubbles and
to absorb excess water. A completely dry swab is never
recommended as it can stick to the decal. These wooden
tips of these swabs are also useful to position the decal
(See the hairdryer trick section below for more cotton swab
uses).

Trimming/Strategic Cuts:
After you have read the advanced decal application and the
use of decal softening solution you are likely asking, Why
do I need any type of cut strategy? Well, through the use
of strategic cuts, you can help the decal conform to curves
and help remove the possibility of wrinkles in your decals.

Tricks and tools of the trade. Upper left image is of

wooden stick cotton swabs, upper right demonstrates
using the wooden stick cotton swabs to hold parts, and
lower panel images show common overcoat solutions
and the soft bristled nylon application brushes. Custom
headpiece by Bluce Arealight Hsu. Photos by Jared
and Amber Burks.

25

Wrinkles can occur when using the softening solution,

especially if you get impatient and try and help the decal
conform to the part surface. While decaling a round surface
with a gentle curve, make small slits in the edge of the
decal once it is on the surface of the part. Do this with an
X-acto knife or razor blade. Shoulders and shields are great
examples of when this is helpful. This will allow the flat
decal to curve and overlap slightly to take on the desired
shape. This strategy can also be applied to the head tails in
the advanced decal application example (see figure 3).

Softening Solution Alternative

As previously mentioned, white vinegar can be used in
place of decal softening solution. Use 1 part vinegar to 3
parts water and then use this solution just as you would use
decal softening solution.
If you are getting impatient for your decals to conform, you
can also use a damp cotton swab to help the softening
solution along, but honestly it is best to be patient.
Whatever you do, DONT use your finger as you will leave
finger prints in your softened decal which will ultimately
detract from your finished figure.

Hairdryer
If you are impatient, try a hairdryer. A hairdryer can be used
at every decal application step including the basic steps
to help speed evaporation. Just be careful to remove all
trapped air bubbles before using it. This will also help the
decal conform to a curved surface because of the heat. It is
best to use it on low heat and low speed if possible. Never
use a heat gun. Be sure to use something to hold the figure
as you dont want to burn your hands. It might not seem
hot initially, but the longer you hold the figure the hotter it
will get. I find that sticking a cotton swab up one of the legs
works great to hold a whole figure, but you can also do this
with the torso or head. One other note, if you are going to
use a hairdryer to help speed cure the clear overcoat, make
sure you dont have any excess paint. If you do, it will dry
in a puddle instead of spreading across the surface area. A
puddle will look terrible and destroy all your hard work to
this point.

Trimming techniques used to cut out the decals

are done in stages. Notice the internal cuts
which allow the decal to wrap around the head
tail of the custom part by Bluce Arealight Hsu.

26

Leg Application
When applying a decal to the minifigure leg, decal damage
can occur if the leg is bent into the seated position after
application. This is due to the torque applied to the leg,
which presses the leg into the underside of the hips. As
there is a ridge in this area, it scrapes the decal off the legs
surface. If this ridge is removed, or at least diminished, the
odds of this type of damage occurring is reduced. This ridge
can be removed by scraping it with a hobby knife from the
inside of the leg area to the outside. Also, if you carefully
place the leg in the up position, the leg is not pressed into
the hip and damage is less likely. Use of the advanced
application also helps as the decal more tightly bonds to
the legs surface, which means it rests lower and is hard to
scratch off.

Trim areas on the legs for decals.

27

Chapter 6

Paint, Dyes, & More

Have you ever run across that LEGO part that you just
wished existed in another color? Unfortunately, LEGO
cannot produce every part in a rainbow of colors. If you
have wanted official elements in other colors, there are
some easy ways to alter the elements color. This chapter
will discuss paints, dyes, and a few more tricks to getting
LEGO elements in a new color. Briefly, we will go through
the different options for altering a part color; markers
(Sharpie), paints, fabric dyes, and vinyl dyes. The advanced
method (vinyl dye) to alter part colors will require adult
supervision, so please be sure to seek help if you are under
the legal age to purchase this product.
There are limitations to some of the techniques that will be
described, so if you are concerned over the final result or
have never tried a specific technique, please use a practice
part. This practice part could be anything from a like
colored element to a duplicate part. Just be smart about
your practice part, some elements are very expensive and/
or hard to find. If you cant use a duplicate part, use a likecolored element to work out your conditions.

Part Prep:
To begin altering any part color, the piece must be properly
prepared to get the best color adjustment. Preparing the
parts is required to remove residues on the elements from
their production. To remove the residues, scrub each part
with a mild dish soap and water. Using an old toothbrush to
get into the small cracks and crevices will also help remove
all the residues. The next step is to dry the part with a soft
towel or wash cloth. To ensure the residues and water are
completely removed, especially in the small crevices, wipe
down the part with an alcohol wipe or 70% isopropanol
(rubbing alcohol). The alcohol will evaporate quickly and
help remove any water trapped in the crevices; it will also
remove many non-water soluble residues. Now the part is
ready for whatever alteration method you choose to use.

Sharpies:

Star Wars Ewok figure with dark red cloak created using
a red Sharpie marker. The eyes, cheeks, and hood pull
strings were colored with a black Sharpie.

28

Markers (paint or Sharpie) are typically only good for small

color changes. Broad coverage is a challenge and they are
not permanent regardless of what the manufacture states.
These are best for quick coverage of small areas that will
not see much wear. However, they can be used to alter part
color for smaller parts and are likely the cheapest way to
do so. If you use this method be sure to use even strokes
across the part, and once dry, clear coat the part with
acrylic paint to protect the ink. If you are after a temporary
color alteration, this is your method of choice. Sharpie ink
can easily be removed with a touch of rubbing alcohol,
unless the alcohol-resistant version is used. The best use
of a Sharpie marker I have seen was altering a light flesh
minifigure heads color to yellow.

Paint:
Paint is the most widely used method to alter LEGO part
colors. There are two types of paint, enamel and acrylic.
Enamel is an oil-based paint that will dry slowly and
requires paint thinner to clean up. Enamel can also have
strong odors. If you are using it in any volume, be sure
to take frequent fresh air breaks. Acrylic paints are water
soluble, meaning they can be thinned and cleaned up with
water, as long as they havent completely dried. It is because
of these two factors that I recommend acrylics.
When using paint, it is best to apply it in thin layers and build
to the final finish. This will make a stronger finish overall and
leave the least amount of buildup on the part. Buildup is
the accumulation of paint on the part and when visible, it
noticeably detracts from the final custom figure. It is better
to apply three thin coats than one or two thick coats to an
element to help avoid buildup (see the third blue head from
the left in the paint vs. vinyl dye photo on page 31).
There are two basic ways to apply paint: with a bristle brush
or an airbrush. If you have an airbrush, you likely already
know it is a wonderful tool to apply paint to broad areas.
Cheap airbrushes are all you really need, such as the ones
that use small compressed cans of air. Slowly sweep across
the part applying three sequential thin coats of paint. If you
dont have an airbrush, however, adequate results can be
achieved with a bristled paintbrush with a bit of patience
and practice. I prefer nylon bristled brushes. Following the
recommendation above and use several thin coats. Be sure
to give each coat plenty of drying time before application
of the next coat. Painting takes practice, so you might want
to try a few test pieces before painting your rare LEGO
element.
Paint does have flaws. Much like markers, it can wear or
scratch off. It can also be hard to get perfect finish with a
brush and, as mentioned before, you can get paint buildup.
Minifig hands are very difficult to paint as it will almost
always chip off if you routinely place anything in the figures
hand. Because of these issues, many have sought out
alternatives.

Dyes:
Dyes are more permanent color changes since they
penetrate the surface of the LEGO elements. They do
not build up on the surface making it impossible to chip
off the part. However, they can be difficult to find and
temperamental to use. As a result, there is no perfect
solution to part color alteration. The two different dyes
commonly used are RIT fabric dye and vinyl dye.
The RIT fabric dye website states, RIT can be used to
dye many different types of materials including wood,
paper, plastic, feathers, and even canvas shoes! RIT fabric
dye can be used to alter the color of lighter elements
to darker shades; however it cannot be used to lighten
darker elements. RIT dyes can be mixed to create custom
colors, making it a good alternative to paint if you need a
darker element. Their website gives some guidelines for
what colors can be obtained based on the starting color

The Cyclops, originally a Harry Potter troll,

received a full body color alteration using a
custom mixed Testors acrylic paint. Ghost Riders
motorcycle is painted silver and Yodas head is
painted with acrylic paint.

29

(www. ritdye. com/Questions. 50. lasso). Typically, it is best

to experiment when using RIT dye. A trick I have learned
is that it will penetrate into the part faster if the dye is
warmed to near boiling temperatures. Just be careful, you
dont want to melt your part! Also be sure to use a device
(spoon) to help remove the parts from the dye. To begin,
use an experimental part placed in warm dye and check
for the desired color every 15-30 seconds. It is easy to go
beyond the desired color, so frequent checking is best.
Note the duration required to get the desired color and
then dye your desired part for that duration. If you need
to alter many parts to the same color, it is best to do so in
small batches. Make sure to note the time and use fresh dye
batches for each part to ensure consistent color.

Mace Windus purple lightsaber blade was

colored using RIT fabric dye.

Grand Admiral Thrawn is sporting a custom colored

head and set of hands. His blue color was produced
using a custom mixed vinyl dye. This process can be
expensive, but it gives the best and most durable results.

Helm visor part ready for vinyl dye application using an

over the counter vinyl dye. Photo by Anthony Sava

30

Vinyl dye is a difficult product to find. Typically it can be

found in automotive stores. Avoid the products called vinyl
color (or colorant), which is easily confused with vinyl dye.
An alternative to automotive stores is custom automotive
paint shops. It is VERY expensive to purchase vinyl dye
from these stores, but when you need the absolute correct
color this is the only option. Typically this product comes
in a spray can, so be sure to use several light misting
applications instead of one thick and heavy spraying. Let
each application dry completely before applying the next.
Vinyl dye contains strong organic compounds which help
the dye penetrate the plastic; vinyl color (The product
mentioned above that you dont want) is a fancy name
for paint. If in doubt on which you have found, read the
product components. One of the first compounds listed in
vinyl dye should be acetone. Yes, we all know that acetone
will melt LEGO elements when used in high concentrations,
but in low concentrations it allows the dye to penetrate
the LEGO element and alter the color, resulting in a
permanent color alteration. There is no buildup on the
surface; true vinyl dye cannot be scratched off. Because of
the mechanism of action, vinyl dye must be applied above
70 degrees Fahrenheit and below 85 degrees F. If it isnt
applied under these conditions the results are poor.
With many options for altering LEGO part colors you can
create several new and different custom figures. Just
remember, with all these options, it is best to figure out
what works for the project at hand. If you need permanent
hard wearing color alteration, look to your dyes, and if you
need quick small area coverage look to paint or markers.
Also, please consider if your custom figures are for display
or hard play. Enjoy the new rainbow of colors now open to
your LEGO elements and creations.

Temperature issues: notice the difference in the

visors. The visor on the right was not applied at
the recommended temperature, which resulted
in a (lower quality) rough and dull finish. Photo
by Anthony Sava

This is a comparison of paint (P) to vinyl dye

(V). Notice that the color of the original part
can have an effect on the final result; the
1st (originally yellow) and the 4th (originally
white). Also notice the improper temperature
application in the 2nd head and paint
accumulation on the 3rd. The 5th head used a
Testors spray paint for plastics. The 6th head
was colored using an over the counter vinyl dye.
The final two minifig heads on the right were
painted with an airbrush using Testors paint.

White vinyl dye Photo by Anthony Sava

31

Chapter 7a

Custom Parts and Accessories - Modification

It is time to learn how to accessorize that figure. There are
many different types of minifigure accessories and several
ways to create them. This chapter will primarily deal with
creating new elements through modification. I know many
think it sacrilegious to cut LEGO elements, but LEGO cant
make everything for us. However, LEGO has given us a great
foundation in parts and they tell us to use our imaginations,
so lets do just that. I just ask that you not limit your
imagination, get out that X-acto knife and pull out some
LEGO elements; it really is okay to cut them!
This chapter deals with handling hobby knifes, hobby saws,
and razor blades; all of which are sharp. If you are a younger
reader, please seek your parents assistance in handling
these items. If you are an older reader, please use care and
caution; your fingers are not replaceable. Kevlar gloves are
available to protect your fingers, I recommend these to all.
They can be found in most woodworking/carving stores
or online from hobby sites. I also recommend a non-slip
cutting mat as well as good technique. The best lesson I
have learned is to use sandpaper when possible as many
items can be created by sanding; more on this in a moment.

Proper Cutting Technique

1. Always use adequate lighting.
2. Never cut towards your fingers, always cut away
to avoid blade slips (where the blade slips and can
accidentally cut you).
3. Avoid holding parts in your hand while cutting. If
you must hand hold a part to cut it, always wear a
Kevlar glove.

Tools of the Trade: Razor blades, hobby knives, hobby

saws, sandpaper, Dremel tool (not pictured), cutting
mats, Brasso, superglue, ruler, and protective equipment.

4. If the part is thicker than 1/8 of an inch (minifigure

handle thickness) use a hobby saw or Dremel
Tool. These are much safer when cutting through
thicker materials.
5. Use a hobby cutting mat and a desk or table, never
cut parts in your lap or on odd or uneven surfaces.
6. Only use sharp tools, dull tools can hang and cause
slips and accidents more frequently than sharp
tools.
The lessons in this chapter are going to be step-by-step
examples presented in photos. Instead of trying to dictate
how each item should be cut and/or sanded, the location
of modifications will be noted and the manner of removing
the excess material will be left up to you and your skill level.
There are always multiple ways of altering parts. Honestly,
most any accessory can be created using LEGO elements
as a base: the only limitation is your imagination. Tips and
pointers will be given through the instructional photos.

32

This lesson will begin with the creation of some basic

minifigure scale hand weapons. While LEGO makes a few
for us to use, varietyas we all knowis the spice of life.
So we will begin with axes to equip our peasants. This is a
simple and straightforward lesson,:merely make a cut and
you have a new item. Quick, easy, and simple, yet effective,
so lets get cutting.

