Alien Head Pepakura Files Batgirl. 4/30/2017 0 Comments. Do not go thinking so far that I'm plenty of buckets full of free time to work on these files, because it.
This project is an excerpt from Make: Props and Costume Armor. Learn how to paint, finish, and replicate this project, and discover step-by-step projects for more props and armor. A lot of amazing new technology is available to makers today. Technology websites and magazines are filled with countless articles about the latest developments in rapid prototyping and 3D printing. What they don’t say is that you don’t actually need any of it for prop making and costuming. For genuinely professional-looking results, all that’s really needed is a computer with an ordinary printer; materials that are readily available at a local hardware store, hobby store, and office supply center; and some patience. Using a shareware program called Pepakura Designer — and techniques pioneered by the members of the 405th.com HALO costuming forum — we’re going to walk through the creation of a wearable, science-fiction helmet prop (Figure 2-1).
“How?” you ask? Pepakura Boot Camp. Love Halloween? Check out our for more projects to scare and delight! Available now online or in print at fine retailers everywhere First, download and install.
NOTE: At the time of this writing, Pepakura is available for Windows only. It is not Mac-compatible. The software doesn’t need to be registered for it to work. But registration does unlock a few more functions, such as the ability to save work in progress. Besides, it’s so inexpensive that it’s worth paying the registration fee if only to encourage Tamasoft to keep making the program available. Once the program is installed, the next thing you’ll need is a 3D model to print out.
If you’re not a 3D modeler, never fear. It turns out you can find 3D models everywhere. The Tamasoft website has a gallery of models you can download for free, and there are countless prop and costume forums where members are willing to share models for use in Pepakura builds. If you have the appropriate conversion plug-ins, you can use models you design for yourself in freeware programs such as Blender or SketchUp as long as you can convert them to.OBJ or.STL format. Once the program is installed, the next step is unfolding a model and printing out the pieces. The unfolding process can be tedious, but it’s also a vital part of making a paper model that can be built practically.
If you’re starting with a model that’s already been imported into Pepakura and unfolded, you’re way ahead of the game. If you’re starting with an.OBJ file that hasn’t already been unfolded, there’s a bit of work to be done. As an example, Figure 2-2 shows a simple 3D model of a cube with a notch in it. When the model is opened in Pepakura, the program will ask about flipping faces and front colors and a few other unnecessary things. Close out of this dialog box. Next, click the Unfold button at the top of the screen. A prompt will appear asking for the desired dimensions of the assembled model, as shown in Figure 2-3.
Once these values are entered, clicking OK will unfold the 3D model (shown in the program’s left window) into the flat, oddball-looking thing in the right-hand window, as shown in Figure 2-4. As you can see, Pepakura will try to make the model into as few pieces as possible so it can be assembled as quickly as possible. The problem with this is that computers will occasionally do perfectly logical things that make no sense at all to our imperfect, meat-filled heads. Fortunately, there are tools within the software that allow us to rearrange the seams (we’ll explain those shortly). After a bit of dividing and joining edges, then repositioning the parts on the page, it starts to look like Figure 2-5. FIGURE 2-6: Editing some flaps NOTE: If you’re in the United States and haven’t been blessed by the rest of the world’s embrace of the metric system, you’ll note that the default print settings in Pepakura are for size A4 paper sheets.
You’ll need to change the Print and Paper Settings under the File pull-down menu to letter-size paper. This may also require repositioning some of the parts in the 2D window so they don’t get cut off at the edges of the page. While you’re in the Print and Paper Settings menu, go ahead and click the Print Page Number box, as well. You’ll be glad you did.
The parts should be printed on the thickest cardstock paper available (Figure 2-7). This way the parts will be less likely to sag and get distorted under their own weight. FIGURE 2-8: Pepakura model parts cut out With the parts cut out along the solid lines, take a look at the dotted lines. These are the fold lines that indicate where the parts need to be creased. There are two types: the dotted lines indicating a peak fold, where the crease points upward, and the alternating dash-dot-dash lines indicating a valley fold, where the crease points downward. It’s a good idea to score the folds to make it easier to get a nice, sharp crease. The easiest way to do this is to gently run the tip of your hobby knife blade along the fold lines, cutting slightly into the surface of the cardstock but not all the way through, as shown in Figure 2-9.
