Legion Rising

[Ammonius]

Thank you very much for sharing your techniques in such detail!

[Dosjetka]

I'm definitely going to purchase some of your kits when I start my CSM army :tu: Excellent work and greatly explained too. A really great thread!

 

All the best,

 

Ludovic

[space wolf]

I just had a thought. It would probably be a lot of work, but how easy do you think it would be, to change the various arrows or "points of chaos" into lightning bolts. As a nightlords player, I'm sure many of us would be interested in that.

[Bat33.1]

For anybody following this thread and considering buying any of Subtle Discords kits I can confirm the quality of the finished items are as good as they look :)

 

I've just got my hands on the Land Raider trim kit plus a Havoc launcher and I cannot believe how finely cast these pieces are, they surely put GW and FW to shame. No huge casting blocks, virtually zero flash, and the trim kit is so thin yet still true. I've found FW to be pretty good overall with the odd mould slip and bad cast - always quickly replaced though, GW finecast is a bit hit and miss with a strange material feel too - too soft for my liking but SD has it nailed :)

 

I'm now wondering if I can fit any of his other kits into my army list just to use them...

[Subtle Discord]

All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy. All work and no play makes Subtle a dull boy...

 

 

*Subtle Discord laughs maniacally and shuffles off to his cave to create a wonderful new monster*

 

Oh this poor thread, I hate starving it. But good things take time, and there are never enough hours in a day. Sorry thread, it's half rations for awhile.

 

That said, more coming soon

 

Edited February 9 by Subtle Discord
+++ Image Data-link ∙ Repair +++

[Kizzdougs]

Don't worry mate, whatever you're working on will be worth the wait. I'm looking forward to seeing the Decimator in progress and the "more coming soon" is intriguing.

Let me know when you get some 'bundle' deals worked out ;)

[Tyrannicide]

I'm sure that Decimator will look the biz after receiving the Subtle treatment.

 

By the way, I did some B&C stalking and noticed your recommendation of Vallejo's Liquid Gold. Do you have any pictures of the results? Was interested in some gold alternatives.

[The_Chaplain]

By the throne, a decimator receiving the subtle treatment. I cannot wait to see the results of that!

[Subtle Discord]

Vallejo Liquid Gold really is amazing. I haven't completely replaced my acrylic Gold paints with it, but for base layers nothing else compares to it. It's not cheap per bottle, but it is worth every penny. One coat of this paint and you get an amazing pure/solid Gold colour. Follow with a very quick second coat to cover the odd thin spot and it's ready for glazing.

 

http://i1080.photobucket.com/albums/j332/SubtleDiscord/Misc%20Thread%20Photos/Legion_Predator_01.jpg

 

All of the Gold in these photos is done with Vallejo Liquid Gold - Green Gold. It's hard to tell, but the Gold does have an ever-so-slight Green tint to it if you compare it to 'regular' Gold. But if you don't know it, you'd be hard pressed to notice the difference; especially after a wash. There is an entire range; Gold, Red Gold, Old Gold, Green Gold, and a few others. The difference between them is very slight, however. The turret and sponsons are washed with the Dark Brown glaze that I mix for the method that I use on my Gold, and you can see it goes on very smooth and clean. My one main worry about this product was how well it was going to accept washes, but gladly it's not an issue.

 

As I've said when I talked about this product, it does come with a learning curve. Since it is an alcohol based product you must use alcohol to work with it and clean your brushes. Even a trace of moisture in a brush will cause it to lump up in a bad way, and the metallic flakes can even start to oxidize/rust into an awful brown sludge. Just dip your brush in some high quality* rubbing alcohol to flush out any trace moisture before starting your work and you'll be good-to-go.

 

*High Quality = 90%+ Isopropyl Alcohol and is usually a 'brand name' variety. Check the label; cheaper generic Rubbing Alcohol will only be 50-70% Isopropyl. That's too much water content for this job.