Now that you have the basics of cutting down, lets take it a
step further and add some glue in the mix by making a few
custom swords, after all, our knights need new weapons to
attack those well-armed peasants. These are merely a few
examples, get creative and you can really make most any
type of sword. In these first set of examples all you need to
do is cut and glue, so work on straight and accurate cuts, as
in the axe examples. If you do so there is nothing to clean
up and your new accessory is ready for action.

Swords: Top Left Want to get a bit more complex and

make a Bronze Age short sword? Follow the steps in
image 2. Merely cut the tip of the sword and remove the
guard. Now you can equip your Roman soldier with a
Gladius.
Top Right This example displays a quick and simple
way to alter an existing LEGO Sword to give your knights
a slightly different weapon by merely flipping the guard.
This is a basic first item to make. Cut off the guard and
invert, reattaching with superglue. Concept by Emily
Brownlow.
Axes: Top Just to show you that there are always
multiple ways to make the same or similar items, check
out this hand axe, which mixes a brown bar with a
modified axe-head. Two-Tonic Knight is the resident
blacksmith of modified LEGO weapons for Classic-Castle
(www. brickshelf. com/cgi-bin/gallery. cgi?f=83128).
Bottom This example displays a quick and simple way
to alter an existing LEGO halberd into a Hand Axe to give
your peasants a fighting chance. Two simple cuts and
you have a new weapon. Concepts by Emily Brownlow.

Are you more of a Star Wars fan? You can make your own
sabre hilts. This is a bit more advanced so practice your
cutting; everything needs to be straight and flush. You
can always clean up a cut with sandpaper. Inspiration for
this item was drawn from Deathstickmans work (www.
brickshelf. com/cgi-bin/gallery. cgi?f=114500).

33

Well our knights are equipped, now our castle guard needs
to be able to fend off the evil black knight. The classic
weapons for this are long two handed style weapons,
polearms, halberds, pikes, and spears. So lets take our new
found skills and step them up just a bit with some precision
cutting and in the last example, the naginata, some
precision gluing.

Two-handed Weapons: In this example two precision

cuts alter the LEGO pike into a different type of pike, so
now we have a bit of variety (the removed pieces can
also be useful so save them).

Well, you have small cutting down, lets get a bit complex
and mix this together with some glue again and make
a naginata. Just be careful here, I know it looks like the
handle of the sword is removed but it is really inside the
technic pin. Concepts by Emily Brownlow.

34

2. Want to make a fancy spear? With 4 precise cuts you

have a new spear. 3. Now lets make a large axe style
halberd. With a few quick cuts you have one, just be
careful or you can remove too much. It is always better to
remove too little as additional cuts can be made.

Accessories arent limited to weapons. Want to make a new hat?

Well, grab some sandpaper and lets get to it. Honestly, most of
the items presented so far can be made with sandpaper. In the
next example, no knives were used, just sandpaper, Brasso, and a
small hand drill. The sandpaper is used to remove the top of the
pith helmet to make it look like a floppy hat.
One of the greatest tricks in parts creation is the use of Brasso.
No one likes those cut marks or rough areas left by sandpaper,
we all like shiny bricks. Well, Brasso can do just that, restore shine
(Micro-Mesh Sand paper system can also accomplish this task).
After you have cut and/or sanded a LEGO element, take a rag
with Brasso on it and rub the cut area until the evidence of
the cut or sanding is removed, then wash the element. Now
you have a new accessory that shows no signs of having ever
been modified. After you have the hat shining, use the drill to

make two small indentations in the sides of the hat to allow

the goggles to attach. LEGO really helps us out here, there are
small lines that run down the side of the hat and they mark
the perfect location for our small dimples. Using this drilling
technique, one can add goggles or similar items to most any
headgear.

Floppy hats: Here we make a floppy hat out of a pith

helmet. Merely sand away the top of the helmet, but be
careful not to sand all the way through the helmet; check
frequently. After you have it close to where you want to
stop, switch from sanding to Brasso, which will remove the
sanding marks and return the modified LEGO element to
a shiny state. Now take your hand drill (2) and make two
small indentations on either side of the hat to allow the
goggles to attach. Inspiration for this hat was taken from
Dr Venkman of FBTB (www. brickshelf. com/cgi-bin/gallery.
cgi?i=1486327). Want to take it to his level, heat up the brim
of the hat in boiling water and give it a little flop with a pair
of tweezers. To the right is a hand drill.

In the next examples on the right, we show that no parts

are wasted when you start cutting. We demonstrate two
different types of hat/hair combos and extreme cold gear.
We will re-use the drill in this step so keep it close by. Here
we will remove the lower portion of helmets to add hair
and give the figure the appearance of his hair sticking out
of the bottom, after all, not all knights or kings are clean-cut.

Hat Hair: The first example is a two-for-one. Using the four

parts in the top panel we can make two unique hats, one for
our friend to protect him from the cold elements and one
to give him a bit more room for his hair. Merely follow the
cutting lines to get the parts required. Make sure you clean
them up a little before gluing any items together.To do this
either use a bit of sandpaper or Brasso to remove the rough
cut edges. In these examples I suggest using the razor saw as
it will cut through this thicker element in a safer manner.

Just to show hair isnt just for helmets, but for crowns too, here
is another example of what you can do with all this extra hair
you have laying around. Inspiration for the hat/hair combo
piece was taken from LEGOfreak of CC and MCN (www.
brickshelf. com/cgi-bin/gallery. cgi?f=107540).
35
Photo panel by Emily Brownlow.

Dont limit your imagination, look at a part and see what it

can be, not what it is. The last set of examples demonstrates
this point. In the last figure we create a Roman helmet,
Pilum spear, and advanced construction lightsaber hilts.

Roman Accessories: Helmet and Pilum Spear creation.

Helmet and Spear design by Jared Burks.

36

Advanced Lightsaber design and photos by Isaiah Childs.

Now that you know how to make many new weapons and
a couple of new hats, get to work and lets see what you
can make. Just remember: if there isnt an element made by
LEGO that will give you just what you want, any plastic part
from any toy, model, or whatever can be used. If you still
cant find what you need, visit your local hobby shop and
pick up some sheet styrene (sheet plastic). With this
you really can create anything; it all just takes some
37
practice.

Chapter 7b Custom Parts and Accessories - Cloth, Paper, Film

Ever thought a minifigure needed a pink fur vest? How does
one make a pink fur vest using paint or decals? I couldnt
think of a way, so I turned to cloth. Honestly, I never thought
I would need a pink fur vest, but alas, I was wrong. Cloth
accessories can be anything from the simple LEGO-style
cape to cheerleading skirts and everything in-between. It can
take that customized minifigure to the next level.

Cloth: Left: Amazia sports the one accessory I never

thought I would make: a pink fur vest. Right: Texas Spirit
Cheerleader is sporting a custom skirt designed by Mark
Parker, photo and minifigure by Matthew Rhody.

Templates: A cape (left), a short cape (center), and

a pauldron (right), displayed above for your use.
Additional templates are located at MCN (www.
minifigcustomizationnetwork. com/templatecentral).

Frayed cloth, notice how the material unravels at the

edges. Never throw away that frayed piece of cloth; it
could be useful to make a custom figure sporting the worn
look, just think about some of those tattered superhero
capes. Photo by Mark Parker, used with permission.

38

The expert when it comes to cloth is Mark Parker (MMCB,

www. mmcbcapes. servaus. net). Whenever I need cloth,
I turn to Mark. That said, I have learned a thing or two
and can take you through the basics. Before we begin
discussing the different types of materials, designs, and
tools we need, let us look at some of the cloth LEGO offers
us. LEGO offers the cape, short cape, ponchos and the
pauldron. Recently, LEGO released a skirt in the minifigure
Series III collection with the hula dancer (which was
different from the online photos). Maybe your needs are
simple and you would like it in a new color, or with slight
modifications. To the left are three templates made from
the LEGO cloth. This gives us something to work with.
Now that you have a few templates, lets discuss materials.
What can you make a cloth accessory out of and get good
results? Well, you can use a piece of LEGO cloth (Cape
or Sail [dont throw things it is merely a suggestion!]),
paper, fabric (printable or regular), or even leather. All of
these are good options and fairly easy to work with if you
are patient. Lets say you are using a LEGO cape, it can be
easily modified into a short cape or pauldron using a pair of
scissors. This is likely the easiest custom cloth piece to make
as LEGO has already treated the material so it wont fray.
Fraying is the unraveling of the material at the edges; even
LEGO cloth will fray if played with enough.
Want to go beyond the basics? Well as Fryslayer (MCN
and Classic Castle; www. brickshelf. com/cgi-bin/gallery.
cgi?m=Fryslayer) pointed out originally, you can even use
paper and your printer. Print any design on paper in the
shape of a cape (for this example). Make sure you print
both sides and then trim out your accessory. Then cover
both sides in clear packing tape or spray both sides with a
couple of coats of clear spray paint. This will give your paper
a bit more rigidity and a bit of a shine. Now you have a new
accessory with items already lying around your house. Also
try using matte photo paper with semi-gloss spray paint;
you can give your paper accessory a completely different
look with a matte finish. Want to see this idea ramped
up; check out Kyle Armothe Petersons (Brickforge) work
(www. brickshelf. com/cgi-bin/gallery. cgi?m=armothe),
where he uses paper to wrap the figure much like a doll to
customize the figure.
Printable cloth is another option, which is readily available
at hobby and fabric stores. This works much the same way

as paper with no need for tape. The advantage of printable

cloth is you get to print the designs and the background
color, so you can make your cloth part any color you want.
Printable cloth is typically treated with an anti-fraying
solution, but read the instructions that come with your
package to make sure. If you need to add an anti-fray agent,
stay tuned: those details will follow shortly. Customizers in
the know favor the Jacquards printable cloth brand, but
most any brand will work. If you cannot find printable fabric
locally, check online. Some brands of printable fabric only
allow you to print on one side, so if you are wanting the
cloth to be the same color on both sides you might have
to pull out your hobby acrylic paints, which work well on
most cloths, including LEGO cloth. If you want to make it all
you can even make your own printable cloth, according to
the HP website (Instructions: h71036. www7. hp. com/hho/
cache/313-0-0-39-121. html).
The last two options are leather and broad cloth, the latter
being similar to LEGO cloth. Leather is simple, merely cut
out your shape in thin leather and you are done. Leather
can add a texture to your figure as one side of the material
can be polished and the other suede.
Broad cloth is a bit more difficult than leather. The main
issue with cloth is fraying. You have to prevent fraying
without making your cloth so thick that it does not work/
bend/fold well. One of the issues is that if you are making
a complex cloth accessory, it can become visibly thick and
interfere with the arm or waist studs. There is no right or
wrong way to stop fraying. It can be as simple as running
a small bead of glue along the cut edge or as complex as
painting the cloth with acrylic mediums. Try different things
and see if they work. No matter what you apply to your
cloth, it is going to have an instant stiffening effect. More
on the anti-fraying solutions in a minute, just remember the
more you apply, the stiffer your final piece will become.
Now that you have worked with the patterns that LEGO
has given us and used the different materials, you are
ready to make your own patterns to create completely new
cloth items. Try starting with a piece of paper and a ruler.
Draw out the shape you are after and figure out how to
connect it to the minifigure. Will you use the neck stud, the
armholes, the leg studs, or all three? These are all options
and Mark has figured out most of them, so you might look
at his work for inspiration. Whenever I am trying to make
something new, instead of cutting up my treated fabric, I
draw it out on paper and cut up paper. I refine the pattern
and then transfer it to cloth.
The most important tool for this work is a sharp pair of
scissors. If you are a younger reader ask for help from your
parents. I recommend Fiskas brand scissors, which are a bit
more expensive, but are worth every penny. If you want to
get techie and are planning to make a lot of cloth, get a set
of punches to more accurately cut your neck and arm holes
in your cloth. An inexpensive alternative is a leather punch
tool with a rotating punch size (see the toolbox chapter,
page 13).

Paper: Armothe (www. brickforge. com/) makes complete

custom figures with nothing more than paper, by
wrapping the figure in a design. Notice the flat design,
with neck and armholes on the left and the figure wearing
it on the right. Photo and figure by Kyle Armothe Peterson

Printable cloth (left) compared to an official LEGO cape

(right). Photo by Chris Campbell.

Leather is also useful

to make accessories, as
seen on this minifigure. Very
sharp scissors are needed in
trimming out this type
of material.

39

Here are some tips from Mark Parker about anti-fraying:

Notice the areas where the cloth pieces on this figure

attach to the figure. If the anti-fray treatment causes the
thickening of the cloth, attachment to the figure can be
difficult.

Marks templates make sure he gets the high precision

required to make these types of accessories. Photos and
minifigure by Mark Parker.

There are a number of different methods and

products you can use to stop your cloth from fraying.
These range from diluted White (PVA Elmers) Glue
to Acrylic Medium or even artists Acrylic Varnish.
Treating a small swatch of cloth is typically easier
than a large piece; just make sure it is big enough to
get a few pieces out of (around 15cm by 25cm). Both
the PVA glue and the acrylic medium can go milky on
some fabrics, especially dark colored fabric. Try using
artists Acrylic Varnish, which is very easily applied
with a small hobby roller and doesnt require any
thinning. One major advantage of using the varnish is
that you can paint it on any colored fabric and it will
dry clear. So if you are able to get cloth that matches
the LEGO color you want, it can easily be treated with
the varnish, which can then be used to cut out your
design. Another good thing about the varnish is that
you can actually mix it with acrylic paints to both
color and stiffen your cloth. This trick works great
for unusual colors! Just make sure you follow the
directions on the bottle. I also find it easier to work
on a clean, glazed tile. This provides a firm surface to
work on, and neither glue nor varnish will adhere to it.
As this chapter began, dont limit your figures to wearing
mere capes and pauldrons, dress up those figures in true Jedi
Robes, skirts, and even ponchos. Some things just dont look
right when only done with decals. Give your minifigures that
extra dimension of realism. I know the purists are cringing
in the corner at the moment, but LEGO has set the example
for all of this customization, just check out the Star Wars
Geonosians plastic/vinyl wings, Harry Potter Trolls vest and
loin cloth or the Deatheaters cloak, and the abundance of
cloth in the new Collectible Minifigure Series. If you want to
get really extreme ,check several of the Belville sets. Dont
think these concepts can translate into a cool figure, just
check some of the examples below.
Also remember that cloth isnt limited to minifigures: you
can make flags, banners, sails, and even animal accessories,
using the techniques outlined above. Just get creative,
make new items and really customize your figures to the
extent you can.

