Pulp Places Techniques and Tips

Paul Munday (Order #14001001)
Techniques and Tips for card stock and foam board modeling
TABLE OF CONTENTS
1 LEGAL 4
1.1 COPYRIGHTS 4
1.2 TRADEMARKS 4
2 PREFACE 5
3 TOOLS 6
4 MATERIALS 7
4.1 GLUES AND ADHESIVES 7
4.2 COLOURING MATERIALS: 8
4.3 OTHER MATERIALS: 8
5 TECHNIQUES 9
5.1 PRINTING 9
5.1.1 PAGE SIZE 9
5.1.2 CARD STOCK 9
5.1.3 PRINTER PREFERENCES 9
5.1.4 TONER CARTRIDGES 9
5.1.5 SCALE 9
5.1.6 NOTE ON ALTERNATIVES TO CARD STOCK 9
5.2 LABELLING 10
5.3 WORKING WITH CARD STOCK 10
5.3.1 SCORING CARD STOCK 10
5.3.2 CUTTING CARD STOCK 11
5.3.3 FOLDING CARD STOCK 12
5.3.4 COLOURING CARD STOCK EDGES 13
5.4 CUTTING FOAM BOARD 14
5.4.1 STRAIGHT CUTS 14
5.4.2 CUTTING WINDOWS AND DOORS (ON CARD STOCK-LAYERED FOAM BOARD) 15
5.4.3 CURVED CUTS (ON CARD STOCK-LAYERED FOAM BOARD) 18
5.5 CUTTING RABBET JOINTS 19
5.5.1 NOTES ON ALTERNATIVE TO FOAM BOARD 21
5.6 GLUING TECHNIQUES 21
5.6.1 WHEN NOT TO GLUE 21
5.6.2 WHEN TO USE WHITE GLUES AND WHEN TO USE PHOTO MOUNT SPRAY 21
5.6.3 USING PHOTO MOUNT SPRAYS 22
5.6.4 USING WHITE/CRAFT GLUES ON LARGE ASSEMBLIES 24
5.6.5 USING WHITE/CRAFT GLUES ON SMALL ASSEMBLIES 26
5.6.6 JOINING COMPONENTS WHICH EXCEED THE PRINTED PAGE SIZE 28
5.6.7 USING TACKY WAX INSTEAD OF GLUES 29
5.7 PRESERVING THE COMPONENTS 32
5.7.1 APPLYING MATTE FINISH 32
Page 2 of 34 All right reserved © 2016 Pulp Places

6 TIPS 33
6.1 SHARP BLADES 33
6.2 PRINTING KIT INSTRUCTIONS 33
6.3 WHEN TO PRINT DESIGN IMAGES 33
6.4 USING STEEL RULERS 33
6.5 TAKE CARE WITH MEASUREMENTS 33
6.6 TEST FIT BEFORE GLUING 33
6.7 HOW TO HOLD YOUR X-ACTO 33
6.8 PROTECT THE DESIGN FROM X-ACTO SLIPPAGES 33
6.9 “FILLING” SMALL ASSEMBLIES (E.G. FURNITURE) 34

1 LEGAL
1.1 COPYRIGHTS
All images and text contained within this kit are copyright of Pulp Places. Permission is granted
to print copies of this to build only your own models. Do not distribute digital copies in whole or in part
without the express written permission of the copyright holder.
1.2 TRADEMARKS
Pulp Places is a trademark of Pulp Places Company. Mean Streets is a trademark of the Virtual Armchair General
(http://www.thevirtualarmchairgeneral.com). Stoelzel’s Structures is a trademark of Carl R. Stoelzel
(http://www.wargamevault.com/browse/pub/4244/Stoelzels-Structures). Genet Models is a trademark of
Genet Models (http://www.genetmodels.com/)
Other names may be trademarks of their respective owners.
Black and white cover street scenes are public domain photos from City of Toronto Archives.

