The following is a description of the method that Hasbro toy sculptor, James Carter (Instagram @carter_the_conqueror) shared with me. Graphics used in the images in this post were provided courtesy @carter_the_conqueror. And special thanks to Jon McLaughlin @deathandstrawberries (IG) for partnering with me on this post.

So the method that Carter calls “an old Kenner trick” follows these key steps:

1. Create a mold of the torso in which plastic T-Pegs can be set into the cavity
2. Cast resin around the T-Pegs
3. Add receiving holes to the appendages
4. Glue appendages to the stumps of the embedded T-Pegs that protrude from the torso

Step 1 – Create a mold of the torso in which plastic T-Pegs can be set into the cavity

There are 2 things to consider in this step:

i) The diameter of the joint holes in your original torso (custom sculpt or existing toy. eg. Star Wars, GI Joe) (See Figure 1) 

ii) The diameter of your T-Peg stumps

If these two dimensions are the same, then this step is quite simple.

However, if these dimensions differ, then you’ll need to create a ‘stepped’ pin that can fit into your original torso on one end and match your T-Peg diameter on the other end. (See Figure 2) If you are using my armature kit, you will want to use a stepped pin.

Interested in using this method?

The metal pins and plastic pegs that Carter uses are custom made by a producer in China and they aren’t cheap. The manufacture can be found on Fiverr. Email kerfloss83@gmail.com for a .stp design file used for CNC machines.

However, I believe there is a more economical method to producing these parts and I’ll be working on that with a friend in the near future.

In either case, when preparing the mold, ensure the pins are set in the original joint holes. (See Figure 3) 

Doing so will leave a negative space extending from the torso cavity that will fit the T-Pegs when you’re ready to cast. (See Figure 5 & Figure 6)

Note, it is very important that the pins you insert into the torso be as perpendicular to the surface plane as possible. This will ensure proper rotation of the appendages in the final assembly.

The recommended mold type for this step is a two-part mold which makes it easy to set the pin and T-pegs in the mold for casting. (See Figure 4)

To finish this step, pour your silicone mold. After it cures, remove the torso model and pins.

Step 2 – Cast resin around the T-Pegs

One of the key premises of this articulation method is that a T-Peg can still rotate after the head and a portion of the stump have been encased in resin.

This is only possible when a GENEROUS AMOUNT OF MOLD RELEASE is applied to the T-Pegs.

Once the mold release is applied, place each T-Peg into the mold, one in each cavity left by the pins. (See Figure 6) Be sure that the head of each stump extends into the cavity by about 2-3 millimeters.

Then close the mold and cast your resin torso, T-Pegs embedded.

IMPORTANT – As soon as the resin has cured, but is still ‘fresh’, remove the torso and rotate the T-Pegs a few times. This will ensure the T-Pegs are ‘released’ from the internal resin and free to rotate. 

Step 3 – Adding receiving holes to the appendages

The holes created in each appendage will be filled with glue and receive the portion of the T-Peg stumps that protrude from the final torso casting. This hole will create a stronger bond with the inserted T-Peg stump than simply gluing it to a flat surface.

So to add these holes you must again consider the diameter of the T-Peg stumps.

If you are starting from an original sculpt (hardcopy) that uses metal dowels to prototype the articulation, compare the diameter of the original holes with the T-Peg stump. If they are different, use a stepped pin, just as you did in Step 1. (See Figure 7)

If you are planning to use or modify an existing toy part, say for example an arm or leg you boil-and-popped from a vintage Kenner action figure, then you will first want to cut off the original T-Peg and drill a hole in its place that is the same diameter as your T-Peg stump. If you don’t want to cut up your original figure, create a resin or wax copy first.

In either case, when preparing the mold, ensure the pins are set in the original joint holes. (See Figure 3) 

Doing so will leave a negative space extending from the appendage cavity that will fit the same pins again when you’re ready to cast. (See Figure 8)

Note, it is very important that the pins you insert into the appendages be as perpendicular to the surface plane as possible. This will ensure proper rotation of the appendages in the final assembly.

The recommended mold type for this step is a two-part mold which makes it easy to set the pin and T-pegs in the mold for casting. (It is possible to use a cut mold, but skill and patience are required when cutting along the parting line)

Next, pour your silicone mold. After it cures, remove the appendage model and pins.

With the appendage molds ready, place the pins back in the mold. if you are using stepped pins, flip the pins around so that the end that matches the diameter of the T-Peg stump extends into the appendage cavity. This will leave a hole in the casting as the resin cures around it.

Finally, cast your resin appendages.