40

Advanced Cloth: Here are some examples of advanced

cloth accessories made by Mark Parker (Paratrooper and
Vest) and Victor Unknown Artist Sobolev (Jedi Robes).
Photos by their respective creators.

Chapter 7c

Custom Parts and Accessories - Clay Sculpting

Everyone wants that one desired part to complete their

special custom figure. The easiest way to get that part
is to sculpt it using clay. This chapter will present all the
tricks and tips I have learned while making clay parts,
but the best piece of advice I can offer is to simply sculpt.
Practice improves any skill: if you arent happy with your
first attempt, try again. I sculpted the piece for this chapter
twice, and honestly would like a third attempt, but time
didnt permit. I have learned much about sculpting from
many including; Isaac Red Bean Yue, Robert Tothiro
Martin, and Bluce Arealight Shu. I have compiled what I
have learned from these gentlemen as well as others and
what I have taught myself in this chapter.

The Basics
First, you must use the proper clay for the job: the clay must
be strong yet easy to work with and cure solid. However,
please note that any part created in clay will be for display
and light play only. There are ways to mold the sculpted
clay part in silicon rubber and cast in resin plastics, resulting
in a durable piece, however this is a bit complicated
and a topic for a later chapter. To begin, you must create
something to mold. If you are going down that road, lets
start with creating a new part.
You must choose a type of clay to use. There are several
types ranging from the earthen clay dug from the ground
to completely synthetic. The major types of clay are Earthen,
Nylon-reinforced, Plasticine, Polymer, Wax-based, and Paperbased, each having a primary use based on its composition.
This hobby most often utilizes polymer clay, however, it
ultimately boils down to what you are comfortable using. I
do recommend clay that cures by some mechanism other
than firing; non-drying and firing clays are inadequate for
this hobby as they remain soft or require kilns. Clays can
cure by alternate means than firing, including air and low
temperature (oven temp). Some sculptors prefer using
another type of media, Epoxy putty (MagicSculp), which
cures at room temperature by chemical means yet retains
many of the characteristics of clay. The major limitation of
epoxy putty is its quick cure time, so you will need to sculpt
quickly.
Polymer clay is the most commonly used clay in this hobby
because it cures at relatively low temperature and remains
pliable until cured. Polymer clay hardens by curing at
temperatures created in a typical home oven, generally at
265 to 275 F (129 to 135 C) for 15 minutes per inch (6
mm) of thickness and does not shrink or change texture
during the process. The curing temperature can be lowered
if the clay is baked for a longer duration. You can also cure
polymer clay by placing it in near boiling water or surface
cure it using a hairdryer. Surface curing will allow you to
sand your part; however without a complete curing, the
clay will be fragile. When properly cured, polymer clays
are quite strong and wont normally break when stressed
or dropped. Polymer clay is sold in hobby and craft stores,

Several commercial clay tools. At top, there are rubbertipped clay tools, and at the bottom are dental tools that
can be used for shaping clay.

41

and even found in Wal-mart. Leading brands of polymer

clay include Premo, Fimo, Kato Polyclay, and Sculpey. These
clays are available in a wide array of colors so you might not
even need to paint the parts you create. On top of these
great options, this type of clay is quite inexpensive; a small
package of clay, more than enough to create many parts,
can be purchased for less than $2.
Once you get your hands on clay, play with it, work it, and
get a general feel for it. Your hands will be your best tools
to create your custom parts. However, you will need some
additional tools to create the fine details on your creations.
I find any fine-tipped item works well including X-acto
knives, paper clips, and most any other small item. Find
items that work for you. Your tools dont have to be store
bought clay tools; most of these are actually too large for
this work. If you want buy a tool set, look for dental tools.
Remember this is very small-scale work; your tools need to
be able to create fine detail. Your greatest tool is going to
be sandpaper, but we will cover this a bit later.

Sculpting 101
Clay sculpture is generally created by one of two methods,
addition or subtraction of material. These techniques are
as they sound; either the addition or removal of material
to create detail. I started in woodcarving, a subtractive
technique, and commonly find myself reverting to this
method. Find the technique that works best for you. One
tip I can offer is that subtraction works better with surface
cured clay. This can be achieved by using a hairdryer or
near boiling water as previously mentioned. Note that the
amount of time required to surface cure varies (based
on your location, humidity, etc, )so be sure to experiment.
Unfortunately, I cannot tell you exactly how to sculpt a part,
it will take time and practice to master this art. I can offer
a few tips and tricks that I have learned and been taught
by others to help speed your learning curve into this new
avenue of minifigure customization.

Several commercial clay tools as well a few makeshift

sanding sticks on the upper right.

42

While I am a subtractive sculptor, generally speaking, I

still try and create my parts in layers. This allows me to
sculpt and sand as I go, so when I am finished sculpting
I have little sanding left. The layered sculpting method
is demonstrated in on the top of page 43. If you try and
sand the part at the end, you may find that the detail work
on the piece is difficult to work around. Sanding is a slow
process, but it is CRITICAL to making your custom element
look more like LEGO elements. One tip to save time on your
sanding is right before you cure (surface or complete) any
part, give the part a quick wipedown with a cotton swab
that has been dipped in rubbing alcohol (70% Isopropanol,
95% ethanol or higher is better, but hard to find). This will
remove any fingerprints or other slight imperfections on
the sculpted part leaving a smoother surface. To sand your
custom parts you will need very fine grit sandpaper, which
can be purchased at most hobby stores (woodworking
grades are just too coarse). Check out the Micro-mesh
mentioned in the toolbox chapter (page 11). Because you
are using an ultra-fine grit paper, sanding will be slow, but
you will be rewarded in the end with a better looking piece.

Queens Headdress Layered Sculpture. The process used

to incrementally create the queens headdress. Notice the
small additions at each step.
As with the tools you are using to sculpt the part you will
need small tools to sand it. To make these sanding tools cut
the sandpaper and attach it to small sticks or rods (popsicle
stick, as seen on page 42). Make sure to step up in grit
values to really get the best finish.

Tips and Tricks

Depending on what you are creating, especially if the item
is long and thin (swords, etc), your creation will need an
internal support skeleton. The support can be made of
most anything. I have used everything from wire to wood
but prefer styrene. Styrene is a type of plastic which can be
purchased in sheets and a variety of shapes from most hobby
stores. By using an internal support skeleton, your item will
be stronger. The reason I prefer styrene is it has a slightly
higher melting temperature than the curing temperature of
polymer clay. This doesnt mean you can merely pop items
containing styrene in the oven. However, the styrene is
reasonably stable when the polymer clay is cured by boiling,
hairdryer, or extended-time low temperature curing methods.
Styrene/plastic can be incorporated into your sculpture
as well. Certain shapes are very difficult to sculpt perfectly.
Take the orb at the top of the head piece shown above. This
would have been very difficult to sculpt perfectly, however by
cutting the tip off a LEGO antenna a perfect orb can be added
to the sculpture and when painted, no one is the wiser to how
you did it. Another tip is if you are creating pieces with a grip
(sword hilt, for example): make the grip portion out of plastic.
This will help make your part more durable as the plastic will
take the abuse of the part removal from the figures hand,
protecting the clay.

43

If you are creating a hairpiece or some other accessory item

that must attach to a LEGO element, you will likely want
to remove it after you have finished sculpting it. Removal
can be tricky if your clay hasnt completely cured. Removal
of incompletely cured clay can also result in damage to
your creation. To help with part removal, you can wrap the
LEGO element it attaches to with very thin aluminum foil
or parafilm. Parafilm is a stretchable wax-like product that
is used by hobbyists when painting models. It can be found
at hobby shops or online. Another great trick is to sculpt
over the top of another element. You can sand down a
LEGO hair piece to a skullcap and add clay to the top of it
allowing you to sculpt a new hair style, helmet or whatever.
Most importantly this allows you to keep the internal
stud acceptor and more easily remove the cured part. Just
remember the plastic is present when curing parts created
in this manner. They will need to be cured at slower/lower
temperature, (layered sculpting page 43).
The final tip/trick I have for you is the use of clay sealants
and air-drying glazes. The sealant is sold with most resin
casting kits and the glaze is found with most clays. Both the
sealant and glaze strengthen the cured clay and give it a
finished sheen. This finish allows the paint a better surface
to stick to and results in a finish closer to plastic. If you want
to jump in and paint it, I suggest acrylic paints. They are
easy to find and clean up.

The Wrap
This chapter will end as it began it; sculpt, sculpt, and sculpt.
Only through practice will you get better. Sculpting and resculpting a piece will teach you something each time you
make a design. Everyone needs a hairdryer, even if you are
bald. Sandpaper is your friend: sand early and often, always
increasing in grit. Seal your final part to give it that LEGO
sheen. Finally, check out some of the great items created in
clay below for inspiration.

Parts Created from Clay! These techniques have been

used by others. Here are creations from Bluce Arealight
Shu (Pig, Monkey King, & Scooter - top row), Robert
Tothiro Martin (Hellboy, Star Wars Bossk, Nabrun Lieds,
Ponda Baba, & Talz - second and third row), and Jared
Burks (Tauntaun, Aurra Sing, Cad Bane, Shaak Ti, and
Mohawk, last row, left to right).

44

Chapter
7d

Custom Parts and Accessories Advanced Modifications

A previous chapter has addressed LEGO element

modification, but those tips were simple cut and paste
techniques to spark your thought process and to get you
to think outside the box. Please review that chapter (page
32) for the basic techniques. Just to reassure those that
believe it is sacrilegious to cut LEGO elements, lets examine
the meaning of the word LEGO in Latin, which means I
assemble. So lets assemble a new element by cutting,
gluing, and adding to a LEGO element to create something
new. Use your imagination, pull out some LEGO elements,
and get to hacking them apart!
In this chapter we will be handling hobby knifes, razor
blades, and rotary tools all of which are sharp. If you
are a younger reader, please seek your parents assistance
in handling these items. If you are an older reader, please
use care and caution: your fingers are not replaceable.
Kevlar gloves are available to protect your fingers and
I recommend these to all. They can be found in most
woodworking/carving stores or online from hobby sites.
I also recommend a non-slip cutting mat as well as good
safety technique. The best lesson I have learned, after
many trips to the ER for stitches, is to use sandpaper when
possible as many items can be created by sanding, which
is safer for your fingers. Please review proper cutting
technique in the earlier modification chapter (page 32)
This chapter will demonstrate advanced modification
techniques through the creation of a head piece for a
Hawkgirl minifigure inspired by the DC character. The
creation of this part is going to demonstrate several
techniques that you have learned over the last few
chapters. Briefly, we will start with a LEGO hairpiece, add
a stud to attach wings, cut down the top of the hair, add
styrene supports for creation of a mask, and using the
supports and clay create a mask on top of the hair piece
(We are adding the stud since the back bracket will not
fit with the hairpiece chosen for the project). After the
initial part is created it could be molded and cast using the
information in later chapters to create a durable plastic
version.
When creating a new element like this, it is important to
think out the steps required in its creation. For example, if
you started by sculpting the clay mask it could be damaged
by the rotary tool when attaching the stud for the wings.
For this part we are going to follow the steps below:

Creation Steps:
1.

Rotary cut a circular flat spot on the back of the

hair element.

2.

Trim down a 1x1 round plate to the stud.

3.

Fit the stud to the flat spot in the back of the hair.

4.

Glue the stud in place with plastic weld glue.

5.

Map out mask region on top of the hairpiece.

Advanced Modification: Palpatine Skirt, WA7 by

Jared Burks (top left and middle), Aang lit by Rob
Brickmodder Hendrix, decals by Jared Burks (top right);
Aliens, Skeleton, and Zombie by Kris Buchan (middle and
bottom row).

45

6.
Sand down the region to allow the clay some
space.
7.
Cut out styrene supports for wing portions of the
helmet.

Step 1: This diagram displays the starting element, the

trimming of the 1x1 stud, the rotary tool bit used to
create the flat spot on the back of the hair, the region the
bit was used, the glue used, and the stud glued into place.

8.

Glue supports to the head.

9.

Cover in clay and shape the mask part.

10.

Use hairdryer or hot water to cure clay.

11.

Paint (or mold, cast, paint).

There are several types of glue available. When attaching

the stud to the back, we will need a very strong bond. To
get the best bond, use plastic welding glues (Plastruct
Plastic Weld). These types of glues surface melt the plastic
of the two parts and bond them together. It is CRITICAL to
be careful when applying these glues to not damage the
rest of the part. If you spill or misplace any plastic welding
glue on other regions of the part, set it aside until the glue
completely evaporates and then give it a few more minutes
for the plastic to stabilize before continuing. Superglue
could be used, but the strength will not be the same as that
achieved when using plastic welding glue.
Now that we have the needed back stud to attach the
wings (their creation will not be covered here) we need to
modify the top of the head to make space for the mask.
To start the area will be masked out with a marker to
guide while the sanding. Use a rotary tool with a sanding
attachment to remove as much material as possible
without damaging the interior structure of the hair piece.
By removing the excess hair the mask will be more properly
proportioned. The removal could be done with a hobby
knife, if this is what you choose please exercise extreme
caution. The rotary tool will make short work of the region
and is much safer with the sanding attachment.
Now that we have the part prepped for the addition of
the mask we need to find some styrene. Sheet styrene in
various thicknesses is found in hobby stores for model
builders. We will use the styrene to cut out the basic shape
of the mask wing. These will act as supports for the clay. As
the front part of the mask will be too thin to hold styrene
we are only adding it to the back of the mask. Styrene is
an interesting item to work with; it doesnt need to be
completely cut through. You can score the design and then
bend the styrene and it will pop out. Once we have the
basic shape cut out we can sand the two sides to make
them identical. Attach the styrene to the head with the
plastic weld glue.