FIGURE 2-11: Gluing seams together occasionally means sticking your fingers together too. NOTE: Every Pepakura builder will have their own take on the best types of adhesives to use when assembling paper models. They’re almost all wrong. The best thing to use is cyanoacrylate adhesive. This adhesive is available under familiar brand names such as Zap-a-Gap, Insta-Cure, and Krazy Glue. It cures fast, bonds well with paper, and can often be bought with accelerators, such as Zip Kicker or Insta-Set, that will cure even faster.
As the pieces come together, there’s no need to worry about exactly what angle they need to be positioned in. In almost every case, the geometry will work out so that there’s only one correct way for the pieces to sit together without excessively warping the paper. The end result, shown in Figure 2-12, is a completely assembled piece that’s the same shape as the original 3D model. FIGURE 2-14: Hunter helmet 3D model — shiny! Once the 3D model is imported into Pepakura, it can be unfolded just like the notched cube. First, though, you’ll need to determine a scale factor.
Usually it’s a simple matter of measuring the height, width, and depth of your head (or whichever body part the model is supposed to fit onto) and picking dimensions that will allow for a bit of extra room inside. Some trial and error may be involved. NOTE: When choosing (or designing) your model, you have to weigh the complexity of the build against the amount of time and resources you’ll have to spend making it nice and smooth.
A high-polygon model will be harder to assemble in the paper stage. A low-polygon model will take more work when it comes time to smooth it out. After plugging in the dimensions needed for the assembled model, click OK and the whole thing will be instantly unfolded to become the stuff of nightmares, as shown in Figure 2-15. FIGURE 2-16: Evidence that the robot overlords want humans to get carpal tunnel syndrome It’s time to start rearranging the seams on the paper model. If the model being used hasn’t already been unfolded by one of the many prop-making saints who go around the internet looking for models to unfold, this can be quite a chore.
It’s the same process used to rearrange the seams on the notched cube, though; it’s just going to take longer this time around. To start with, select the Check Corresponding Face tool (hotkey Ctrl+K). Pick a readily identifiable part of the model in the left window and double-click to highlight it (Figure 2-17). This will show you the corresponding area of the unfolded template in the right window. FIGURE 2-19: Seams rearranged to turn one big blob into several long strips NOTE: During the unfolding process, it’s also important to make sure that the pieces are small enough to print onto a single piece of paper.
That saves you the trouble of having to figure out how to realign the split parts once they’re printed out. In the end, there’s no easy way to get this job done quickly.
Spending more time simplifying the build at this stage, however, will mean spending less time cursing at complicated pieces to cut and fold in the paper stage. In any case, after carefully rearranging the parts and putting the seams in places that make sense, the 2D window finally looks like something that can be built (see Figure 2-20). FIGURE 2-22: Tiny little parts nobody will ever cut out With all of the parts laid out in a sensible manner on the 2D side of the window, it’s time to print the whole thing out and get started. Here are a few important things to remember about printing the paper model:. Under FilePrint and Paper Settings, be sure to check the Print Page Numbers box. If the printer chokes on a sheet of this unusually heavy paper, the sheet can be flipped over and reused.
Once the pages are printed, keep them stacked and in order. It’ll make life easier when searching for the next piece to cut out. Now that the model is printed, get to building! Begin with a clean, well-lit work area like the one shown in Figure 2-23. FIGURE 2-26: Using the Check Corresponding Face tool to instantly locate the next part to cut out Picking a place to begin can be daunting. Usually it’s a good idea to begin with the area as far as possible from the edges and work outward. It’s a lot easier to add pieces to the outside of the work as opposed to trying to shoehorn them into the middle of a bunch of stuff that’s already glued together.
In this case, construction will begin with the nose area of the helmet. Start by cutting out a few pieces that will all end up glued together (as in Figure 2-27).
FIGURE 2-29: Folded pieces ready for assembly Glue the pieces together one tab at a time using a cyanoacrylate adhesive. It cures in a matter of seconds and can be catalyzed with a separate accelerator spray if there isn’t time for waiting. (There’s never time for waiting.) WARNING: Cyanoacrylate adhesives were originally developed for use as field-expedient sutures so combat medics could glue wounds closed on the battle field. This is why every brand has a warning label that mentions that the stuff bonds to skin instantly. They’re not kidding.
In fact, versions of cyanoacrylate adhesives are still widely used in hospital emergency rooms today. Only use this power for good. In just a few minutes, the nose is assembled (Figure 2-30). FIGURE 2-31: A flawless paper version of the 3D model Making It Hard The fully assembled model may look pretty cool at this stage, but unless the character being built is a superhero whose one weakness is that their armor disintegrates in the rain, it’s still going to need some work. The model also needs to be reinforced so it won’t be crushed the moment someone looks at it the wrong way. This is the time for fiberglass resin, which can be bought at your local hardware store.