 

They say you can use the Isopropyl to thin this product as you go, but I've found when you use too much it dries with an odd white ghosting on the surface. It can be removed with a very thin second 'pure' layer and/or a bit of buffing with a damp brush, but it's easy to avoid completely. Instead of using alcohol to thin the Liquid Gold as you're working, just take a drop or two of the thinner that is used in the bottle. I use a straw to pull the paint and thinner from the bottle. Dip it in a bit, cover the other end with your finger, trapping a small measure in the straw, and pull it out of the bottle to your pallet. The pigment settles very fast so be ready to keep mixing while you work. it also dries very fast so keep the bottle closed/covered, and add small drops of thinner from the bottle as you work from your pallet. The thinner from the bottle keeps this product flowing perfectly for painting every time.

 

I will never go back to regular acrylic Gold paint to do my base layers of Gold - period. This product has completely spoiled me, and takes a tiny faction of the time to get a flawless smooth Gold base. Even if it takes a little bit of practice to get used to how to work with it, and you need a separate 'dry' pallet and some alcohol, it's absolutely worth the tiny bit of hassle.

 

If you want any other clarification or explanation, just ask and I can elaborate. I am so glad I was turned on to this product that I'm happy to extoll its virtues to everyone. This stuff is awes'mazing!

[Studio Silvernale]

Hmm would Tamiya thinner work? It's like a mix of butane and other flammable goodness.

[Subtle Discord]

Hard to say, but it sounds like it would not have any water in it, so odds are good it would work fine. Obviously, doing a simple test before you commit to a miniture would be in order. And if it isn't compatible, a bottle of 'good' rubbing alcohol is still very inexpensive.

[Subtle Discord]

Coming Soon: 2-Part Mould Making ~ Part 1

 

Confused? :devil: All will be explained, but until then I'm looking to see if maybe I can get some information from anyone with some experience using Vacuums.

 

http://i1080.photobucket.com/albums/j332/SubtleDiscord/WIP%20Thread%20Photos/Mould_05.jpg

 

I'm interested in learning more about using a Vacuum for degassing resin, since it can work well with simple one channel split moulds. This is the kind of mould Forge World uses quite a lot; the massive pour gate (picture above) is a giveaway to this method. I think I've got a good idea how it works, but it's always better to be able to 'talk shop' with someone who has some hands on knowledge. If anyone out there can help shed more light on the process, it would be much appreciated.

 

I want to start seriously considering some of my 3D models for Rapid Prototyping, but most of the parts will be much easier to mould and resin cast with one channel split moulds. I must unlock the secrets of the Vacuum Chamber, and how it works with this process! Maybe then the voices from the warp in the back of my brain will shut up for awhile. *Wanders back to his studio, muttering himself about ideas and how to make them real*

[Brother Masariel]

man!

your work is amazing..

 

I'd really love to see your approach to other armies than chaos..

since I personally don't like chaos..any plan?

 

Sure you are going to see your stuff pretty good these days.. :)

totally deserved..

[Olis]

Hmm. Sounds like Liquid Gold is pretty cool stuff. Going by your recommendations, I might pick it up. This is a quality blog btw. :)

[Tyrannicide]

Don't know how I missed this, but I just saw your response, Subtle. I really appreciate the detailed reply. ;)

 

I ended up ordering a pot of the Liquid Gold after consulting with another member that uses it for his gold base. I'm really eager to try this stuff out! What type of brush do you use when applying it? I've heard synthetic is the way to go, but I suppose that's more personal preference...?

Edited October 15, 2012 by Darth Potato

[Subtle Discord]

Thanks, as always, for the positive feedback. I'm always happy to provide a wall-o-text with a picture or three if I think I can provide some insight.