Step 2: This diagram displays the progression of marking

off the hair for the mask, removal of the area, wing supports
cut from styrene and attached with plastic weld, and clay
roughed out.

46

With the styrene supports in place it is time to add clay

to the head and sculpt out the basic shape of the mask.
When you are satisfied with the shape you will need to
cure the clay. If you recall from the sculpting chapter, there
are multiple ways to cure polymer clay including baking,
hot water, or hairdryers. As we have added clay to a LEGO
element, we cant place it in an oven for fear of melting the
LEGO element. Out of the remaining curing options I prefer
the hairdryer, however you can use either the hairdryer
or hot water. When using the hairdryer, use a lower heat

setting for a longer period rather than high heat for a

shorter period. The higher the heat, the more risk to the
LEGO element. Typically for a part like this (thickness) the
clay will cure using a hairdryer in about 3-5 minutes. Once
the clay is cured, you can use a metal file or hobby knife
to clean and accurately add the slits to the edge of the
mask wing. Also, to give the clay a smooth finish you need
to sand the cured clay ultra smooth. A commercial grade
sandpaper call Micro-mesh is great for this application.
Micro-mesh sandpaper is a nine-step sanding process that
will result in submicron scratches meaning that they are
not visible to the human eye.

Step 3: This diagram demonstrates the finished shape to

the mask. The part was then molded and cast in orange
colored resin, which was sanded and painted. Once
painted, the eye decals were applied.

With the part constructed we are at a crossroads, either we

paint the part or we mold and cast the part, then paint it.
It is best not to paint before molding. From the painting
chapter we know that acrylic paints are the easiest to use,
quickly air dry, and clean up with water (see page 28). Now
that we have the final painted part, it is time to use the
other techniques to finish the figure. To create the wings
refer to the chapter on sculpting (Chapter 6, page 41) and
for the decal design and application please refer to those
respective chapters (Chapter 5b, page 17 and Chapter 5d,
page 21).
Now that you have seen how to integrate multiple
techniques lets see what you can create. Where does your
imagination take you? What will you LEGO assemble?

Hawkgirl Complete Figure

47

Chapter
7e

Custom Parts and Accessories Molding and Casting

Silicon Rubber Molds
Now that you have learned to make new parts, it is time
to learn to mold and cast them in more durable materials.
This section will present information on creating silicon
rubber molds to replicate your custom-created elements.
As you will be using chemicals in not only the creation but
also the use of silicon rubber molds, please READ all safety
information for all the products you use. The creation and
use of silicon rubber molds by younger readers will require
adult supervision.

Prototype: Custom prototype element for molding

created with sheet styrene.

The custom elements that you have created will now be

referred to as prototype parts or prototypes. This is because
they are one of a kind. As they are unique you may wish
to replicate them or simply make them more durable.
Silicon rubber molds are the best option to accomplish
either of these means. There are many manufactures
of silicon rubber for molding including; Smooth-On,
Alumilite, MicroMark, and others too numerous to list. When
making a silicon rubber mold two compounds, silicon
rubber and catalyst, are mixed in a proper ratio to start a
chemical reaction causing the silicon rubber to cure to a
solid state. Many brands mix by a weight ratio, meaning
a large amount of silicon mixed with a tiny amount of
catalyst. These weight ratio mixes require the use of a
gram scale to accurately recreate this complex mix ratio.
However, the Smooth-On brand features a convenient 1:1
mix ratio, eliminating the need for very accurate weight
measurements as they mix by volume.

Silicon Rubber Characteristics

Now that we understand the differences in mix ratios we
need to discuss the differences in the many types of silicon
products. These different types allow for the creation of
molds with different features. Therefore it is important
to understand what each type of silicon is for and its
weakness and strengths. There are four key features to
understand about silicon mold rubber; elongation at break,
tear strength, pot life, and demold time. The first two and
last two characteristics are related.

48

Elongation at break is just as it sounds; how much will the

silicon stretch before it breaks. This measure is typically
presented as a percentage. A low percent stretch is about
250% and a high percent of stretch is 1000%. These
percents are not arbitrary, low percent means the mold is
more firm and high percent are less firm. Think of this like
jelly versus Jell-O. Producing multiple part molds with a
high percent stretch is very difficult as it will emphasize
part lines in the mold. Part lines occur where multiple part
molds meet. These are emphasized as the edges of the
mold curl slightly due to the firmness issues. Tear strength
is an indication of the force required to tear the rubber, it is
measured in pounds per linear inch (pli). The higher the tear
strength value the stronger the rubber. Typically higher tear
strengths go hand in hand with greater elongation at break

percentages. So the same issues that plague multiple part

molds with higher elongations at break do so with higher
tear strengths silicons as well.
Pot life is the duration you have to mix the two reagents,
silicon rubber and catalyst, together and pour the mixture
into the mold box. The mold box is the container that holds
your part while you are creating the mold. The shorter the
pot life the faster the silicon starts to set. Typically 20-30
minute pot life silicon is preferred. This gives plenty of time
to completely mix the silicon (which is key to achieving
the proper elongation at break and tear strength) and to
pour the silicon into the mold box in a slow and controlled
manner. The demold time is the duration that it takes for
the silicon to completely cure or set. It is important to
wait this duration before disassembling the mold box and
proceeding to the next step, be it molding a second part of
the multiple part mold or using the mold to cast the a new
part in resin.

Mold Design
Now that you have an understanding of the characteristics
of the different types of silicon, we can begin a discussion of
mold creation. I refer to this process as sculpting the mold
and it takes almost as much creativity and effort as creating
the prototype in the first place. A properly designed and
executed mold will yield many great parts; a poorly designed
and/or executed mold might not yield even one.
The first issue to consider when creating a mold is how
the cast element will be removed. Typically, removal is the
factor that determines how many parts to the mold you
will have; one, two, or many. Once you have decided this
issue the other key factors can be consider; mold box size,
holding the prototype while pouring the silicon, part line
locations, properly designed air vents and fill holes, and
pour speed and technique. Mold boxes are easy; we already
have a perfect product to create a mold box of any size,
LEGO bricks. It is best to allow 3/16 to inch (~1. 25 cm) or
more of silicon to surround the prototype to give the mold
the proper strength and rigidity. Therefore when laying out
the mold box in LEGO bricks allow this much space around
the prototype. Once your mold box is complete you need
to measure its length, width, and height in centimeters
(cm). When you multiple the three numbers together you
will have a measurement in cubic centimeters which is
equal to milliliters (mls). Milliliters is a volumetric measure,
when you divide this number in you will know how much
of each part of the 2 part silicon to use.
The next issue is suspending the prototype in the box.
Most molds for these types of prototypes are at least 2
parts. Therefore, the prototype will be suspended and the
first half of the mold will be created, then the first half will
retain the prototype while the second half of the mold is
created. Typically the prototype is embedded in clay to
retain it while the mold is poured. Not just any clay, but
a non-drying clay like Klean Klay. When the prototype is
embedded in Klean Klay this will create a part line, the line
formed between the two halves of the mold. So place the
clay along a line in the prototype to hide the part line so it

Mold Design: Proper planning includes sketching mold

design to include part lines, air vents, and fill holes.

49

is less visible on the final cast element. Part lines on LEGO

elements are visible under close scrutiny. The Klean Klay
is also used to create keys in the two mold halves so they
lock or register together. These are critical to proper mold
alignment.

Mold Box Part 1: Mold box set up with Klean Klay used
for part suspension and lock and key design for mold
registration.

Properly designed air vents and fill holes for a mold are the
most critical factors in creating a functional mold. Air vents
and fill holes are where air trapped in the mold escapes as it
is filled with the resin plastic. These need to be placed such
that they can be trimmed and not affect the appearance of
the finished cast element. Typically, the mold is filled from
its lowest spot and vented from its highest. Designing good
molds takes time and practice as well as 3-dimensional
thinking. The way a prototype is held can affect the air
vents and fill holes so consider this when embedding the
prototype in Klean Klay. When I create a mold I use small
diameter styrene rods to create the air vents and fill holes
in the mold while it cures. When the mold has cured the rod
is removed and the voids serve as vents and/or fill holes.
Many suggest cutting these into the mold after it has been
created, I do not recommend this as it creates irregular
vents that can trap air. Air trapped in the part region of the
mold when casting is the worst issue as it will result in a
poorly created part.

Pouring the Mold

Pouring a Mold: Pour technique using the V shape and

slow pour rate to remove air whipped into the silicon
resulting from mixing the two parts together.

The final things to consider when pouring a mold is actually

mixing and pouring the silicon for the mold. When mixing
the two parts, pour part 1 and 2 into a mixing container
(I prefer paper or plastic cups) in the proper ratio. Mixing
with a metal or glass rod will reduce the amount of air
introduced into the silicon, which is ideal. Many molding
and casting kits come with broad wooden sticks; these
will whip in more air, which could cause problems. When
completely mixed pour the mixture into a new container
and continue to mix. Properly mixed silicon is critical in
yielding a mold with the elongation at break and tear
strength indicated by the packaging. Improper mixing can
result in weak spots in the mold and result in a short mold
life or poor part production. A properly mixed and cared for
mold should be able to produce 25-200 parts, depending
on the type of silicon. Remember to keep an eye on the
clock as the silicon will start to set as you approach the pot
life duration and you have yet to pour the silicon into the
mold box.
Once the silicon has been completely mixed, it is time to
pour it into the mold box. Pour technique can help reduce
air bubbles in your mold, which can weaken and reduce
the molds functional life. When pouring from a paper or
plastic cup you can pinch the edge forcing it to form a V
shape. Then when pouring very slowly in a thin stream any
air bubbles in the silicon will pop. This is because the air
bubbles are stretched as they fall out of the cup in a fine
stream. Remember to allow 3/16 to inch (~1. 25 cm) or
more of silicon on top and bottom of the part as well as to
each of the sides.

50

If your prototype requires a multiple part mold be sure

to coat the area where the first and second mold parts

meet with silicon-to-silicon mold release. If you do not, the

two mold portions will bond and you will NOT be able to
separate them from one another. With proper application
of the mold release (silicon-to -silicon, but there are other
types) the two parts will easily come apart allowing the
prototype or cast element to be removed. When you are
pouring the second part, exhibit care to not disturb or
remove the prototype from the first half.
Following the above instructions, you will be able to easily
create a mold of one of your custom sculpted elements.
Two part water-thin plastic resins used in casting cure by an
exothermic reaction (releasing heat). This heat slowly wears
the mold. Be cautious not to cast too many elements at one
time as you could lower the life of your mold. Let it cool
between castings. To get the longest life from your mold, it
should be stored in a cool, dry place. Happy Molding!

Casting
This section is packed with details on casting in resin plastics.
With the information gained in the preceding section,
we can address the concept of resin plastics. Recall the
chapters on creating custom elements in clay (page 41)
and element modifications (page 32). With the information
in these chapters and the information below, you will be
able to create, mold, and cast a custom element in durable
resin plastic. As you will be using chemicals in not only the
creation of these custom elements but also in the molding
and casting stages please READ all safety information for all
the products you use. The creation and use of resin plastic by
younger readers will require adult supervision.

Part 2: Disassemble the mold box for Klean Klay clean

up. Reassemble the mold box. Coat the top with rubber to
rubber mold release and pour the second half of the mold.

Resin Characteristics
Resin plastics are composed of two parts much like the
silicon rubber. By mixing part A with part B an exothermic
(heat generating) chemical reaction takes place curing the
resin into a hard plastic. Most resins are a 1:1 mix, however
a few are not, so read the instructions carefully for the resin
you choose. I recommend the 1:1 mix for ease of use. Resin
has a pot life, demold time, viscosity, tensile strength, and
hardness, much like silicon rubber. These characteristics
effect how long the resin will take to cure, how well it will
flow in the mold, and how strong the final part will be.
Resins typically have a much shorter pot life and demold
time than silicon rubbers. Because of this shortened duration
resin must be quickly mixed and poured into a mold before
it cures. If mixing takes too long the resin will start to cure
and thicken keeping it from being pourable and thus, it
wont enter the mold. Most resins are referred to as water
thin; this is in reference to their viscosity. A low viscosity resin
will pour very easily. This means the resin will more easily fill
small voids in the mold. Tensile strength and hardness refer
to the strength of properly mixed resin plastic. If the resin is
improperly mixed or it contains bubbles, the strength will
suffer. The hardness also indicates how durable your final
part will be; keep this in mind if you intend to sand the final
product or if it is intended for rough play.
I prefer resins with 3-5 minute pot lives, anything shorter is
hard to properly mix and get into the mold. As with silicon

Final Mold: The finished mold with original and replica

cast parts.

51

be sure to mix thoroughly; this means mix in one cup and

then transfer to a new cup to continue mixing. My rule of
thumb for mixing time is one-third of the duration of the
pot life. This gives you the other two-thirds of the pot life to
pour the resin into the mold. Mix gently, but thoroughly, to
avoid excess bubble formation. Also note improper mixing
can also affect the cured resin color.

Coloring Resin
Most resins will turn white when cured, however, there
are some that turn amber, clear, tan, opaque, or yellow.
If you intend to color your resin you need to keep this
characteristic in mind as it will affect the colors you can
achieve. For example it is very difficult to achieve black
colored resin when using white cure resin. When mixing the
black pigments with the white cure resin the resin will turn
light or dark grey depending on how much black pigment
is added. One would have to use a clear or amber cure
colored resin. White resins typically have a higher shine and
greater strength, so I prefer to work with them. It is possible
to work around the color issue mentioned above for most
colors; however you must be careful of foaming.

Pigments and Foaming

When you mix too much pigment into a resin plastic you
are adjusting the water content and plastic to hardener
ratio of the resin. Most pigments are suspended in either
water or oil. When adding a pigment, this added liquid
volume can affect many of its properties, most importantly
the foam point. When a resin contains too much moisture
(from pigments or humidity) it will foam creating hundreds
of bubbles in the resin as it cures. The exothermic (heating)
reaction causes these bubbles to form, which will ruin the
part. Use a small amount of resin and pigment to test the
color you wish to make prior to pouring several parts or
mixing large batches of colored resin. Start slowly and test
the foaming point. Also test the demold time of the resin,
as you add more pigment you will need to extended the
duration you leave it in the mold.