You’ll need a disposable container to mix your resin in, as well as a disposable brush to spread it onto the surface. Muster your tools, take a deep breath, and read the label on the side of the fiberglass resin can. It’s terrifying.
WARNING: Polyester resins can be pretty nasty stuff. Before beginning this stage of the project, find an area outdoors to work or some place with plenty of ventilation to minimize exposure to fumes from the resin. Wear a respirator designed to filter out organic vapors to avoid making yourself stupid by huffing resin stink, and wear eye protection to keep from going blind if any stray splatter ends up near your eyeballs. Wear rubber gloves, and clothes you don’t care about. They will be ruined during this process.
Don’t let any family pets eat this stuff either. It’s bad for them, too. Once again, it’s time to start with a clear work surface like the one in my workshop, shown in Figure 2-32. FIGURE 2-34: The workbench covered with a layer of cardboard. Wax paper would be even better. Now that the work area is set up, it’s time to gather the necessary tools (Figure 2-35).
It’s a good idea to have all of the tools handy and sitting on the bench. Once the fiberglass is mixed, there’s only so much time to work, and it won’t be a good idea to frantically dig around looking for tools while wearing sticky, poison-coated gloves. See the Parts and Tools sidebar above for a list of what you’ll need to cover your model in resin. FIGURE 2-35: Tools for coating with fiberglass resin Mix a batch of resin in accordance with the manufacturer’s instructions. For something the size of this helmet, six fluid ounces (about 175 mL) will be more than enough for one coat. In any case, the resin will begin to “gel” within about 15 minutes of mixing it, so don’t mix more than can be used in that time. After adding the manufacturer-prescribed amount of hardening catalyst, use the stir stick to thoroughly blend it into the resin.
Along the way, be sure to scrape the sides and bottom of the mixing cup to get the unmixed resin residue from the outside edges blended into everything else. NOTE: The mixing instructions for most fiberglass resin will include an optimal ambient temperature for the material to cure properly, as well as the ideal amount of catalyst to use.
These values can be fudged a bit. Hotter days will cause the resin to harden faster, so it’s a good idea to use slightly less catalyst. Conversely, colder days may require more catalyst to get the resin to cure in a timely manner. In fact, to a certain extent, slight (i.e., tiny, miniscule) adjustments to the amount of catalyst added can allow tailor-made cure times. This can be handy if you’re in a hurry and need more time to apply a coat.
Use the chip brush to coat the cardstock with resin (Figure 2-36), taking care not to overdo it. At this stage, the resin doesn’t need to soak all the way through the paper; it just needs to completely coat the outside. FIGURE 2-37: Shiny, resin-coated paper helmet Once the resin has hardened, the helmet will be somewhat waterproof. It’ll also be a bit stiffer, but it’s not all that strong.
Working with materials available at any hardware store, there are two especially popular options for strengthening it. The first one that a lot of people talk about is fiberglass layup. Fiberglass mat layup takes a bit of skill, a lot of time, and generates all kinds of mess, waste, and poisonous fumes. This is not a method for the beginner. The other option that tends to generate better results for the novice is to coat the inside of the assembled Pepakura model with a blend of fiberglass resin and an auto-body filler commonly known by the brand name Bondo.
Resin on its own is brittle. Bondo on its own is very thick and hard to slush around. Mixing the two of them makes a readily spreadable composite that’s rock hard when it cures.
This resin/Bondo mixture is often lovingly referred to as Rondo. Determining the just-right mixing ratio between the two materials is largely a matter of personal preference. Lots of prop-making hobbyists will swear by their particular blending ratio.
At any rate, there is plenty of room for experimentation. If a runny, watery mix is desired, use more resin. To make the mix more viscous, add more Bondo. In any case, once it’s mixed, it’ll start to harden before too long, so it’s a good idea to work in small batches.
NOTE: Bondo and fiberglass resin cure via an exothermic chemical reaction. This means that the mixture will generate heat as it cures. The bigger the batch, the greater the heat, and the faster it will cure. It might be tempting to mix one big batch to do all of the layering in one shot, but it’ll likely just end up becoming a useless lump that’ll need to be chiseled out of the mixing container. Before mixing the Rondo, gather up your tools, shown in Figure 2-38. See the Parts and Tools sidebar above for a list of what you’ll need to make your Rondo.