 

To answer Brother Masariel, yes, Loyalist kits are planned, but the foundation of my work will always be tainted by Chaos. Loyalists already get sooo much, and I really am trying to fill a niche. Once I have a few more of the central Chaos kits done, I will start looking at my Loyalist brethren, and how I might improve on their look. I'm sure it will be quite similar, but with no points, arrows, and round rivets. First offerings will probably be Trim and Armour with large open spaces to attach a company number (roman numerals I can easily make and provide) and/or chapter symbol (specific chapter symbols, not so much). I will need to tread very lightly and avoid anything GW IP. The final idea is that I will provide the canvas, you add the final accent.

 

Also yes Darth Potato, a synthetic brush is your best bet with the Liquid Gold. I haven't even tried it with a Sable brush. I suspect it would hold up, but I think it would get dried out and useless for anything else in short order. I just use white taklon bristle brushes, and they work well. If you want more control and better lines a higher quality synthetic might be in order.

 

I had planned to add the mould making article here, but it's turning out to be a bit bigger than expected. How on earth could that happen? Long winded - Me? Noooo. :) So this is a shameless bump before '2-Part Mould Making' turns up over the next few days.

Edited October 18, 2012 by Subtle Discord

[Dosjetka]

I had planned to add the mould making article here, but it's turning out to be a bit bigger than expected. How on earth could that happen? Long winded - Me? Noooo. :P So this is a shameless bump before '2-Part Mould Making' turns up over the next few days.

I'm looking forward to that :D

 

Ludovic

[Subtle Discord]

∙ 2-Part Mould Making ∙ Part 1 (Again, how I do it, at least. I hope you like to read...)

 

1-Part vs. Split vs. 2-Part ~ Fight! For anyone interested, I'll explain the difference... (Note: Everything I'm doing is self-taught, if anyone has any input for process or technique, I'm eager to hear it.)

 

1-Part Mould: If you have an object with a flat back (my Trim Kit parts being a perfect example) a 1-part Mould can be a perfect simple solution. Just mound the object on a flat surface or slab of plasticine, build a mould box around the object, and pour a slab of rubber over/around the item. Once cured and the prototype is removed, you'll have a mould that is gravity-fed. Read: gravity pulls/holds the resin into the mould.

 

Pros: Simple to make, simple to use. Shallow/short objects will work well with this type of mould. If you take the time to poke and prod any trapped bubbles with a toothpick you can even manually remove most bubbles by hand. With slower kicking resin you'll have plenty of time to get a casting 'just right', and you don't need to invest in a Pressure Chamber or anything more than some basic mould-making tools and materials. Perfect for someone who just wants to make a few of some creation/s.

 

Cons: Slow and messy to use, and more limited in the objects it can reproduce. If the object is somewhat complex you need to slowly pour/inject 'just the right amount' of resin into the entire void. Then you need to go around and carefully remove bubbles. If you're just making a few of something, this is fine; if you're making lots of something, that's way too much labour-per-item. You also need to find a way to flatten the back of the resin (surface tension will make the resin back want to 'curve'). Messy option 1; use a flat object lubed with mould release as a second half of the mould and lay it over the poured object. This usually causes some excess resin to squish out and makes tons of flash. Messy option 2: 'Skim' or scrap the liquid resin to level the back. Not only is this messy, you can still have surface tension problems. Messy option 3; Pour a little extra into the mould to make the part bulge a bit, and remove that with aggressive sanding after it's cured. Lost of extra work and so... much... dust... 'Nuff said?

 

Split Mould: This type of mould is a lot like a 1-part mould, but for objects that are much deeper/larger. You set up and pour a large 1-part mould over/around the object, but its size and shape will require it to be carefully cut free (Read: split) from the block of rubber. When you start getting into objects this large and/or complex you usually need to start considering how to deal with bubbles in places you can't even see. Again, if you're just making a few it may be fine to just fill and repair the bubbles each time, but it adds significantly to the labour-per-piece.