Foaming in the resin, and some end results.

Pigments.

52

Typically most companies offer pigments in the following

colors: white, black, red, blue, yellow, green, and brown
(primary and secondary colors). These colors must be mixed
together to achieve the color you desire. Creating custom
color recipes will take quite a bit of time, so make sure to
take notes. This does not mean you will have perfect color
matching or consistency. Day to day humidity changes and
mixing variability will affect the final color.
Some pigments are available in a powder form, which
is great from a foaming standpoint, but this makes
them much more difficult to use. Measuring powders to
determine the quantity to add to resin is difficult. Also
powders have an ability to find their way into places
they shouldnt. Remember these are VERY concentrated
pigments so very little on your floor, clothes, or hands could
result in a massive mess. If you choose to go this route be
very careful and get a VERY accurate scale.

Filling the Mold

One would think that filling the mold would be easy.
However, there is a process that will extend the life of the
mold and aid in casting. As previously mentioned, when
the resin parts are mixed together an exothermic reaction
occurs. This will ultimately destroy the mold, so take every
precaution to protect and extend the life of the mold with
each casting. First, the mold should be sprayed with mold
release. I prefer Manns Ease Release 200. This will help
keep the silicon rubber from drying out due to the heat
and thus extend the life of the mold. This will also keep the
mold from sticking to the resin once cured. Spray the mold
with a thin, even coating before each use and then use a
dry paintbrush to gently brush over the mold to make sure
every surface is evenly covered. Allow the mold to sit for 3-5
minutes for the release agent to dry. After casting it is also
best to let the mold rest and cool, as the silicon will hold
heat for some time. It is this heat over time that will destroy
the mold. Immediate repeated castings can expedite the
mold failure.

Pipettes and Mold Release

Once your release agent is dry, you have to determine
how you are going to fill your mold. Many people employ
the same thin stream method used when pouring the
silicon. This will minimize bubble formation in the resin;
however I prefer to use a plastic pipette. These are small
plastic graduated tubes with a squeeze bulb on one end.
This allows the user to uniformly push the resin into the
mold. I find that this pressure helps to fill the mold very
uniformly, if the mold is properly designed. This also avoids
the mess of the thin stream pour and speeds the resin into
the mold while still water-thin. However, because this is not
a thin stream pouring we risk the addition of bubbles. This
means we have to employ other techniques to remove or
minimize the risk of bubbles.
Bubbles can be minimized by several methods including;
tapping, vibration tables, extra fill volume, brushing the
mold with resin, and new air/overflow tubes. Tapping is the
simplest method to attempt to remove air from the mold,
merely tap the mold on a solid surface in an attempt to
drive any air bubbles up and into the air/overflow vents in
the mold. This method can be stepped up by using a small
vibrating massager. Merely touch the vibrating massager
to the bottom of the mold and let the vibrations free the
trapped air. Be careful, as both of these methods can splash
resin out of the mold.

Release agent spray.

Plastic pipettes.

Using pipettes to pump resin.

Another method for eliminating air bubbles is to use a

paintbrush and brush or pour some resin into trouble spots
to ensure air cannot be trapped in these regions when the
mold parts are assembled. This is particularly useful for
small regions at the bottom of the mold. Be careful when
using this method; keep an eye on the pot life of your resin.
It may take longer to fill these areas, assemble the mold,
and fill the main mold void before the resin cures.
All resin volumes slightly shrink when curing. This means
if you completely fill the mold when you take it apart the
resin will have pulled back into the mold slightly. If the air/

53

overflow tubes are short, this shrinkage could pull air into
your mold. This issue can be counteracted with the addition
of some small straws or reservoirs in the air/overflow areas.
The added weight and volume of extra resin will keep air
out of the mold and fill it as the resin shrinks during curing.
This issue can be avoided with proper mold creation.

Prototype and Replicate Part.

When filling your molds, you might be confronted with

a continual air trapping issue. This could be resolved by
cutting a new air/overflow vent in your mold. This can be
done with an X-acto knife; however I recommend a rotary
tool with either a cutter or drill bit attached. Cut through
the rubber mold slow, especially if it is a very elastic mold.
This is one way to salvage a mold and make if functional.
If you mess up and need to repair the mold remember
that rubber will stick to rubber unless mold release is used.
So you could fix any error by pouring new rubber into
the error. Just remember you will need to fill the internal
volume and any air/overflow tubes you wish to keep and
also coat these areas with mold release.
The final way to avoid air bubbles is to understand why
they form in the first place. Yes, it can be simply trapped
air because of small areas, but they can also form in other
areas for no apparent reasons. Most commonly they form
in these areas because of surface imperfections in the
custom part. These small imperfections allow a place for the
bubble to form or rest. Through the use of better sanding
technique of the part before the mold is created, these
areas can be minimized and removed as a source of air
bubble formation. So spend the extra time to completely
sand the parts you wish to mold and cast.

Wrap-up
Now that you have the secrets to basic molding and casting
lets see what you can create. Be sure to reread all the
chapters as each will give small insights that can improve
your work. This is a process and by cheating at any step you
will sacrifice the results of the next. Enjoy making your own
plastic parts.

54

Chapter
7f

Custom Parts and Accessories Best of Hand-Created Custom Parts

As the sections on sculpting and modifying parts conclude,

I hope you have been creating new elements and that you
have developed an understanding of design/creation style.
If you havent developed a clear style, hopefully this chapter
will help you define or refine your style. Perhaps you are a
realist in your parts creation making them highly detailed
do you tend towards the cartoony style making them
oversized, or do you attempt to stay close to the style of
the LEGO Company? In this chapter, I am going to point out
what I believe to be the best hand-created custom parts. By
doing so, I hope to teach how to evaluate custom sculpted
items as well as help you refine your style for creating
custom elements.
Just as in the previous chapter on decal design, sculpting
a custom part relies on interpretation of the inspirational
object in the LEGO scale and form. You need to decide
what parts of an inspirational item are essential for
its identification in LEGO scale and form, and which
are merely too detailed to recreate or might distract.
Typically, this decision will rely on your skill level. You
may start out creating very simple elements that are
merely 3 dimensional shapes with little detail and as your
skill develops you will be able to add more and more
complexity to your work. Recall the method of layering
when creating clay sculpture, as your skill develops you will
find adding additional layers easier.

Simplicity
Certain items can be created in a very simple style, by
using a simple style they gain an elegance. In my opinion,
its the simple design that is the hardest to create, but it is
also the one most readily identified with the inspirational
item. For example, Bluce Arealight Hsu has created a
scooter inspired by a Vespa; notice that in Bluces work he
doesnt make anything bold, just a simple scooter with nice
rounded proportions. He very wisely incorporates LEGO
elements for the head and taillights, seat, and wheels. By
incorporating the LEGO elements the custom item blends
more readily into the LEGO environment. The greatest
part of this creation is its symmetry, which likely gets
discounted as many would only notice if it was incorrectly
made asymmetric. This is one of my favorite custom items
as it is so LEGO that an outsider to the customizing field
probably could not tell it wasnt an official item.
Bluce carries this simple style into many of his custom
items, including his tentacle head with accessory parts. He
used the style of the basic LEGO head and merely attached
tentacles to achieve his custom element. His head is
completely minimalistic allowing the accessories to add the
detail, primarily by addition of a second color to the head.
The accessory items details are also sparse, but contain
enough detail along with the color to identify the head
with the inspirational character. The concept and design of
the tentacle head is so LEGO, I believe LEGO has followed
the hobby. If you examine Kranxx/Rench figures from the

Bluce Arealight Hsus scooter and head tentacle figure.

Notice the simplicity to both designs and how well they
both fit into the LEGO-verse.

55

new Space Police theme you will see that LEGO has created
a head very similar in style to the tentacle head. They have
added simple details to a basic LEGO head shape, the first
in the official LEGO-verse. LEGO does do something
with this part that has never done before, which I consider
quite brilliant. LEGO has left an open area for the mouth
because of the heads orientation paint on the neck stud,
the open mouth has a painted interior and I dont believe
the added detail cost them a penny more in production
costs. This is smart, yet very simple sculpture design that
takes advantage of production requirements.

Complexity
LEGOs Kranxx/Rench head. These are official parts that
speak to the heart of simple creations. The real genius is
the mouth design.

Some sculptors focus on details; these sculptors go well

beyond the level of detail that LEGO would incorporate
into a design. Examples of this type of work are created by
Hazel-Tam of the Amazing Armory, Jason Jasbrick Burnett,
and Nicholas NickGreat Sim. These sculptors see beyond
the limitation of the size and push the envelope of what is
possible to recreate in this scale.
Hazels use of complex part design is simply amazing. He adds
more complexity to his figures than any another sculptor out
there as seen in the image on the left. Notice his modifications
to the LEGO motorcycle where he creates a dirt bike. The
frame is still the simple LEGO style, but he has added detail
upon detail. Hazel has even gone to the extreme of adding a
fill-in for when the rider is not on the bike to make it look even
more real in the absence of the rider.
Jason and Nick are primarily known for their cut and
glue approach to sculpt/create the desired part. In their
application they are carvers rather than sculptors; carving
away the undesired portions of plastic. This approach is
very viable and a great way to start creating custom parts.
Jason and Nick are masters at this technique, making it near
impossible to find their joint work.
While Jason is primarily known for his cut and glue I have
chosen to show one of his clay works on the left. It is a figure
inspired by the Stargate movie and TV series. Notice the level of
detail; it is simply a stunning figure. This piece also demonstrates
Jasons other impressive skill, his ability with a brush. His
freehand painted figures are better than any other I have seen.
His use of paint on this clay figure helps hide some of his clay
errors, another wise tactic to use when learning to sculpt.

Hazel-Tam (dirtbike - top), Jason Jasbrick Burnett

(fantasy figure lower left), and Nicholas NickGreat
Sim (Samurai lower right). These three sculptors create
parts with extreme levels of detail.

56

Nick is known for several of his figure series, but none are as
well known as his Samurai series. In case you have missed
them, one is shown in on the left. This is a cut and glue figure
where Nick has created a custom helmet beyond any LEGO
has produced, yet LEGO produced the parts. Nick has taken the
LEGO samurai helmet and added the front face plate from the
Spider-Man Green Goblin mask. He has removed all unneeded
portions and managed to keep the plate perfectly aligned
with the face. It is this vision that allows for the creation of such
a phenomenal work. The figure is made all the better through
the complete feeling obtained by adding all the accessories
and keeping the style flowing through them. He utilizes LEGO
elements and melds them together to create complex yet
simple new figure that is beyond LEGO yet obtainable with its
use and one that still fits in the LEGO-verse.

Sculpting Originators
Two sculptors in particular have struggled to create items that
fit in the LEGO-verse. They are also the primary people who
helped introduce clay part sculpting to the hobby. Robert
Tothiro Martin was the first person that I am aware of to
create custom elements for LEGO figures. His items still set
the mark as what is possible. Notice the simple details, yet
the elegance to his work to the right. This photo shows clay
versions of several of his last works in progress. Roberts parts
are still highly sought after even years after their introduction.
The second sculptor is no longer producing items any more,
yet is also one of the field originators, Isaac RedBean Yue.
Unfortunately I was only able to locate one of his clay items,
which is shown in the image to the right. Notice the simple
lines and the incorporation of LEGO elements. The key to
this work is the symmetry. Speaking from experience this is
the hardest thing to create. Making a perfectly symmetrical
part by hand takes hours of work.

Rising Stars
The newcomers to the field of sculpting that I have had my
eyes on are Jamie Morgan19 Spencer and Kris DrVenkman
Buchan. Both have started creating clay elements that
are quite interesting. Their techniques are a bit rough, but
steadily improving. The key that they have already figured
out is practice. I see improvements in each of their items
over the last. Jamie, like Jason, uses paint to help hide errors
or make the errors part of the texture of the part. I look
forward to great creations from both in the future.

Robert Tothiro Martin (Star Wars Inspired parts - top)

and Isaac Redbean Yue (helmet bottom). Robert was
the first persons sculpture I saw for the LEGO-verse. This
is some of his last work. Redbean has primarily created
weapons and armor. His parts skirt the line of the LEGOverse yet still find a nice home. Unfortunately, I was only
able to find a single photo of his clay work.

Personal Note
I am still a relative newcomer to the field of sculpting
and am refining my craft with each part I create. I have
found that repetition is the key; I will sculpt the same part
multiple times. I believe my best effort to date is my Cad
Bane sculpt.
When viewing a custom element it is hard to realize how
many hours went into its creation; the basic sculpting, the
cautious curing of the clay, and the extensive sanding to
perfect and repair the sculpting errors. Time accumulates
and perfect sculpting cannot be rushed. Now that you have
seen what is out there, remember we were all beginners at
one time. Only through practice will you get better.

Newcomers to the field of sculpting Jamie Morgan19

Spencer and Kris DrVenkman Buchan are showing
great promise with their early work. The first 3 figures are
Jamies and the final 2 photos are Kris.
Cad Bane. This is my best sculpting attempt to date. The
hat and head were completely custom-created. The cloth
jacket was generously given to me by Mark MMCB
Parker.