FIGURE 2-38: Rondo coating tools NOTE: The gallon-sized cans of resin and Bondo are way too much for a project of this size, but it’s always nice to have more on hand for the next project. Once all of the tools are handy, it’s time to put on some rubber gloves and mix up some goop.
Here’s how Rondo is made. Step 1 Scoop some gray goop out of the Bondo bucket. This should not be done with the same tool that will be used to mix or spread the Bondo. That way, there’s no chance of contaminating the rest of the can of Bondo with hardener and have it slowly turn into garbage.
A helmet this size should only require a couple of blobs the size of golf balls. Or one blob the size of a baseball. Or two-thirds of a blob the size of a soft ball. It’s not an exact amount, but balls are involved somehow. Step 2 Add slightly less of the Bondo hardener than the instructions call for. The reason for skimping on the hardener is to allow a bit of extra mixing time before the material cures.
Remember, you’ll have to mix up a batch of fiberglass resin, too, so you don’t want the Bondo to harden too quickly. Step 3 Blend the hardener into the Bondo (Figure 2-39). FIGURE 2-39: Blending hardener into Bondo Secrets of BondoIf your workshop is as well equipped as mine, you have a retired auto mechanic father who stops by whenever he gets bored with his antique car restoration projects to tell you what you’re doing wrong. If you don’t have such help, here’s what Dad usually tells me when I’m mixing Bondo:. Keep everything neat and clean. Let the Bondo touch only one side of the putty knife so you can control where it goes.
If it ends up on the backside of the putty knife, it’ll trail little ribbons along the top of your work and it’ll be impossible to spread it smoothly. While mixing, periodically scrape the Bondo off the working side of the putty knife so it can be blended back into the rest of the material. Scrape the Bondo off the mixing surface from time to time, as well, to make sure the stuff on the bottom gets mixed in, too. Continue mixing and scraping and folding the Bondo back into itself until it’s all one uniform color. Make smaller batches. When you sand it all off, you won’t waste as much time and money filling the workspace with pink dust.
That last one is apropos of nothing. It just comes up a lot when my Dad visits. Step 4 Once the Bondo and hardener are thoroughly mixed to an even, homogeneous color, mix up a batch of fiberglass resin (in accordance with the manufacturer’s instructions) that’s about the same volume as the blob of Bondo. Then scoop the Bondo into the resin (Figure 2-40). FIGURE 2-42: The world’s nastiest smoothie poured into a paper hat Step 7 Tip the work piece from side to side and front to back so the Rondo slushes around and coats everything on the inside.
The goop will eventually cure to a solid, almost rock-hard mass. The object is to keep moving the helmet around in order to get the goop evenly spread over the interior of the paper. Otherwise, the Rondo will drool its way down to the bottom of the helmet as shown in Figure 2-43 and solidify into a big, heavy, thick area that will never sit right and make the helmet lopsided and unbalanced.
This can be prevented by continually keeping the whole thing in motion while letting the Rondo slosh and splatter around the interior until it gels and hardens into a shell of uniform thickness. FIGURE 2-43: Keep moving the whole thing in order to keep goop from pooling in one place.
During this stage of the project, it’s absolutely guaranteed that at least a little bit of liquid Rondo will drip out somewhere. Be sure to cover the floor with the finest antique Persian rug available, let it soak up any spills, then leave it where it is until the Rondo has cured and it glues the rug to the under-lying floor. Actually, that’s a bad idea. The better idea is to lay down a bed of newspaper or wax paper over the work area so it can all be rolled up and disposed of when the project is done. Step 8 Mix up another batch of Rondo and repeat the coating process as many times as needed to make the helmet nice and strong. After enough iterations, it’ll be pretty sturdy (Figure 2-44).
That depends on how many coats you layer on. I may have overdone it with this one. FIGURE 2-44: Standing on top of the Rondo-reinforced helmet There is no trickery involved in this picture. That’s all 175 pounds of me plus steel-toed boots, heavy coveralls, and pockets likely filled with sanding dust and used rubber gloves standing on top of this paper helmet. I may have overdone it with the reinforcement, but it gives you an idea of what’s possible. Making it Smooth So all it takes is some paper and hardware store materials to make a nice, strong helmet.
It’s not safe to wear for motorcycling, or hockey, or getting shot out of a cannon, but it should be more than adequate to hold up to the rigors of costuming. The next step is to smooth the outside so it stops looking like a multifaceted 3D model and starts looking sleek. This, too, is a job for Bondo body filler. Remember all of the guidelines mentioned above about mixing and working with Bondo? They still apply.