 

Pros: Simple to make*, simple to use, and works well with Vacuum degassing. *Once you learn how to cut a prototype free from the rubber (this does take practice to do really well) this is an easier way to make a mould. Pouring is also simple since it's usually a top-down gravity-fed mould. Since you don't need to set up a second half all you need is a prototype with a nice large pour gate, maybe some simple venting, and pour a block of rubber around it. Vacuum degassing will cause bubbles to 'boil out' of the resin rising up-and-out of the object and into the large simple pour gate.

 

Cons: Mould slip, mould lines, massive pour gates. Without anything to really lock the split of a Split Mould in place, it can easily produce a bad mould line or even a bad 'slip'. Slips are when the sides don't even come close to meeting; a bad mould line that is next to impossible to easily remove, usually requiring reconstruction of some sort. I hate all of these issues, so even when I end up doing large gate Vacuum-friendly moulds, I will avoid using true Split Moulds. I swear by full 2-part Moulds. And the Pour Gates, massive Pour Gates. Resin is rather inexpensive, but it's still not free. Every CC of resin lost in the Gate and Vents could have been used to make more objects. In this case, more and less is always better; more parts, less waste? Yes please!

 

2-Part Mould: These start much like the 1-part mould, but the process follows with a second slab of rubber to make... you guessed it; a second part. This method can make gravity-fed moulds, or my preferred, injection filled.

 

Pros: Control, precision, consistency. You can control exactly where the mould line runs; along edges, corners, and over easy-to-clean places to avoid detailed places. I hate mould lines. I insist on trying to make them easy to get rid of. Also, if you take the time to make many mould 'pins' to lock the parts together; with lots of staggered pins (more on that later) the halves of the mould lock together very tightly. I rarely ever have any 'mould slip' when I cast thanks to these pins; I lose many many more parts to bad bubbles and voids than slips. Finally, you also get full control of the channels and gates that you use to inject or feed the mould with resin, and you don't end up with massive Pour Gates and Vents consuming lots of resin if you do it well.

 

Cons: These moulds take more labour, skill, and materials to produce. Not only does each mould need to essentially cure twice (once per half), but anything other than a flat-backed object takes more time and skill to make the mould. Plasticine is your friend when making a 2-part mould; it's not only used as a base on all of the moulds, but also an essential filler for more complex parts. It can take many hours just to build the plasticine to occupy the negative space that's required for complex objects.

 

For me, 2-part moulds produce excellent reproductions with virtually no mould lines and only a bit of flash. They also waste less since you don't need a large pour gate like the Split Mould method. The amazing quality of the reproductions is well worth the effort, if you ask me.

 

Ok with that wall-o-text done... on to process! First, a few key toys materials you'll need for this method.

 

• Lego, lots of Lego. Hands-down this is one of the most straightforward materials for making mould boxes. So modular you can make any shape to size you need. 2x4 blocks are perfect.
• Plasticine. The same stuff you played with in school.
• A Rolling Board. I've taped down a square of Parchment Paper to a cutting board for this task. Parchment is used the world over as a non-stick surface for all manner of jobs.
• Spacers. Just some thin strips of wood that are even and about 1cm thick. This will let you roll an even slab of plasticine.
• A poking Tool. To errrr... poke, with. :) More specifically, to poke mould pin holes; but more on that shortly.
• A Rolling Tool. A proper rolling pin is fine, but I make due just fine with a short length of rigid PVC-like tube.
• A scraping tool. A long-tipped painting knife is perfect.
• A Long Spatula. I use an icing spatula, to be more specific. But a few Spatulas for scraping rubber off tools is a good thing.
• A Strong Mixing Stick. Always mix your rubber well before you pour it. Unmixed rubber will take much longer to cure, or not cure properly at all.
• Gloves and Safety Glasses. Rubber is sticky and doesn't really wash off; wear gloves and older cloths. Also, the last thing you want to do is get a splatter of it in your eye/s. Slips do happen sometimes; always wear goggles when mixing and working with the rubber.

 

∙ First, you need a slab of Plasticine that is smooth, even and large enough; then a mould box of Lego to fit the part.