57

Chapter
7g

Custom Parts and Accessories Third-Party Accessories

This book has been primarily concerned with teaching how

to create custom figures and all the accessories needed
to outfit your figure. This isnt always practical and until
recently (with the creation of the Collectible Minifigure
Series) LEGOs accessories were fairly limited. So when
you cant or dont want to create every part of the figure
from scratch, it is time to look to the aftermarket of LEGO
compatible accessories. This is actually quite a large field
with about 15 main contributors beyond the LEGO clones:
Bestlock, Cobi, Megablocks, and Oxford.
To begin this discussion please consider that many of the
accessories created by the clone brick and action figure
companies including: Bestlock, Cobi, Games Workshop,
Hasbro, Medicom Kubrick, Megablock, Oxford, Sidan,
Stikfas, and many others are very compatible with LEGO
figures. Many customizers have used hats, weapons, capes,
and other odd parts to complete a custom figure. One of

the easiest ways to make a LEGOized Star Wars Bouush

Leia figure, for example, is to use the Hasbro action figure
helmet over a LEGO head. This can be a very economical
way to get the needed accessory, especially if you dont
have the time to make it. Buy the action figure or, yes,
one of the other companies sets. I know many wouldnt
touch their inferior bricks, but get over it if you need that
accessory item (Also you can use those bricks to build your
molding boxes with instead of destroying your LEGO bricks,
so you can repurpose the bricks). Commonly many of these
other companies accessories are sold on eBay and a few,
like Sidan, are readily available on Bricklink (www. bricklink.
com/store. asp?p=Minifig. Cat). Several of these other
companies have themes in line with LEGO and where they
succeed, in my opinion, is more artistic accessories. Instead
of a plain straight spear it might have detailing or be slight
crooked. This detail could help make your custom figure
unique.

Third-Party LEGO Compatible Manufacturers

Manufacturer

Owners

Amazing Armory
Hazel
Arealight
Bluce Hsu
BrickArms
Will Chapman
BrickForge
Kyle Peterson
Brickmodder/Lifelites Rob Hendrix
BrickTW
Kevin Chu
Custom Brick & Minifig Christo
Fine Clonier
Jared Burks
Little Armory
Jeff Byrd
MinifigCustomsIn3d
Andreas Holzer
MMCB
Mark Parker
Roaglaan Stickers
Tim Fortney
Saber Scorpion
Justin Tibbins
The Little Arms Shop
Unknown Artist Studio Victor Sobolev

Web Address

Decals Parts Cloth Mods

bricklink. com/store. asp?p=AMAZING ARMORY

X
Arealightcustoms. com
X
brickarms. com
X
brickforge. com
X
brickmodder. net, www. lifelites. com
shop. bricktw. com
X
myworld. ebay. com/christo7108
X
X
fineclonier. com
X
X
littlearmory. com
X
shapeways. com/shops/MinifigCustomsIn3d
X
mmcbcapes. servaus. net
X
roaglaanscustoms. com
X
saber-scorpion. com
X
thelittlearmsshop. com
X
unknown-artist. com/product
X
X

With knowledge of the LEGO clones and action figure

market we turn to the third-party market: manufacturers
that specifically create accessories that are compatible with
LEGO figures. To summarize, I have created a table above
of all the vendors, their speciality, and their store location.
This is not an exhaustive list of where you can buy items,
as many of these groups have distributors. To locate a
distributor close to you, please check their websites or run
a Google search for their names and you can find one in
closer proximity to save on taxes and possible import fees.
However, whenever possible I always try and buy directly
from the manufacturer for the best service. Navigating
these sites can be very time consuming, understanding
your needs before visiting can be helpful and I suggest
using search functions on the sites when possible.

58

Amazing Armory

Amazing Armory offers a line of highly detailed military

pieces that range from helmet accessories to highly detailed
weapons. Most with a science fiction/video game twist.

BrickArms
Arealight Customs make fun and high quality custom
accessory for anyone who enjoys customizing their own
minifigure creation. Custom parts are made of high quality
ABS and many are available pre-printed.

BrickArms sells WWII, modern, and sci-fi weapons,

accessories, and helmets. All are made of injection
molded ABS, and are available in multiple colors including
gunmetal and electroplated chrome. BrickArms also sells
custom-printed minifigures, complete with matching
accessories. BrickArms sells over 100 different weapons &
accessories, weapons packs, and custom minifigures.

BrickForge

Brickmodder/Lifelites

Arealight Customs

Brickforge provides the community with a unique

assortment of custom minifigure accessories. Their catalog
of over 100 specialized elements and 20 vibrant colors
spans many themes including: fantasy, historical, modern
and sci-fi; allowing minifigure enthusiasts to construct a
variety of impressive characters.

Lifelites Custom LED lighting kits and accessories allow

for lighting modifications to be added to your MOCs,
minifigures, and other scale models.

59

Custom Brick and Minifig - Christo7108

Custom Brick and Minifig creates a very high quality of

custom LEGO scale items. These items include custom
capes, glow-in-the-dark blades, head accessories and
excellent custom figures. All our items are printed and are
of a very high standard. Christo7108 is always ready to do
new and exciting designs. Complete figures are available,
but as they are only sold through eBay the price can vary
from auction to auction, so be patient if you are after one of
their parts or figures.

BrickTW

Little Armory

are partners from Taiwan with a deep passion for LEGO.

They hope to create a paradise and invite all LEGO fans
to join. Their focus is in the Asian historical theme, but
they have a lot of innovative items too. They offer 480
components in different colors; resulting in an amount
around 288,000 items in their store.

The Little Armory, which I believe is now closed, was the

first third-party ABS parts supplier that I am aware of.
They created simple yet elegant versions of the Star Wars
weapons to outfit your custom figures. Many of these
accessories are still highly sought after today.

Fine Clonier

MMCB

The Fine Clonier, my site, offers high quality waterslide

decals for several genre as well as custom-cast and ABS
elements. We strive to incorporate a style similar to LEGO
when appropriate and deviate where we deem necessary.
We offer thousands of designs which can be combined in
infinite number of ways with LEGO elements to create an
endless supply of custom figures.

60

MMCB Custom Minifig Cloth Accessories specializes in

making fabric accessories for standard LEGO Minifigures.
Their designs range from basic capes through to highly
detailed pauldrons, holsters, and tents. Each piece is made
from specially treated fabric closely matched to LEGO
colors. They currently have 90 different designs which are
available in 33 colors. Most of these can have additional
detailing (borders, emblems, camouflage) to make a total of
688 individual products.

Saber Scorpion

Saber Scorpions lair offers sticker sheets to create your

favorite custom figure across many different films and
games.

The Little Arms Shop

Roaglaan Stickers

There is a cloud of mystery around how this shop started.

The owner used to be a distributor for the Little Armory
and then suddenly cut the Little Armory out of the picture.
They offer many of the same items that the Little Armory
did, so if you are desperately looking for one of their items
check here.

Most of Roaglaan designs are based on World War II and

modern military themes, and they also have a few pirates
and adventurers. The sites philosophy is to create decals
and stickers in a style that complimentary to the LEGO
design. Designs are provided as stickers or waterslide
decals.

Unknown-Artist-Studio
Unknown-Artist-Studio is a hobbyist-owned and run
online shop catering to AFOLs and customizers around the
world. They offer intricately fitting fabric cloaks, coats, and
holsters and sheaths that work with official and aftermarket
elements. In addition to fabric, they also have resin cast
accessories. Requests for custom colors and elements are
always available.

MinifigCustomsIn3d
MinifigCustomsIn3d provides custom accessories in
minifigure scale. The shop contains mainly hats for different
topics (Napoleonic, Middle Age, Ancient, Fantasy, Military)
and a small number of additional items like rifle, pistol,
drums, mace, and more. Currently the shop has nearly 150
different items.

It is readily apparent that the third-party market is a large

and growing with many people making niche items.
Understand your needs before shopping and buy only
what is needed, or you could go broke quickly as many very
interesting items are being produced.

PLEASE NOTE: This chapter and the author does not

endorse or vouch for any of these manufacturers so
if you have concerns ,please contact their customer
support people before purchasing. Also note the author
owns the Fine Clonier.

61

Chapter 8

Displaying Minifigures
Throughout this book we have discussed different ways to
create custom figures. Once you have created them, how do
you display them? Even if you dont have a large selection
of custom minifigures perhaps you wish to display your
official figures. How can this be done? Well, there are
multiple products out there and multiple ways to use them.
In this chapter we will visit the ones I am aware of and the
ways I use them. I will also disclose a few ideas I have had to
create some new options.

LEGO Minifigure Stand

LEGO Sports Plate

When displaying my collection I use many of these stands

along with a special board I had made. The plates slide into
a special slot cut into the board that makes display shelves
for the figures (see right).

62

Lets begin this review of the available display options

by looking at what the LEGO Group has given us (see
left) to use to display our figures. I bet there are more
than you realize and these options are typically the ones
that best integrate into our LEGO collections. The most
recent display stand that LEGO has given us accompanies
the new Minifigures line. This simple little plate (Tile,
Modified 4 x 3 with 4 Studs in Center: www. bricklink. com/
catalogItem. asp?P=88646 - see left) which is quite effective
for displaying figures and is economically priced around
twenty cents on Bricklink.

This plate is also similar to the display plates that LEGO

gave us a few years ago. These tiles (Modified 6 x 6 x 2/3
with 4 Studs and Embossed Letters: www. bricklink. com/
catalogList. asp?pg=3&catString=38&catType=P&v=2
- see left and below) came with a few sets and had the
embossed words Star Wars,Sports,Rock Raiders,Ninja,
or City. These came in various colors and all but the
Star Wars versions can be found for pennies on Bricklink
making it an economical way to display your figures. This
little stand features a card slot which means you could
display your figure with a nice little printed backdrop or
figure schematic.

At the New York Toy Fair 2011, LEGO showed us the most
recent display box (below and below right), which will
come in a variety of colors and sizes, stack and wall mount.
These will be great for individual display or groups of
figures.

New LEGO Display boxes. Photo by Ace Kim.

However, let us not forget that LEGO has also supplied
us with magnetic stands (Magnet, Brick 2 x 4 Sealed Base
with Extension Plate with Hole: www. bricklink. com/
catalogItem. asp?G=74188), seen at right. These are likely
the most economical currently as they are in high supply
on Bricklink. They are also available in several colors. Much
like my display boards described above these could be
used in several creative ways to display figures. Just think of
what could be done with these and a magnetic dry-erase
board, at far right. To take it one step further, there are now
magnetic paint primers. You could paint the wall of your
LEGO space with a magnetic primer, use a colored paint
over the primer and then display all your figures without
placing a single nail in the wall by using these magnetic
stands. This is how I have my LEGO room setup.

LEGO Magnetic Display & Magnetic Dry-Erase Board

These are the simple stands that LEGO has supplied. Using
bricks and tiles you can create individual display stands,
risers, and even display boxes, seen below. Being creative,
you can build all sorts of displays to house your figures. The
best LEGO brickbuilt display for a figure I can think of is a
vignette. These are small scenes that capture the nature of
the figures housed inside.

Custom Grevious with Brick Base, photo and

custom by Larry Lars

Brick Stand, photo by Jared Burks

63

Pyramid display and photo by Ace Kim.

Brick Stands.

Frankensteins Lab. Photo by Matt Sailors.

64

Private Moment, a vignette by Jared Burks.

There are many commercial options available to use to
display your figures. There are small plates available (right)
from Minifig World (www. minifigworld. com/), as well as a few
variations available from some other manufactures on the
secondary market. If you want to keep your figures dust-free
there are small acrylic boxes (below) and domes available
to complete protect your figures. These can be combined
with the brickbuilt LEGO stands to house your figure. Larger
versions of these can also be found that allow for small groups
of figures like the baseball box at bottom right.

Acrylic Boxes, photo by Matt Sailors.

Display Stands, photo by Mark Parker.

Baseball case. Photo by Don Reitz.

65

AMAC Boxes. Photo by Matt Sailors

These clear boxes with the black bases are from AMAC
Plastics (www. amacplastics. com). These are in the
Showcase Series from AMAC Plastics. AMAC Plastics sells
these wholesale with a $100 minimum order, however the
cases are available at some retail outlets online. The figure
boxes shown are models 802C (the 3x3 insert size) and
805C (the 4x4 insert size).

Autograph Display
There are a few larger acrylic boxes that are quite useful
and widely available from the Container Store (www.
containerstore. com/shop/collections/display/cubesCases).
One that I particularly like has internal dimensions of 6 by
36 studs. This makes it perfect to display figures, especially
if using the embossed LEGO plates mentioned above. This
is what I use to house my autograph collection.

66

The round window displays are Cubisto brand, which

are available in 3 sizes. In the US they are distributed by
Basic Fun and are available from various online retailers
including vendors in the Amazon Marketplace program
and Buy. com. The ones with the figures are the small
size. The product package photo shows the medium
size. Cubisto Photos by Matt Sailors.

As you can see there are many ways to display and protect
your figures. Get creative and look at some of the options
above and try to think outside of the box. The best displays
are the ones that are a touch creative. This chapter only
scratches the surface of the options. You could include a
mirror in the back, special graphics, or even lighting effects.
Mirrors could be added to any of the above box options.
Special graphics can be created much like the decals used
to create the custom figures. Lighting effects could be
easily incorporated using Brickmodders Lifelites lighting
systems (www. lifelites. com/). What can you come up with?

67

Chapter 9

Macro Photo: In this figure we find two custom figures

sparring. They are sporting custom-made sabre hilts
made by Deathstickman of FBTB and MCN. Notice the
clarity of the photo and the reduced shadows. When you
take a picture be sure to examine the details.

Photographing Minifigures
Now that you have created figures and displays to house
them, you need to share those creations. Typically this is
done online, which means you need to photograph the
figures. As they are small, you dont merely point and shoot.
Photographing any small objects require that we think
about a few important concepts and that we have a basic
understanding of our digital camera. With a few simple
tips ,you can dramatically improve the pictures you take
with your camera. This chapter is directed at macro digital
photography and is by no means an all-inclusive guide to
digital photography. The point of this chapter is to help
the typical user improve their digital photographs using a
basic digital camera, so if you are a camera buff you might
pick up a trick or two, but this is likely to be a review. In
this chapter we will break down digital photography into
3 major sections: Digital Cameras, the Photo Studio, and
Picture Editing (The Basics).

Digital Cameras
Every digital camera is slightly different, but they all have a
few common elements; a lens, digital storage media (which
replaced film), and typically a flash. Not all cameras use
these three elements in the same way, so it is important to
know how your digital camera works, especially as they all
have unique or proprietary features. If you cant find your
cameras user manual check out either the manufacturers
website or these quick guides (www. shortcourses. com/
guides/guides. htm). I know what you are thinking: why do
I have to read some users manual if you are about to teach
me how to do it? You will need to know how to turn on and
off the special features we are going to discuss for your
camera. The quick guides site has an extensive database
about digital photography and I highly recommend it if you
have additional questions (www. shortcourses. com).