All of the required “body shop” tools are shown in Figure 2-45. FIGURE 2-45: The essential “body shop” tools If you’re paying attention, you’ll notice that these are basically the same tools that you used in the Rondo phase, minus the fiberglass resin, tongue depressors, and mixing cup. The only new tools are the files, sanding blocks, and sandpaper that will be used to shape the cured Bondo. With the tools gathered up, it’s time to set up the workspace. This step is going to take a lot of time and generate a lot of dust, so it should be done somewhere that can deal with that kind of mess.
Since the aim is to take the faceted, digitally generated paper model and smooth out all the surfaces to make them look like the original character design, it’s also a good idea to have all the available reference images close at hand. (Your workspace should look something like what you see in Figure 2-46). FIGURE 2-46: Find a well-lit work area where nobody will mind the dust. All of the reference images should be readily available. Now that everything’s ready to go, it’s time to get to work.
I usually start by using a wood rasp to grind off the high corners of any area that’s going to need to become curved. Then the first layer of body filler goes on. If the initial 3D model was already fairly smooth, it shouldn’t need very much filler to fine-tune the shape. If it started as a low-polygon model, it’ll need more filler to round out the facets. In either case, resist the urge to pile on a lot of material.
It’ll just need to be ground down as soon as it cures. Instead, it’s easier (and less messy) to build up several small layers and cut down on the amount of sanding time and material waste along the way. With the first coat of Bondo on the Hunter helmet, it looks like Figure 2-47.
Note that there’s not just a huge glob piled on willy-nilly that would then need to be carved back down. As the Bondo cures, it will become progressively firmer, allowing the user to do some rough shaping with the putty knife. At this stage it’s a good idea to shape it as close as possible to the finished form, but don’t fret if it’s not perfect.
There will be plenty of time for perfect later. FIGURE 2-47: The first coat of Bondo After about 20 minutes, the filler will harden to the point where it can’t be smooshed around with the putty knife any more. After another 20 minutes, it can be carved and sanded to knock down any high spots or rough patches that may have come up during the smooshing. The best tool to start with is called a Surform shaver; it’s the little cheese-grater-looking widget with a bright yellow handle shown in Figure 2-46.
They come in a variety of shapes and sizes, but the little rounded one will remove a lot of material in a hurry at this stage (Figure 2-48). FIGURE 2-48: Smooth, but not quite smooth enough This is the tedious stage of the project. From here the next step is to continue filling in the unwanted low spots and sanding down the unwanted high spots. There will be curves that need to be made straighter or flat, and faceted areas that need to be evened out to create compound curved areas. The general progression of sanding and filling with the Hunter helmet is shown in Figure 2-49.
Get comfortable and settle in for the long haul. Unless you’re some kind of sanding savant, this is the stage that will consume the largest number of hours. FIGURE 2-49: Filling and sanding and filling and sanding and filling and sanding and filling and sanding NOTE: It can be tempting at this stage in the project to use some sort of power tools. At first this might seem like a great way to save time and effort, but inevitably it will also mean removing too much material. Shaping and sanding by hand will allow for a lot more control and a lot less waste. Somewhere in the seemingly endless loop of smoothing and shaping and filling and sanding, it’ll eventually reach the “zit stage.” This is the point at which continuing to mess with it will only make it worse. It’s important to recognize this stage when it is reached; otherwise, it’s easy to get lost in a hellish, dust-filled downward spiral that will take over your life like some chalky, time-sucking leech.
It may even require the timely intervention of friends and family and possibly the occasional mental health professional who can, after a lengthy and emotional intervention, somehow convince you that it looks “pretty good.” At this point (or much sooner probably), it’s a good time to spray on a coat of primer to identify areas that need a little more attention (Figure 2-50). A coat of gray primer, the great revealer While things may have looked “pretty good” when they were all sorts of different colors and covered with dust, a coat of primer will take away any deceptions caused by the different colors and show all of the remaining flaws and problem areas. Now it’s time once again to set off on the long cycle of filling, sanding, filling, sanding, and filling, and sanding. During the course of the sanding, filling, and priming process, there will likely be places where the original paper bits become exposed.
When these areas are sprayed with primer, they’ll likely end up soaking in a bunch of the primer and looking fuzzy and weird. Not to worry. Once the primer dries, sand these areas lightly with some fine sandpaper (220-grit should be good) and then spray on another coat of primer.