 

Use the strips of wood Spacers on either side of the Plasticine while you roll it out. Rotate it as you go to try and get the shape you'll need. There's no problem trimming sides down and attaching them to corners to get rid of an inevitable bulge you'll get while rolling. Just blend the seam a bit with your finger, and roll them together. The Plasticine is so dense that air trapped in and under it is not affected by the Pressure Chamber. You just need a smooth flat top to mount your prototype.

 

Once you've got a large slab, make sure it's big enough to reach all the corners of your Mould Box. How deep the Box is will naturally depend on the object. This is a shallow trim bit, so three Lego blocks deep is more than enough.

 

When making the Box around the object, always remember to give the item plenty of room. You want nice thick walls of at least 1cm around the object. The thicker the mould, the less chance of warping when casting. In some cases, this will mean moulds will be massive blocks, but with the right rubber, and planning in the mould, it will last long enough to offset the modest extra cost.

 

∙ Just place the object lightly to use it for reference. Here's where to Poking Tool comes into play.

 

With a light press on the Mould Box, you can get an outline to use for reference. Trim off excess Plasticine and place the prototype as a guide while you press the voids into the Plasticine that will become the locking pins. All I use is a simple rod of metal with a mark to keep them all about the same depth. You want them somewhat thin (so you can fit more) and rather deep so they really lock tight with the other half of the mould. I start with the corners along the outside edge, then add pins as evenly spaced as I can manage. The Lego pattern helps with the spacing.

 

Again, more pins = tighter locking mould. And don't worry if the Plasticine puckers a little where you press these pins in; as long as the prototype has good contact with the Plasticine base that's all that matters. You want a clean mould, but the Plasticine doesn't need to be flawless.

 

∙ With another row of staggered locking pins in place, the Mould Box gets pressed into the Plasticine base.

 

I stagger the pins to get as much fit as possible and have them as close to the object as I dare. I want the mould to have no choice but to relax to a perfect fit every time, and this many pins do that.

 

With a firm press around the edge, the Mould Box is sunk ever-so-slightly into the Plasticine to create a seal. Take extra care that the corners are getting a good seal. You can use a tool to press along the outside edge of the Plasticine and help make sure the seal is tight. The odd tiny slow leak will happen, but they stop as the rubber thickens while curing, and just create a little rubber blob to remove.

 

Naturally, the prototype is also pressed down to stick to the Plasticine at this point. You want it to stick to the slab, but not really sink into it. A light but firm press is usually more than enough to get the part locked in place, but sometimes a spray of Mould Release will help a part stick. It tends to soften the Plasticine ever-so-slightly, before evaporating.

 

∙ Now the Scraping Tool (Painting Knife in my case, but anything similar will do) is used to free the entire contraption from the board.

 

The Parchment Paper will help considerably when trying to get this off the board. It's a little tricky even with paper; work your way around the Plasticine and gently lift the entire piece as you go. You want to keep the Mould Box in place, so take your time. Without the paper the slab with be almost glued to most boards. Pressing the pins really bonds the Plasticine down, and you usually warp the mould when you're trying to lift it. Do yourself a favour and get some Parchment Paper. It's at your local Grocers, right by the wax paper, plastic wrap, foil, etc.

 

∙ Room Temperature Vulcanizing (RTV) Rubber, Goggles, Gloves, and a Paint Brush Handle strong Mixing Stick.

 

I'm using Smooth-On products, but there are many other brands. In this case Smooth-On Mold Star 30. This RTV Rubber flows very smoothly, Pressure Casts perfectly, and is surprisingly tough yet very flexible. It is also very stiff in a good way and doesn't need mould boxes to help it keep its proper shape. A good thick mould of this makes exact copies of even the most delicate objects.

 

Gloves and Goggles should go without saying. Again, this stuff can be messy, and the last thing you want is an accidental flick of it in the eye. Cover up.