Camera settings: 1. Note the location of the automatic

settings as demoted by the A. To select this setting
turn the dial to the A. 2. Note the location of the macro
setting. Typically it is activated by depressing the button
next to it twice, which results in the presentation of the
flower icon on the LCD screen. However some cameras
feature a wheel to select this setting.

The greatest piece of advice I can offer when using your

digital camera is that if a photo doesnt turn out as you
had hoped, just delete it and take another picture. Take
advantage of the power of digital photography, instant
feedback; learn from the way you take your pictures. Dont be
afraid to experiment, the pictures you publish will represent
your work; make them as nice as your custom figure. With the
instant feedback of digital cameras, a photographer should
NEVER display a poorly lit or blurry image.
This chapter will assume that you are using your digital
camera on the automatic setting, meaning the camera is
choosing the exposure time, aperture, focus, and white
balance. If you dont know how to set your camera to the
automatic setting, please refer to your user manual or the
guides listed above. In most cases, you will turn the dial on
the top of your camera to the A setting,

Macro
68

When photographing a minifigure you should get the

camera as close to the minifigure as possible, with a few
minor exceptions. The reason for this is that the figure will

be larger in the final image, and after all, that is what you
are trying to take a picture of to share with others. The
minimum focal distance of your camera determines this
distance; if you get too close the picture will be blurry (This
distance is likely in the user manual for your camera). There
are two ways to get close to the figure; one is to use your
zoom lens, which has its drawbacks, and the other is to use
the cameras macro setting.
Note that digital and optical zoom is not the same. Digital
zoom sacrifices pixel size, which translated directly
into image quality and resolution. Optical zoom uses
magnification offered by a lens to increase the size of
objects while not affecting the number of pixels collecting
data. So if you decide to use the zoom options always
and only use the optical zoom. The macro setting uses a
lens to reduce the minimal focal distance of the camera,
allowing you to place the camera closer to the figure than
normally possible. The macro and zoom lenses can be used
in conjunction with one another and we will go into the
advantages and disadvantages of these options shortly. By
getting closer you can fill or nearly fill the screen with your
figure. Remember if you cant fill the screen with your figure
you can always crop out the unwanted region of the image,
however this will make the final image smaller.
I am sure that you have all seen those three little icons next
to one of the buttons on your camera; the mountain, flower,
and clock. This button (or wheel on some cameras) is used
to activate the macro setting for your camera. The macro
setting, represented by the flower, is toggled on or off with
the other settings depending upon the number of times
you depress the activation button. When the macro setting
is activated, a flower icon is typically displayed on your
cameras LCD. By using this feature you can now place the
camera closer to the subject filling the capture area with
the subject.

Depth of Field
Depth of field is the distance between objects in focus in
your photograph. I am sure you have seen photographs
where you have a long depth of field; meaning objects in
the foreground, background, and everything in between
are in focus. Conversely a shallow depth of field will only
have the central object in focus and the foreground and
backgrounds will be blurry. The depth of field is controlled
by the aperture of the lens/exposure time, how close you
are to a subject, and how much the lens is zoomed. Not all
digital cameras have the aperture iris, thus they control
depth of field with exposure time.
The lens aperture is the opening in the lens that allows
light to pass through, it is controlled by an iris inside the
lens. Since your camera is set to automatic, you dont have
direct control of the aperture setting and thus depth of
field. To check the f-stop, look at the f# on the LCD screen;
the larger the number, f22, the greater the depth of field;
the smaller the number, f2. 8, the smaller the depth of field.
Many digital cameras dont allow you to alter the aperture;
however, you can affect the depth of field by controlling

Depth of Field: Note the difference in these two images

of the same vignette. In the top photo, look at the two
regions circled. These are the closest and furthest items
in the photo, and they are out of focus and blurry. In the
second image the lighting has been altered and a longer
exposure time was used resulting in a larger f-stop,
which increased the depth of field to bring these areas
into focus. Depth of field can get so small that an entire
minifigure isnt in focus. Be careful of lighting as this is
the best remedy for a narrow depth of field.

69

the amount of light on your sample figure, which is why

I bring it up. The more light you have on your subject the
smaller the iris will open (the larger f#) the greater the
depth of field; however, you can wash out your figure with
too much light so be careful. When the subject figure is not
well-lit, the iris opens more to allow additional light to enter
the camera (the smaller the f#), which narrows the depth of
field. This means the objects in your figures hands might be
out of focus while the main body of the figure is in focus.
There are three ways to combat a narrow depth of field
when photographing figures; one is to make sure that the
figure and anything they are holding are in the same plane
of focus (Line them up in a straight line such that they are
all about equal distance from the camera lens), the second
is to use a wider angle of view (dont zoom in), and the
third is to increase the lighting. Proper lighting can solve
many of the depth of field issues; it will be addressed in the
photo studio section shortly. You can take your camera out
of automatic mode and adjust the aperture more precisely
than by altering the light levels, distance to subject, or level
of zoom; to do so please refer to your user guide.

Narrow Depth of Field: This figure was made

for a special Houston TEXLug event, where it was
photographed by Anthony Sava in a well-lit area.
Anthony demonstrates a narrow depth of field in this
photo, which removes the distracting background by
blurring it in the image. The depth of field in this photo
can be seen by examining the corners of the black box
the figure is displayed on; notice the near and far corners
are slightly out of focus.

Resolution: This series of images

demonstrates what happens with
the various resolution settings of
your camera. This custom figure
has been cropped out of a (top)
640x480, (middle)1280x960,
and (bottom) 2272x1704
images; which results in several
different sized images. When we
post online we need a figure of
approximately 400 pixels tall.
This means that the 1280x960
would be a good starting
size for our image, when
we crop out the figure it is
614 pixels. This allows us
to resample and resize the
image to make it easier for
others to download and
view.

70

Conversely, a shallow depth of field can be used by the

photographer to isolate subject matter or make part of a
photograph stand out to the viewer, so this is an area where
experimentation is encouraged. Think about your photos
before you take them decide what you are trying to capture;
use them to show off or highlight your custom work.
Insufficient light/aperture opening can be one reason you
get blurry photos. If the camera can not open the aperture
wide enough to get sufficient light in automatic mode, it
will extend the exposure time in order to get the additional
light. When the exposure time is greater than 1/60 to 1/30
of a second you will detect motion in either or both your
subject and/or in your hands as they hold the camera,
thus blurring the image captured. If you cant get sufficient
light on a subject figure, consider setting your camera on
a stationary object or a tripod and using the timer feature.
I suggest the timer feature as the act of depressing the
button can cause camera movement and continue to blur
your images on longer exposures.

Resolution
This is a tricky subject and one tends to think the higher
the resolution, the better the image. After all, cameras
with more mega-pixels have higher resolution and are
more expensive, so they must be better, right? This is not
necessarily true depending on your how you are going to
display or print your photographs. Most of the time we use
our digital photographs to post online or email to friends,
we dont need a 2272 x 1704 pixel image to put on the web.
We need a small image of approximately 400 to 600 pixels
high. If you capture your image at the highest resolution
your camera can capture, details not visible to the naked
eye will be visible. This is because you have essentially
placed the figure under a microscope. You are magnifying
the figure by using the resolution in combination with the
macro features. If you merely shrink this image to a smaller
size this magnified view will still be visible, as well as the

larger file size. You will need to resample the image as you
resize it in order to reduce the magnification effect and to
reduce the file size. Another solution is to take images at
a lower resolution. I suggest something in the 1280-1024
pixel size as this is a middle of the road resolution and will
not create the magnified views as easily. Thus when you
crop your image to the 400 pixel size it will appear as close
to the lifelike item as possible.

Flash
There are advantages and disadvantages to using your
flash. The flash will increase the light falling on your subject
and thus increase the depth of field by using a smaller
aperture (larger f#), which is good. The flash will also help
remove any motion that might appear in your image from
camera movement, which is also good. However if you want
to minimize the shadows created from the light placed on
the subject figure a flash isnt good. A flash will create a
very hard/dark shadow region from the flash hitting your
figure. Also if you are taking a picture of a subject with flat
surfaces the flash could reflect off these surfaces and wash
out your image. If you are going to use your flash make sure
the light from the flash hits these surfaces at an angle so
the light reflects in an angle away from the lens.

Photo Studio
A photo studio is made of a few elements; light source
(typically 2), background, camera, and possibly a diffuser
or reflector. The studio is fairly simple to set up and can be
created on any desk or tabletop.
Desk lamps work well as light sources, it helps if they
are the same type, but this isnt critical. Also, less color
correction is needed if daylight corrected light bulbs are
used. Merely place the light sources on opposite sides
of the figure and angle the light such that it falls on the
figure at 45 degree angles. This helps reduce the shadows
as the two lights interfere with each other minimizing the
shadows each light creates.
A seamless background can be created by using poster
board or a sheet of colored construction paper. Merely find
a tall object like a coffee can and attach the paper or poster
board such that it drapes from the top of the object to the
table top with a slight bend forward to form an L shape. You
can change the background color to accentuate the figure.
White and Black work well, but as there are many LEGO
elements in these colors, therefore a neutral light grey or
blue might be best, feel free to experiment.

Milk Jug Photo Studio: This is a great and inexpensive

light diffusion system that allows for well lit pictures. In
this setup I have used two different fluorescent lights
to light the figures. It might be better if two halogen
(Day light corrected bulbs) desk lamps were used, but I
used what was on hand. The milk jug cut in half works
well to diffuse the light and minimize the shadows. By
using a piece of colored construction paper a seamless
background is created that allows for easy photo
editing. Remember you can pull the edges of the milk jug
together to make the interior space taller to allow larger
items, however the milk jug setup is really too small for
anything much larger than a minifigure.

Light diffusion is the next trick to work out for your studio.
There are commercially available diffusers called Light
Tents (check eBay), which will give you professional results.
However you likely have all the tools in your house to
make a diffuser. If you have a 1 gallon plastic milk jug lying
around, you have the perfect diffuser for a minifigure or
anything of like size. Start by cutting the bottom off the jug,
then cut off the handle, making a flat open side, and finish
by cutting a hole in the lid large enough for your camera
lens. Make sure you remove any labels. By laying the jug on

71

its side you can place your camera on the table and slide
the lens into one end and the background into the other.
Then shine your lights onto the figure through the jug,
which diffuses the light and eliminates shadows.
One last comment on composition: even though you
are taking a picture of a figure in a static environment, it
doesnt mean you should pose the figure as if something
is going on around it. Make it have bold action, turn its
head, place items in its hands breath life into your figure
and your photograph.

Picture Editing (The Basics)

Now that you have captured a few images of your favorite
new custom figure and you really want to share, make sure
the pictures are the best. Load them onto your computer
from your camera and start editing. Editing is where a
lot of experimentation can occur. To convert your color
image to black and white, darken the image, crop out
excessive background, all is possible and only limited by
your imagination. There are many programs on the market
for photo editing, with the leader in the field being Adobe
Photoshop, followed closely by Corel PhotoPaint.
These are very high-end programs. However there are
several freeware/shareware programs that can be used as
well (Check www. tucows. com). One that I particularly like
is called Irfanview (www. irfanview. com/). This program is
very small, yet very powerful.

Advanced Photo Editing: This photo by Ace Kim of

FBTB demonstrates photo editing at its best. Notice
how well he has captured Boba Fett with this simple yet
imposing pose. The lighting and pose capture Bobas
arm and leg decoration. While we will not be getting into
this advanced photo editing, it is good to examine these
photos for creative ideas.

Cropping
With Irfanview you can crop your images by merely
drawing a box around them and then using the crop
command under Edit > Crop. One of the nice features is
that you can resize the box instead of having to redraw it.

Enhance Color Options

Under the enhance color options you can adjust the
color balance, brightness, contrast, gamma correction,
and saturation. This will allow you to fix any imbalances
in your photos caused by the lighting you use. Without a
long explanation, the colors we see are directly affected
by the light that shines on them, so if you use fluorescent
light, tungsten (incandescent), or candlelight you will get
very different shades of color; this is a way to correct the
colors in your photo. This area requires experimentation
and deciding what looks best to you. If you need additional
information on these different image settings I suggest this
article: www. shortcourses. com/editing/index. htm

Resize/Resample

72

Of course the minimum editing required is resizing or

resampling. When you resize an image you merely make
it larger or smaller, however when you resample you
change the number of pixels in an image. Upsampling
uses interpolation to increase the number of pixels; where
as Downsampling throws away pixels to reduce the size.
It is best to resample your images when you resize them,
making the file sizes smaller for faster load times. It is
always better to shrink or downsample an image than it is

to enlarge or upsample. This way you are removing extra

information as opposed to having to use interpolation to
create information.
Irfanview doesnt stop there, it has many additions that
can be installed allowing you to not only alter the image
by converting it to black and white or sepia tone, but gives
you a wide variety of photo alterations. Play with your
pictures and see what you can create. Just remember to be
polite when you post your image, as much of the world is
still on dialup modems and it can take them some time to
download your 4000 x 5500 pixel image. Keep your large
original image for printing purposes, but share a smaller file
that makes it easy for all to enjoy.

Basic Photo Editing: In this series of photos we can see

the progression of photo editing. In the first image we
see the initial photograph. This image is then cropped,
balanced for light, color, and then the image is extracted
in Photoshop. With this custom figure extracted he is
ready to be overlaid on a special background to make a
custom image.

73

Chapter 10

74

Minifigure Gallery

75

76

77

Credits:
Darth Hsan pg 74 and Mount by Nick Sims & Jared Burks, Mandalorians pg
75, female and Jedi Mandalorians pg 76 by Michael Xero_Fett Marzilla,
Boba Fett and The Bride pg 76 by Kris DrVenkman Buchan, Iron Man pg
76 by Chris Uubergeek Campbell, Twileks pg 77 by Bluce Arealight Shu,
The Qin Dynasty pg 78 by Kevin Chu, all others by Jared Kaminoan Burks.
78

THE MAGAZINE FOR LEGO

ENTHUSIASTS OF ALL AGES!