A couple of rounds like this and it should be good to go. When all of the little problems are finally fixed, prime it again. If it’s smooth and straight and there’s no more visible fuzzy paper showing, it’s time to move on to detailing.
Detailing Now that the basic shapes are smoothed out and curved or flattened as needed, it’s time to add details. There are usually at least a few bits and pieces that need to be added to the physical model that weren’t present on the digital model. This is especially true of a lot of the models that were originally designed to render characters or props in video games. In most cases, developers would rather not waste rendering power on tiny seams and details when they can just be painted onto the skin that’ll be visible in the game.
Small seam lines and grooves can be carved in with a triangle file or, just as well, with a loose jigsaw blade. Use a straight edge and a hobby knife to lightly scribe a mark where the grooves will be.
Then go back over the scribed lines with a small file or saw blade to make them deeper and wider as needed (Figure 2-51). FIGURE 2-53: Building up rows of ridges. TIP: If the design calls for bolts or screw heads to be visible, the easiest way to simulate them is to pick them up at the local hardware store and just drill holes to mount them onto the assembled piece.
These final touches can be added after the bulk of the shaping and sanding has been done, but there will still be occasional flaws to fix. Ideally, the bigger problem areas have been fixed with Bondo. Most of the flaws at this point should be fixable with glazing and spot putty, another automotive product available at the local hardware or auto parts store. It’s designed to fill in pinholes and tiny scratches before you spray on your paint. It dries on contact with air and will shrink slightly as it dries. For this reason (and the fact that it costs money) spot putty should only be used to fill in the tiniest of tiny holes (Figure 2-54).
Some of you may have seen my back in October for the Halloween costume contest. The response was fantastic, not just here, but on many other wonderfully nerdy sites like Kotaku, MAKE, and Fashionably Geeky.
I was brand new to Instructables at the time and didn't realize how detailed users prefer their Ibles to be. In response to the many inquiries I had about the pattern I used and the pepakura aspect of the process, I've created this Ible to walk you through the paper craft end in greater detail. The Queen is a BIG project and requires a lot of hours, but hopefully the following will make it a little easier for those who dare construct her. Consider this your crash course in large scale, advanced Pepakura, to use as a spring board for your own Alien prop and costume projects. I knew I wanted to make the Alien Queen for Comic Con/ Halloween, and some quick googling revealed that there were bountiful resources in fan driven prop recreation forums.
The file I ended up choosing came from, and was created by a user named MovieMan. I have since sent him a thank you email for his lovely work, though it appears he hasn't logged in for months. The original file is now offline, but I've re-uploaded it for you You'll need to download in order to read the file.
The program is free to download, but it will not save any changes you make to the file unless you get the paid version. The program will allow you to view/ rotate the model in 3 dimensions (like in a 3D rendering program), and will also display the flattened print view (right), distributed over a number of pages.
In addition to the source file and the Pepakura Designer program, you will need BASIC PEPAKURA ASSEMBLY: 1 Ream of Cardstock -regular paper will not withstand the scoring and gluing this project requires. You need card stock for its body and structure. Metal Ruler X-Acto Knives and Extra Blades - Standard shape or swivel head Scissors Self-healing Cutting Mat Elmer's Glue Several Envelopes or Folders Access to a Printer - Any black and white home printer will do, as long as it can feed card stock through. FOR OPTIONAL RESIN HARDENING: Chip Brushes -or other cheap industrial paint brushes. DO NOT use foam craft brushes as they will not hold up.
Disposable Containers - like rinsed out cottage cheese or yogurt tubs. You'll use these for your resin and they'll be thrown out after, so do not use anything you care about. Bondo Fiberglass Resin + Hardener Drops TBSP Measure - This will also be used for your resin, and may never come totally clean.
Buy a cheap plastic set of measuring spoons at the dollar store so you don't ruin one you use for other projects or food. The original pepakura file was created in Europe, and thus the printable pieces are configured to A4 paper.
If you're working on A4 paper (first pic), you're good to go. If you live in North America, you will need to change your paper settings and re-arrange some of the pieces in order to print successfully. Open your pepakura file.
In the top menu, go to 'Settings' 'Print and Paper Settings' Change the paper size to regular Letter size. After doing this, you will see that the boundaries of you pages, shown on the right side of your screen, have changed.