 

I'm trying to find something better, but for now, the Paint Brush Handel is doing fine as a mixer. The chemicals in rubber will settle and make it act very strange if you don't mix them up before you pour.

 

∙ No super exact measuring needed just a simple 50/50 mix and it's good to go.

 

Use a spatula to scrape as much of the Part A cup into Part B. With this product Part A flows much faster than Part B, so I pour it first. I start with the Mixing Stick to get loosely mixed.

 

∙ Now I switch to a long Spatula to mix, scraping the sides and bottom carefully.

 

The mix needs to be complete. Any unmixed rubber will make a soft spot in the mould. So you need to take time and care to scrape the sides of the container, and out of the corners and bottom of the cup. The RTV rubber cures very slowly, so you have a lot of time to work with it. Make sure the mix is very complete for the best results.

 

∙ I use an upside-down cake pan as a base for my moulds; it's stiff, fits the Pressure Chamber perfectly, and has a non-stick coating.

 

With the RTV rubber mixed, I let it sit for a few minutes to let the larger bubbles rise up and out. A quick blow on the surface will make the bubbles pop. Mixing will inevitably add lots of tiny bubbles to the rubber. Curing it under pressure will make them all completely vanish, but I give larger bubbles as much chance as I can to rise out.

 

Pour slowly from one corner of the mould; let the RTV rubber slowly creep over the part. Again this minimizes the change of trapping air bubbles. But even if a small one does get caught, the pressure cure will get it.

 

∙ Lego is also great because you can build stilts for extra moulds. This time I cured a second mould stacked on top.

 

Once it's in the Pressure Chamber I make sure it's very level. Liquids will always settle flat, so levelling the mould never hurts. In this case, it's even more important. With my Trim parts, I need to clamp the moulds in simple Mould Boxes to get good results. If the mould is perfectly level, it will clamp better at casting time.

 

With that, I seal the mould up in the Chamber and apply 50PSI of pressure during the 7--hour cure time.

 

Well then... this has been quite the wall-o-text, and this is just one half of a simple 2-part mould. ;) Granted, the first half of the process is more involved and takes more time and effort. Part 2 will be shorter since the second half of the mould can use this first half as a base.

 

Thanks for reading. I hope people find it useful.

 

Edited February 9 by Subtle Discord
+++ Image Data-link ∙ Repair +++

[space wolf]

great stuff. VERY informative. Thanks for sharing!

[Olis]

Excellent (half of a) tutorial, brother. Can't wait for the second part. :lol:

[Subtle Discord]

Ok, where to start? Lots of stuff to sort out in a small post before another big post. School is going to be a bit more relaxed in the next few weeks, so I hope to get more studio time in. I've been itching to paint something... anything... so expect some of that to turn up. With so much building, my painting has stopped in its tracks. I really enjoy building, so it's all good, but I need to paint... soon.

 

Rhino Trim Kit #2 is done and ready for production! Well, the final mould is curing at least and will be done tonight. There are a few other things that need to be made for the set, but it will get its first casting run in the next few days. Updates will follow as soon as I have my first casts, and they might even be an extension of the Mould Making articles.

 

With Trim Kit #2 done, Predator Armour #1 will get my attention and should see major progress in the next few weeks. Stay tuned.

 

2-Part Mould Making ~ Part 2 will be up shortly. All the pictures are taken, I just need to add my wall-o-text to the mix. :D

 

There has been an increased interest from the Loyalist Marine collectors/players in my work, and when I might be putting my skills into the service of the Emperor. I do want to start some Loyalist kits, but I can't give a timeline on when yet. But, I'll ask for input from the Loyalists out there; Tell me the top two or three Loyalist kits you would like to see me make first. If I could start work tomorrow, what would they be? I'll take this feedback into account when I choose my first Loyalist kits.

 

Also, the Bolter drawing. I had shown a small concept sketch for a 2D assignment I was working on. I figured people might like to see where it ended up. I wish I could have taken a bit more time to tweak a few things in the drawing, but there was so much colouring to do, I had to work with what I had. I'm still very pleased with the outcome, and got a great mark on the assignment.