Step 4 – Glue appendages to the stumps of the embedded T-Pegs that protrude from the torso

Once at this step, you should have your resin torso with embedded T-Pegs and your resin appendages with holes that will receive the T-Peg stumps that protrude from the torso. (See Figure 9)

Before proceeding, trim the T-Peg stumps so that each appendage can be pressed flat against the torso. When trimming, take a little off at a time, and try to keep the ends perpendicular to the shaft of the peg.

As mentioned before, one the key premises of this articulation method is that a T-Peg can still rotate after the head and a portion of the stump have been encased in resin.

The other key premise is that the glue used to attach the appendages to the T-Peg stumps will be STRONG ENOUGH to withstand the rotation of the T-Peg in the torso.

By @carter_the_conqueror’s own account, the ONLY glue that will work is “The Last Glue” (search on Amazon).

Finally, put a drop of glue in each hole of the appendages and press on to the corresponding T-Peg stumps.

Once the glue dries, rotate the limbs gently at first to make sure the bond is holding and the T-Pegs are rotating properly.

———–

And there you have it: permanent T-Peg articulation.

Sculpting Mediums

	Polymer Based	Epoxy (2-Part)	Oil/Wax Based	Hybrid Clay/Wax	Traditional Toy  Wax
	Super Sculpey Firm	Aves Apoxie SculptGreen Stuff	Monster Clay	Relix	Azbro Wax Kenner Wax*
Good For	Taking your time Final pieces	Working in layers Final pieces	Taking your time	Refining details that can’t be resolved in clay	Secondary medium for refining details that can’t be resolved in clay
Not Good For	Warm fingers or rooms(susceptible to smudging)	Taking your time	Final pieces(clay never hardens)	TBD	Fast sculpting Reworking large parts of a model quickly
Requires Internal Support Structure	Yes	Yes	Yes	No	No
Workability	Hard/Soft toolsFingers	Hard/Soft toolsFingers	Hard/Soft toolsFingers	(as Clay) Hard/Soft toolsFingers (as Wax)Hot/Carving tools	Hot/Carving toolsBuilding up with hot wax in liquid form
Blending	With fingers or toolsUsing liquid Sculpey adhesive for attaching unbaked pieces to baked pieces	With fingers or toolsUncured epoxy clay is tacky and will stick to hardened clay	With fingers or toolsUsing hot tools to ‘weld’ pieces together	(as Clay) With fingers or toolsUsing hot tools to ‘weld’ pieces together	Using hot tools to ‘weld’ pieces together
Hardens	Bake at 275° F for 15 min(can be baked multiple times)	Mixed compound hardens within 24 hrs, workable with 4 hours	Never hardens	Hard at room temperature Workable at 130° F Can be melted and poured into mold(170° F)	Hard at room temperature Can be melted and poured into mold(170° F)
Finishing	Clay Softener for smoothing (before baking)Sanding	WaterSanding	Rubbing Alcohol	(smoothing solution TBD)Burnishing	Rubbing AlcoholBurnishing

*To purchase Kenner wax, contact @bantha5 on Instagram

Beginner Sculpting

Clays

Super Sculpey ‘Firm’

Super Sculpey Firm holds detail well and is relatively easy to work with at room temperature. Warm fingers can distort details when working with the sculpture in your hands. Using an armature stand can be helpful in keeping fingers off the sculpture.

Super Sculpey can be hardened by baking it in an oven. This is great if the end goal is to paint the sculpture and/or display it.

Clay Adhesive – Sculpting with Super Sculpey can be an iterative process. You can bake it multiple times. Some sculptures use this quality to build up their sculptures in layers of detail, hardening each before adding the next. Super Sculpey’s Clay Adhesive is necessary to securely adhere and blend each layer of detail.

Clay Softener – Every sculpture will need some amount of cleaning and smoothing. Clay softener is useful for smoothing Super Sculpey.

Monster Clay ‘Hard’

Monster Clay Hard holds details very well, even when holding in your hands. Warm fingers can affect details, but not as much as Super Sculpey.

Monster Clay cannot be hardened like Super Sculpey, but it is firm enough that it is safe to put out for display in a secure place and hold its form for years.

To work with it easily, it is necessary to keep the clay warm with a hot lamp or in a dish placed on an electric hot plate. At room temperature it can be very hard to work with your hands, especially in cold room temperatures.

Armature Wire

14 to 24 gauge aluminum or steel wire is necessary for the structural integrity of the sculpture. Without it, thin parts like arms and legs could bend or break more easily while sculpting. 

Clay Shapers (silicon tipped tools)

When sculpting figures under 6” tall, having small tools is necessary to get fine details. I recommend Size 0.

The firmness of the silicone tips should be similar to the firmness of the clay. Firm to medium tips are good for Super Sculpey Firm, while Firm tips are best for Monster Clay Hard.