The Alien pieces may be hanging off the edge and bleeding over onto other pages. Using your mouse, select offending pieces and move them back up onto their page. Selected pieces will highlight red and move where you guide them. Do this for all pages, and don't be afraid to zoom in and be sure you got everything. If you're interested in conserving cardstock, this is also an opportunity to put more pieces on each page. You can move smaller pieces to fill existing gaps on more populated pages.
I did this and reduced my sheet count by at least a dozen pages. The little numbers on all your flat pieces are VERY important. These are your guides for what goes where.
The program default seems to put a lot of the number outside the pepakura pieces. If you were to print and cut the pieces as is, you'd have to transfer all the numbers onto your pieces by hand, or risk not having any idea how things fit together.
Go to 'Settings' 'Other Settings' and locate the box for 'Place Edge ID Inside Face'. UNCHECK THE BOX I know that sounds like the opposite of what you want, but it works. All your numbers will pop to the inside of your pepkura pieces.
Now they will be intact after you cut and it'll be easy to figure out what links together. Ultimately you'll end up with a rather formidable stack of card stock. Pages sometimes curl when they come out of the printer (depending on the style of printer), but this will not effect your final product. Look at a page of pattern pieces. You'll see that the numbers on each tab or edge correspond with what is directly across from it, in most cases. This makes sorting easy to do as you work your way through the pile. Don't get discouraged.
This project takes a long time, but the steps are easy. Take that stack a chunk at a time while you watch netflix or listen to music. 1) The best way to begin is to cut a sheet into more manageable pieces. Use scissors to cut in broad chunks, going between your pattern pieces. This will make each piece easier to deal with than trying to fight the whole sheet of card stock.
2) Use scissors to cut away the easy straight edges. Some pieces will be better suited to scissor cutting than others. Cut from segment to segment to stay precise. Do not attempt to do a whole side of a piece in one long cut, as you can risk tearing as you turn corners. 3) Use an X-acto blade and metal ruler for small areas, curves, and notches. This will ensure precision and also give your hand a nice break from the scissors, which can start to hurt your hand after a while. Mix it up and alternate the tools to stay comfortable.
4) With both tools, remember to work in successive cuts (5th photo), working segment to segment. This will give you crisp edges and precise corners. Trying to cut all 3 facets of this piece in one swoop would risk damage and misalignment. Your Alien Queen comes together as this network of many pieces interlinks.
To do this, the pieces will need to be able to fold/ bend, in either a convex or concave direction (sometimes both within one piece!). You will 'score' along the lines provided to make these folds happen. HOW TO SCORE - Line up your metal ruler with the line you wish to score. Run your X-acto over the line, applying about half the pressure you would if you intended to cut all the way through. You want the card stock to remain intact. Bend along the scored line, in the direction indicated. If your fold is not crisp, try applying a little more pressure, or change to a fresh blade.
What Do the Lines Mean? (See first image) Dotted Lines will be scored on TOP.
See photo 2 and 3 These are easy to follow along with and are the type of score you'll do most frequently. Dot and Dash Lines will be scored on the UNDERSIDE (blank side). See images 4-7.
These are a little trickier. I like to make a little notch with my knife at either end of my line, then flip the piece to the back. Use your metal ruler to connect the two points and score with your knife. This will give you a facet or tab that bends up. Once you've scored and bent some pieces you'll begin to see how this can actually come together to form a 3-D object.
Note: For the assembly section, I'll be recreating the 'dome' portion of the Alien skull for you. I find it to be one of the most interesting sections, and it does a great job of demonstrating the curved forms that the pattern pieces will ultimately get you. Plus, its faster than making an entire second Queen head. All the techniques you need to build the whole head are right here, just keep at it until you have several major sections to connect!
GLUING - Dot Elmer's glue onto a tab. One of the worst things you can do is over saturate your card stock and weaken it.
Use your finger to smear the glue into a thin film over the entire tab. Find the edge piece with the same number as your tab.
Connect and press together, adhering the tab to the underside of the piece. Photo 7 shows the backside of some small connected pieces, so you can see the tabs forming a network of connections. Allow the tab a moment to dry. Some pieces may need you to pinch them in place while drying, and others can sit on their own. Small and intricate pieces are more likely to require pressure while drying (photo 8). Wait until the tab is dried before moving on to the next.
Continuing to work while pieces are still wet can cause slipping. If you're an efficiency beast like me, or just impatient, you can be working on two sections simultaneously (photo 5). That way you're gluing one section while the other having its drying time.
It keeps your hands busy and makes progress while preventing you from messing with pieces that aren't quite ready yet. Work in Sections.