DIEDGITIITOANSL
E

BL
BRICKJOURNAL magazine (edited by Joe
AVAILANLY
O
Meno) spotlights all aspects of the LEGO
R
FO 95
Community, showcasing events, people, and
$3.
models every issue, with contributions and
how-to articles by top builders worldwide, new
product intros, and more. Available in both FULL-COLOR print and digital
editions. Print subscribers get the digital version FREE!
LEGO, the Minifigure, and the Brick and Knob configurations are trademarks of the LEGO Group of Companies.

PRINT SUBSCRIPTIONS: Six issues $57 US ($75 Canada, $86 elsewhere)

DIGITAL SUBSCRIPTIONS: $23.70 for six digital issues

BRICKJOURNAL #3

BRICKJOURNAL #4

BRICKJOURNAL #5

BRICKJOURNAL #1

The ultimate resource for LEGO enthusiasts

of all ages, showcasing events, people,
and models! FULL-COLOR #1 features an
interview with Certified LEGO Professional
NATHAN SAWAYA, car designs by STEPHAN
SANDER, step-by-step building instructions
and techniques for all skill levels, new set
reviews, on-the-scene reports from LEGO
community events, and other surprises!
(84-page print magazine) SOLD OUT
(Digital Edition) $3.95

BRICKJOURNAL #6

BRICKJOURNAL #2

This FULL-COLOR issue spotlights

blockbuster summer movies, LEGO style!
Go behind the scenes for new sets for
INDIANA JONES, and see new models,
including an MINI FLYING WING and a
LEGO CITY, a lifesize IRON MAN, plus
how to CUSTOMIZE MINIFIGURES,
BUILDING INSTRUCTIONS, a tour of the
ONLINE LEGO FACTORY, and lots more!
(84-page FULL-COLOR magazine) $8.95
(Digital Edition) $3.95

BRICKJOURNAL #7

Event Reports from BRICKWORLD, FIRST

LEGO LEAGUE WORLD FESTIVAL and
PIECE OF PEACE (Japan), spotlight on our
cover model builder BRYCE McGLONE,
behind the scenes of LEGO BATMAN,
LEGO at COMIC-CON INTERNATIONAL,
FIRST LEGO LEAGUE WORLD FESTIVAL,
plus STEP-BY-STEP BUILDING INSTRUCTIONS, TECHNIQUES, and more!

Interviews with LEGO BUILDERS including

cover model builder ARTHUR GUGICK,
event reports from BRICKFAIR and others,
touring the LEGO IDEA HOUSE, plus
STEP-BY-STEP BUILDING INSTRUCTIONS
and TECHNIQUES for all skill levels, NEW
SET REVIEWS, and an extensive report on
constructing the Chinese Olympic Village in
LEGO!

Event report on the MINDSTORMS 10th

ANNIVERSARY at LEGO HEADQUARTERS,
Pixars ANGUS MACLANE on LEGO in filmmaking, a glimpse at the LEGO Groups
past with the DIRECTOR OF LEGOS IDEA
HOUSE, event reports, a look at how SEAN
KENNEYs LEGO creations ended up on
NBCS 30 ROCK television show, instructions
and spotlights on builders, and more!

Spotlight on CLASSIC SPACE SETS and a

look at new ones, BRANDON GRIFFITH
shows his STAR TREK MODELS, LEGO set
designers discuss their work creating the
SPACE POLICE with PIRATE SETS, POWER
FUNCTIONS TRAIN DEVELOPMENT, the
worlds TALLEST LEGO TOWER, MINIFIGURE CUSTOMIZATION, plus coverage
of BRICKFEST 2009 and more!

Focuses on the new LEGO ARCHITECTURE

line, with a look at the new sets designed
by ADAM REED TUCKER, plus interviews
with other architectural builders, including
SPENCER REZKALLA. Also, behind the
scenes on the creation of POWER MINERS
and the GRAND CAROUSEL, a LEGO
BATTLESHIP over 20 feet long, reports
from LEGO events worldwide, and more!

(84-page FULL-COLOR magazine) $8.95

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BRICKJOURNAL #8

BRICKJOURNAL #9

BRICKJOURNAL #10

BRICKJOURNAL #11

BRICKJOURNAL #12

We go to the Middle Ages, with a look at

the LEGO Groups CASTLE LINE, featuring
an interview with the designer behind the
first LEGO castle set, the YELLOW CASTLE.
Also: we spotlight builders that have created
their own large-scale version of the castle,
and interview other castle builders, plus a
report on BRICKWORLD in Chicago, ands
still more instructions and building tips!

BrickJournal looks at LEGO DISNEY SETS,

with features on the Disney LEGO sets of
the past (MICKEY and MINNIE) and present (TOY STORY and PRINCE OF PERSIA)!
We also present Disney models built by
LEGO fans, and a look at the newest
Master Build model at WALT DISNEY
WORLD, plus articles and instructions on
building and customization, and more!

BrickJournal goes undersea with looks at

the creation of LEGOs new ATLANTIS
SETS, plus a spotlight on a fan-created
underwater theme, THE SEA MONKEYS,
with builder FELIX GRECO! Also, a report
on the LEGO WORLD convention in the
Netherlands, BUILDER SPOTLIGHTS,
INSTRUCTIONS and ways to CUSTOMIZE
MINIFIGURES, LEGO HISTORY, and more!

Racers theme issue, with building tips

on race cars by the ARVO BROTHERS,
interview with LEGO RACERS designer
ANDREW WOODMAN, LEGO FORMULA
ONE RACING, TECHNIC SPORTS CAR
building, event reports, instructions and
columns on MINIFIGURE CUSTOMIZATION
and MICRO BUILDING, builder spotlights,
LEGO HISTORY, and more!

A look at school sculptures by NATHAN

SAWAYA, builder MARCOS BESSAs creations, ANGUS MACLANEs CubeDudes, a
Nepali Diorama by JORDAN SCHWARTZ,
instructions to build a school bus for your
LEGO town, minifigure customizations,
how a POWER MINERS model became one
for ATLANTIS, building standards, and
much more!

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

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(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

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(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

BRICKJOURNAL #13

BRICKJOURNAL #14

BRICKJOURNAL #15

BRICKJOURNAL #16

BRICKJOURNAL #17

Special EVENT ISSUE with reports from

BRICKMAGIC (the newest US LEGO fan
festival, organized by BrickJournal magazine), BRICKWORLD (one of the oldest US
LEGO fan events), and others! Plus: spotlight on BIONICLE Builder NORBERT
LAGUBUEN, our regular column on minifigure customization, step-by-step You Can
Build It instructions, spotlights on builders
and their work, and more!

Discover the world of stop-motion LEGO

FILMS, with brickfilmer DAVID PAGANO
and others spotlighting LEGO filmmaking,
the history of the medium and its community, interviews with the makers of the
films seen on the LEGO CLUB SHOW and
LEGO.com, and instructions on how to
film and build puppets for brick flicks! Plus
how to customize minifigures, event reports,
step-by-step building instructions, and more!

Looks at the LEGO MECHA genre of building, especially in Japan! Feature editor
NATHAN BRYAN spotlights mecha builders
such as SAITO YOSHIKAZU, TAKAYUKI
TORII, SUKYU and others! Also, a talk with
BRIAN COOPER and MARK NEUMANN
about their mecha creations, mecha building
instructions by SAITO YOSHIKAZU, our
regular columns on minifigure customization,
building, event reports, and more!

Focuses on STEAMPUNK! Feature editor GUY

HIMBER gives a tour with a look at his work,
DAVE DeGOBBIs, NATHAN PROUDLOVEs,
and others! Theres also a look at the history
of LEGO Steampunk building, as well as
instructions for a Steampunk plane by ROD
GILLIES! Plus our regular columns on
minifigure customization, building tips,
event reports, our step-by-step You Can
Build It instructions, and much more!

LEGO SPACE WAR issue! A STARFIGHTER

BUILDING LESSON by Peter Reid, WHY
SPACE MARINES ARE SO POPULAR by
Mark Stafford, a trip behind the scenes of
LEGOS NEW ALIEN CONQUEST SETS that
hit store shelves earlier this year, plus
JARED K. BURKS column on MINIFIGURE
CUSTOMIZATION, building tips, event
reports, our step-by-step YOU CAN
BUILD IT INSTRUCTIONS, and more!

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

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(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

BRICKJOURNAL #18

BRICKJOURNAL #19

BRICKJOURNAL #20

BRICKJOURNAL #21

BRICKJOURNAL #22

Go to Japan with articles on two JAPANESE

LEGO FAN EVENTS, plus take a look at
JAPANS SACRED LEGO LAND, Nasu
Highland Parkthe site of the BrickFan
events and a pilgrimage site for many
Japanese LEGO fans. Also, a feature on
JAPANS TV CHAMPIONSHIP OF LEGO, a
look at the CLICKBRICK LEGO SHOPS in
Japan, plus how to get into TECHNIC
BUILDING, LEGO EDUCATION, and more!

LEGO EVENTS ISSUE covering our own

BRICKMAGIC FESTIVAL, BRICKWORLD,
BRICKFAIR, BRICKCON, plus other events
outside the US. Theres full event details,
plus interviews with the winners of the
BRICKMAGIC CHALLENGE competition,
complete with instructions to build award
winning models. Also JARED K. BURKS
regular column on minifigure customizing,
building tips, and more!

LEGO SUPERHEROES! Behind-the-scenes

of the DC and Marvel Comics sets, plus a
feature on GREG HYLAND, the artist of the
superhero comic books in each box! Also,
other superhero work by ALEX SCHRANZ
and our cover artist OLIVIER CURTO. Plus,
JARED K. BURKS regular column on
minifigure customization, building tips,
step-by-step You Can Build It instructions, and more!

LEGO CAR BUILDING! Guest editors LINO

MARTINS and NATHAN PROUDLOVE of
LUGNuts share secrets behind their LEGO
car creations, and present TECHNIC SUPERCAR MODELS by PAUL BORATKO III and
other top builders! Plus custom instructions
by TIM GOULD and CHRISTOPHER DECK,
minifigure customization by JARED BURKS,
step-by-step You Can Build It section,
and more!

LEGO PLANE BUILDING! Top builder

RALPH SAVELSBERG takes off with his
custom LEGO fighter models, theres a
squadron of articles on Sky-Fi planes by
FRADEL GONZALES and COLE MARTIN,
find instructions to build a Sky-Fi plane,
plus our regular feature on minifigure
customization by JARED BURKS, AFOLs by
GREG HYLAND, other step-by-step You
Can Build It instructions, and more!

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

TwoMorrows.
A New Day For
LEGO Fans!
BRICKJOURNAL #23

BRICKJOURNAL #24

BRICKJOURNAL #25

MINIFIGURE
CUSTOMIZATION2:

STAR WARS issue, with custom creations

from a long time ago and far, far away!
JACOB CARPENTERs Imperial Star
Destroyer, MARK KELSOs Invisible Hand,
interview with SIMON MACDONALD
about building Star Wars costume props
with LEGO elements, history of the LEGO
X-Wing, plus our regular features on
minifigure customization by JARED BURKS,
You Can Build It instructions, and more!

LEGO TRAINS! Builder CALE LEIPHART

shows how to get started building trains
and train layouts, with instructions on
building microscale trains by editor JOE
MENO, building layouts with the members
of the Pennsylvania LEGO Users Group
(PennLUG), fan-built LEGO monorails
minifigure customization by JARED BURKS,
microscale building by CHRISTOPHER
DECK, You Can Build It, and more!

MEDIEVAL CASTLE BUILDING! Top LEGO

Castle builders present their creations,
including BOB CARNEYs amazingly
detailed model of Neuschwanstein Castle,
plus others, along with articles on building
and detailing castles of your own! Also:
JARED BURKS on minifigure customization,
AFOLs by cartoonist GREG HYLAND, stepby-step You Can Build It instructions by
CHRISTOPHER DECK, and more!

JARED K. BURKS sequel presents more

advanced techniques to alter minifigures: virtual customization; designing decals; custom
part modification and creation; 3-D printing;
painting techniques; lighting with LEDs or EL
wire; ideas on displays and digital photography; plus a custom Gallery with tips & tricks.

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(84-page FULL-COLOR magazine) $8.95

(Digital Edition) $3.95

(80-page FULL-COLOR book) $10.95

(Digital Edition) $4.95

WHY LIVE IN THE BOX?

TwoMorrows Publishing
10407 Bedfordtown Drive
Raleigh, NC 27614 USA
919-449-0344
E-mail: store@
twomorrows.com
Visit us on the Web at
twomorrows.com

MINIFIGURE CUSTOMIZATION: POPULATE YOUR WORLD! by Jared K. Burks, PhD

About the Book

Minifigure Customization: Populate Your World! covers the gamut
of topics and techniques used to alter the lovable LEGO minifigure
into any character you can imagine. The LEGO Group has based its
entire toy line on the concept of creation using the LEGO brick, yet
the company gives us a relatively static figure. This book identifies
and teaches the skills needed to alter that static figure into any
form you like. We begin the journey into custom figures by defining
the hobby of minifigure customization; from there topics spiral
down the path of basic purist customization through to complete
custom figure creation. This book features tutorials on decal design
and application; color alteration; custom part modification and
creation; tips on minifigure displays; and digital photography
tips to capture your custom figures in the best light. The essential
tools used to create custom figures are also identified. The book
also includes tips and tricks, followed by a gallery of some of the
best custom figures created. So Populate Your World with any alien,
superhero, historical, action, horror, or science-fiction figure you can
just imagine!

The author, Jared K. Burks (known online as Kaminoan),

has created thousands of custom figures. He has been
creating them for over 15 years and writes a regular
column on the subject for BrickJournal magazine. His
work has also been featured in several other magazines
and books including Standing Small: A Celebration of 30
Years of the LEGO Minifigure.

82658 00018

51095

TwoMorrows Publishing
Raleigh, North Carolina

$10.95 in the US
ISBN-13: 978-1-60549-033-5

9 781605 490335

TWOMORROWS PUBLISHING

ISBN-13: 978-1-60549-033-5
ISBN-10: 1-60549-033-4

pr

ents
es