Cutting Tools

A long razor blade is great for cutting clean, straight lines when creating details like clothing and belts. These often come in 4-8” lengths

A hobby knife (eg. Xacto blade) is also handy to have in your tool kit. You’ll probably find more use of it than you think.

Bally Stylus Tools

These come in a wide variety of sizes and as such can be used for a wide variety of detail work.

Carving Tools (best for sculptures +5″ tall)

Ribbon Cutting Tools –
Typically used for carving away large amounts of clay when shaping the base form of a sculpture.These tools are especially handy for larger sculpts, and are not needed as much in smaller ones.

Ribbon Cutting Tools come in a wide variety of shapes used for various shaping needs.

Wire Loop Tools – 
Similar to Ribbon Cutting Tools, wire loop tools allow you to quickly shape the surface of a sculpt, often before finer details are added.

Some Wire Loop Tools have ‘ribbing’, or a finer wire wrapped around the loop wire that creates a ‘rake’ like texture when using it. This allows you to remove a little more clay with more control.

Starter Kit Recommendations

• Super Sculpey Firm
• Clay Adhesive
• Clay Softener
• 14 Gauge Armature Wire
• Small Firm Colour/Clay Shapers
  • Economical (I’m unsure what firmness these are)
  • Premium
• Long Razor & hobby knife
• Ball Stylus Tools

General Sculpting Tools

Wax Carving 

• 12 Piece Stainless Steel Wax Carvers Set – Good for any clay sculpting and hard wax work
• Xiem Modeling & Carving Set
• Wolf’s Precision Wax Carvers (#2 Kerf Loss preferred) 

Wire Loop Tools

• Xiem Wire Loop Tool Set – Good for Monster Clay sculpting and burnishing hard wax

Silicone Clay Shapers – Best for Super Sculpey and epoxy clays

• 5 Piece Set – Firm – Size 0
• 5 Piece Set – Soft – Size 0
• 5 Piece Set – Soft – Size 2

Ball Stylus Tools

• 10 Piece Ball Stylus Tools – Good for any clay sculpting and burnishing hard wax

Ribbon Tools

• Xiem Mini Ribbon Sculpting Tool Set

Burnisher

• Interchangeable-Tip Burnisher

Clay Cutting Blades & Roller Set

• 5 Piece Set

Materials for working with Super Sculpey

• Liquid Sculpey Adhesive
• Clay Softener

Materials for working in wax based mediums

• Presto Pot Electric Kitchen Kettle
• Electric Skillet
• Alcohol Torch
• Alcohol Lamp
• Denatured Alcohol
• Foredom Wax Carving Pen

Turnaround Drawing Template

Download

It’s the amount of material you lose in the process of cutting something. In toy production, this can occur when cutting hardened clay or wax with a jewelers saw.

I heard the term while learning about the toy production process at Kenner from a sculptor who worked on the Star Wars line in the 80s.

It’s not a unique term to the toy industry, but it’s just one example of the many concepts to consider in the toy design process.

I’m thankful for Nicolai Klimaszewski’s willingness to share his experience, and hope to do the same with you as I learn new things about an old trade.

I recently learned about Double Fine’s video game RAD while researching the company that my wife’s friend’s husband works at, because that’s what you do when you learn someone you’re about to meet has a similar career as your own in an interesting industry like video games.

In short, the RAD video game focuses on a group of teenagers trying to save a twice-over post apocalyptic world while succumbing to its toxic environments. The toxins cause the characters to mutate in some really weird ways, giving them super powered appendages like flaming skull heads, tree legs, monster arms, super powered brains, and a weird little ‘passenger’ growing from their backs.

The various characters and variety of mutations they can experience sounded like the perfect prompt for a line of action figures. Imagine each character packaged with unique detachable mutated limbs, heads, and other weird appendages that can be combined with one another across figures to create hundreds of unique combinations. The more characters you collect, the more mutation combinations you can create.

With some deep 80’s nostalgia flowing through the style of this game, this line of action figures could feel like a real throw back for those of us still looking at our 80’s toys sitting on our work desks some 30+ years later.

And so I thought I’d take a crack at mocking one up, applying my novice sculpting, molding, and casting abilities to create a prototype of a character seen in their promotional materials.

The Clay Sculpt

To sculpt the figure I used Super Sculpey Firm. The following images illustrate the different stages I went through.

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Parting the Clay Sculpture & Preparing for Mold Making

For articulated figures, you need to separate the individual parts before making the mold. Once separated, you can mold each part individually and reassemble with temporary articulation to make the prototype.

Since this was sculpted in Sculpey clay, it needed to be baked first. Here it is baked and ready for parting.