Photos 9-12 show the progression of the dome assembly. You can see how the smaller sections came together to form one unit. This piece is ultimately the front of the Queen's face. Continue your assembly methods until you have your major sections put together. I highly recommend keeping the top and underside of the shield separated until the very end.
It makes the whole thing less awkward to handle. Refer back to my color coded model image if you need to. To join the top half of your shield to the underside, the pattern provides a series of strip-like pieces with tabs (first photo). Choose the top or bottom of your shield. Attach the 'joining mid strip' to that one half first. When it is dry, connect to the remaining half.
This is perhaps the toughest part of the whole assembly. I can not emphasize enough: Allow drying time between each tab to avoid any slipping.
Work your way all the way around until the shield is one unit (3rd photo). It will be hollow, with an oblong hole in the underside. You'll find that your Queen skull and the shield are entirely independent units. The skull (4th photo) slides into the front of the shield (see model diagram). Your method of attachment depends on your ultimate goal for this project.
Since I knew I wanted one continuous, solid headpiece, I joined the two with E-6000 at this time. As you assemble, you may find that you don't need some of the interior mouth pieces in order to achieve your project goal. I believe this section was meant to line the inside of the lower jaw, but I didn't need it in order to make my headpiece look complete. I left it out of the final build, but its entirely a matter of preference. There was also a piece or two on the printable pattern that lacked any numbering.
Totally blank. Steins gate game soundtrack download. I could not for the life of me figure out where they were supposed to go. When you encounter a piece like this, don't worry. Since my head assembly came together perfectly well, I'm guessing those random bits were just artifacts from another pattern that somehow made their way into Movieman's original file (?). Chances are that you're making this Alien Queen as a prop, trophy, or costume piece. Bare card stock is not a very enduring choice for any of those purposes, so I recommend applying a 2-3 coats of Bondo Fiberglass resin to harden it into a solid form. This will prevent the shield from bowing or collapsing under its own weight, and provide as firm foundation whatever sculpting or painting you may want to do.Remember that I'm recreating this step with our demo 'dome' piece.
Hud litigation handbook. Your fully assembled Queen head will be much larger, and require multiple batches of resin to be covered. PREP - ALWAYS use resin outdoors or in a well ventilated area.
You are also very likely to drip, so put a newspaper or plastic sheeting underneath your Alien head before working. I'm using newspaper here for this dome section, and I used an old shower curtain for the whole meter long head piece when I did my original.
MIXING the RESIN - a workable batch uses 3 TBSP Bondo resin + 10 drops of the hardener included. Stir with your brush or a stir stick. Remember to use a crappy TSBP and disposable containers, because there is NO washing this stuff off. You can wipe the inside of your TBSP when you're done, but it will probably always have dried resin on it after this.
Remember to wipe the mouth of your resin can after pouring. Having your resin can accidentally seal shut because of dried resin is NOT fun! Paint your resin on to your Queen head in long strokes. Apply thin layers to avoid drips and pooling. Work quickly as you have limited working time with the resin.
The resin is slightly brownish, so you will see where you've been. I suggest doing your whole top side, waiting for it to dry, then flipping it over and doing the underside. Switch back and forth until you have done 2-3 coats each. If you like, you can also do one coat on the inside, to re-enforce those networks of tabs (7th photo). If your numbers start to smear under the resin, that's ok. We're done with them they'll be covered by paint later.
When Your Resin Starts to Clump you're almost out of time (6th photo). One batch seems to last about 20 minutes before you have to stop. You can either mix a new batch in a separate disposable container, or wait for this coat to dry before doing more. DRYING -Drying time will vary with the temperature of your space. The warmer it is, the quicker it'll dry. You can also speed the process along with a heat gun. I chose to let my Queen sit out overnight in the summer and got a good full cure each time.
When you can knock on the head and its solid, you're done! The Pepakura portion of your Queen is complete! You have just completed a massive (and impressive) Pepakura project. Where you go after resin is totally up to you!
I chose to smooth out select areas using Smooth On free form air clay before priming and painting. I kept sculpting to a minimum to keep the weight down. Since this was going on my head, I want to keep the whole thing under 4 lbs. If props and trophies are your thing, you can go crazy with layers of sculpting and paint with less regard for the end bulk.
In addition to the Hunter's Lair site I mentioned earlier, this has some excellent examples of movie real Alien props. In my experience, the people in these costume and prop forums and more than happy to explain their finishing techniques with other curious makers. If you found this Ible helpful, please cast a vote for me in the paper craft contest.