 

∙ Chaos Bolter ~ Pencil Crayon on 14"x17" Paper (so... many... hours... of... coloring...)

 

Oh yeah, and I'm going to start some new things soon...

 

∙ These kits have somehow materialized from the warp into my studio. It seems the Dark Gods have more plans for me.

 

These are still a ways off, but they keep calling to me from under the desk. Must... make... more... Chaos. I think I need to start brainstorming some ideas. :)

 

As always, much more to come.

 

Edited February 9 by Subtle Discord
+++ Image Data-link ∙ Repair +++

[Olis]

Two or three kits. Hmm.

 

1) Imperial/Crimson Fists stuff. Perhaps not just the stereotypical fist symbol but maybe a Legion number and other bits and pieces (like the name 'Dorn').

2) Flames. Suitable for LotD, Sallies and other myriad chapters that use fire iconography.

3) Aquilas. Perhaps differing sizes and styles?

 

How's that?

Edited October 20, 2012 by Olisredan

[Subtle Discord]

That's the idea Olisredan, motif ideas, chassis preferences, ideas for specific chapters, any other flights of fancy, etc.. An idea doesn't even have to be specifically chosen to add a lot to the creative process. Thanks for the input.

 

The major thing I need to be careful of is Intellectual Property. Things like Roman numerals and ornate numbers to use as company numbers are easy enough to do safely; flames, swords/blades, keys, skulls, and other 'generic'-but-cool is what I want to find. Specific names that can be tied to GW fluff I need to be careful with. But, more general words and statements are a great idea. In English or Latin, there's plenty to choose from.

 

Ok, with that said, on to...

 

2-Part Mould Making ~ Part 2

 

∙ After 7+ hours of curing under 50PSI of pressure the rubber is as close to perfect as you can get.

 

Now that the RTV rubber is solid and locked in place it's as easy as flipping the Mould Box and peeling the Plasticine away. The pressure has a way of forcing rubber under the piece in a few places, but that can be cleaned up; I'll show some of that next...

 

∙ After removing the Plasticine it's time for some cleanup.

 

It's not uncommon for the odd seam to leak a little. The rubber gets thick enough to stop flowing in the first hour or so in the Pressure Chamber, so it's not enough to be a problem but it needs to be cleaned up at this point.

 

Also, a few spots usually get a bit of rubber forced under by the pressure. It's usually a thin film that can be easily trimmed away. A fresh #11 scalpel blade is my go-to favourite for this job. But it's my favourite blade for almost everything.

 

∙ After cleanup, it's a simple matter of building up the Lego to create a box for the second half of the mould.

 

With the walls built up, there's one last thing before pouring the second half of the mould; Input/Output Gates need to be attached to the flat sprew. These will pass right through the second half of the mould that is about to be poured. Once they're glued in place the entire cavity is sprayed with some Mould Release.

 

∙ Just like the first half of the mould, an even smooth pour starting in one corner is all that's needed.

 

Just like before, once I have the moulds poured I stack them up before returning them to the Pressure Chamber for the second high-pressure curing.

 

∙ Time to dismantle the Mould Box to reveal the new complete mould.

 

As Lego blocks are pulled away each of the seams will leave a thin flash. It likes to stick to the Lego, but it peels away. It +++ Error! +++ Data Recovery ∙ Hault! +++ Data Corrupt +++ Recovery attempt ∙ Failed! +++

 

+++ Data Corrupt +++ Recovery attempt ∙ Failed! +++

 

+++ Data Corrupt +++ Recovery attempt ∙ Failed! +++

 

 

Edited February 9 by Subtle Discord
+++ Image Data-link ∙ Repair +++

[Lykos]

This is very informative. Thank you for taking the time to put this great tutorial together.

[Studio Silvernale]

Any chance you would make a pdf of your tutorial?