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After cutting these apart, it was clear I couldn’t just make a mold with these rough edges. I needed to shape and smooth the rough cuts so that when reassembled, the parts would rotate smoothly against one another.

In the images below you’ll see how I’ve used Aves Fixit Sculpt epoxy clay to build up the rough edges and sand down when it had dried.

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Creating the Molds

For these parts I decided to use two different molding techniques: a one-part ‘cut’ mold and a two-part mold.

A one-part mold or cut mold, essentially means you pour the silicone around your object and once cured, carefully cut out the object to leave an internal void for casting. I used this technique for the legs, torso, and head.

A two-part mold means you create a mold from two sides of your object. I used this technique to mold the arms. The arms could probably have been molded as a cut mold, but I wanted to cast them in such a way that would allow the sprue (or opening used to pour in a casting medium) to be used as a joint pin.

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Note how the shoulders are lower than the hands. This is so that when the resin is poured in from the opposite side of the mold through the shoulders, it would be poured in from the top (the shoulders), allowing the resin to flow down to the fingers.

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Casting the Parts in Resin

To cast the arms I wanted to pour the resin in through what would be the articulation joins for the shoulders. To do this, I inserted two brass tubes into the silicon. I would then inject the resin through these tubes.

These arms presented new challenge for me: trying to avoid catching air bubbles in the finger tips. In this case, the finger tips were positioned such that they would be very susceptible to air bubbles. To mitigate this I inserted really small brass tubes through the silicone where the finger tips ended. Unfortunately I did this for only 3 fingers and unsurprisingly caught bubbles in the other two fingers. I took a chance that they wouldn’t catch, but lost.

It should also be noted that the resin that cured in these tubes never came out, so I couldn’t used them as articulation pins. Wah wah…

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Nothing special needed to be done for the cut mold since those parts created relatively large voids which would be easy for the resin to move around in.

Here they are all bound up ready to be poured.

Next, I wanted to color the different parts to highlight the mutations. Here’s I show resin dyes I used to mix custom colors.

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After pouring the resin and allowing to cure for 30 mins, it was time to take out the parts.

As you look at the following images you’ll notice where air bubbles formed in the castings, such as the nose and mouth of the skull (which was unexpected) and the veins in the monster arm. These could have been avoided had I used a pressure pot to compress the bubbles during the curing period.

To join the parts, I screwed holes into each part and used armature wire to join the parts together.

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I sculpted my daughter as a cake-topper for her 4th birthday. This was my first sculpture of a human using real life proportions, which presented many challenges: body proportions, facial sculpt, hair, and a cape.

For the body proportions I took reference photos and drew a plan for an armature over it. This helped for the most part, however I didn’t account for the bending elbows so the right arm ended up looking longer than the left.

The face proved to be the most challenging. I began with a sculpt that was true to the proportion of the body, but struggled to make the face look like anything recognizable.

So I tried another head sculpt, this time slightly larger, hoping the increase in size would make forming the facial features easier. Unfortunately this didn’t work out the way I wanted either.

So I tried one more sculpt, this time even larger and attempting a more caricature form. This was actually a great exercise in sculpting lips, but in the end it looked nothing like my daughter.

In the end, I went back to the first head sculpt, cleaned it up a little, and added hair for the final piece.

The following images show my progress throughout the sculpt.

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Mid way through my sculpt of the Star Wars bounty hunter, 4-LOM (seen in the background of the images below), I stumbled into the crazy world of keshi figures, which began in Japan as rubber erasers. These small (1.75 inch) rubber figures, first appeared in the United States in 1985 (when I was still in diapers). Since then, they have become a collectable toy for those adults who still wander the toy aisles, wondering what adventure they could have next.

In the few months that I’ve been sculpting, my mind has been churning with ideas of designer toys, molding and casting, production. The number of variables to consider when producing a toy is incredible. Something as simple as a line of keshi figure scan require a small hoard of artists, makers, and distributors. But most of all, time.

The keshi style and scale is really appealing as an artist and maker. When sculpting well known characters that we see in movies and on TV, the small scale forces us to focus on the most notable features of a character in order for it to be recognizable and draw out that lingering excitement for our favorite characters.

As a DIY maker, the scale is also appealing because they require much smaller quantities of mold and casting materials, which means it’s cheaper to experiment with different methods.

This polymer clay sculpt (Super Sculpey Firm) of Wez, a post-apocalyptic villain played by Vernon Wells in the movie The Road Warrior, took me almost 12 hours to sculpt. I’m really pleased with the way it turned out, even if the face isn’t a strong likeness.

My next post will be my silicone mold making process, followed by casting a wax prototype that I can refine for a final production mold.

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