2 PREFACE
A few years back I started modeling card stock kits as backdrops for Bob Murch’s Pulp Figures line of 28 mm
miniatures. I downloaded designs from the Virtual Armchair General’s “Mean Streets” and “Mean Sets” kits; Carl
R. Stoelzel’s “Stoelzel’s Structures” kits; Mel Ebbles (free!) Genet Models kits and others.
I then proceeded, with no malice intended, to ruin the models.
I used too much white glue in places. I tried to sop up the excess glue to only make things worse. I didn’t spread
the glue evenly. I missed gluing corners. My dull X-ACTO knife would leave a ragged edge on both foam board
and card stock. None of my walls were the right height. I sometimes found my work had been implemented in
differing scales. The white card stock backing would show through on corners and joints. Windows went in
upside down. Card stock slipped when I was cutting it – ruining the image. Scoring a fold line was sometimes the
same as cutting it. Warping abounded on all my large foam board components. Joining walls sometimes ended
up matching at the top but not at the bottom or vice versa. I discovered late in my projects that my next
assembly should have preceded my last assembly and I would have to go back and do it all over again. When I
discovered Photo Mount Spray I also discovered that I could wash it off most surfaces (desktop, wall, chair) with
soap and warm water and thus rescued my marriage.
I was, however, able to continue building card stock and foam board models up to this day without having once
cut myself with my X-ACTO blade. I count this as a significant accomplishment and probably one of the main
reasons I kept trying.
Having learned from these and various other mistakes at no small cost in card stock paper, toner cartridges,
foam board, patience and time; I thought it best to write down what I’ve learned to relieve others from going
through the same travails.
I will not take credit for all the techniques listed here. I’ve learned from Carl Stoelzel’s detailed instructions, from
Jerry Jensen’s Paper Modeling Guide (which is listed with Dave Graffam’s products), various YouTube vids and
others along the way. What I set out here are the techniques and methods which are tried and true for the Pulp
Places designs. You are welcome to use other methods should you please. If you come up with anything better
than I have offered here, please let me know and I may add it in a later release of this guide.
/Scott F. Colby, proprietor Pulp Places

3 TOOLS
The following are the tools I use in across the Pulp Places line of kits. Most kits will not require all the tools listed
here – consult the tools and materials section of the kit you are working on for a more definitive list.
1. Self-healing cutting board

2. X-ACTO knife with a supply of #11 blades
3. Straight needle tool
4. 12” Non slip steel ruler (cork backed)
5. 6” Non slip steel ruler (cork backed)
6. Scrapping tool (wood carving tool or Robertson screwdriver)
7. Tweezers with curved tip
8. Scoring tools: Bone folder or scoring stylus (ball-end burnishing tool)
9. Cheap brush (#2 size) for white glue application
10. Small craft scissors for cutting irregular shaped card stock (e.g. flags)

4 MATERIALS
The following are the materials I use in across the Pulp Places line of kits. Most kits will not require all the
materials listed here – consult the tools and materials section of the kit you are working on for a more definitive
list.
4.1 GLUES AND ADHESIVES

From the back, left to right:
 PVA (Polyvinyl acetate) glue

 Super glues (for gluing small mixed media components)
 Photo mount spray adhesive (for gluing large surfaces)
 Tacky wax (for use with kits having internal and external walls)
 Matte finish to preserve the model designs
 Scotch tape (celluloid adhesive)
 Hobby glues: UHU and Weldbond glues as an alternative to PVA glues
 Safety equipment for photo mount spray (mask and goggles)

4.2 COLOURING MATERIALS:

From the back, left to right:
 Coloured marker set

 #4 brush
 Acrylic paints: Lewiscraft, Model master, Tamiya
 Wide tip markers
4.3 OTHER MATERIALS:

 Card stock (cover stock), letter size, matt white, in the range of 140 - 170 g/m2 – HP, Canon or Staples
brand recommended
 Foam Board 3/16” (.5 cm) thick, minimum 20” x 30” surface
 Tooth Picks (1 or 2)
 Stiff cardboard (for filling in assemblies, backing for signs, etc.) – This can be cereal box cartons or other
ordinary card board sources.
 Wax paper or newsprint to protect work surfaces when using Photo mount spray
 Paper towels, Kleenex for cleaning up

5 TECHNIQUES
5.1 PRINTING
5.1.1 Page Size
Pulp Places images are designed to fit an 8.5 x 11” page. The width of most walls will not fit A4 sized paper.
5.1.2 Card Stock

Use Matte Photo Paper – approx. 170 g/m2 (I recommend HP or Canon papers). Staples and Michaels also sell
various weights of cover/card stock paper but they don’t hold colour as well as the HP and Canon papers.
Good matte photo card stock has a bright white side and a slightly drab white side. Ensure that your printer will
print on the bright white side (for most printers this means inserting the paper face-down).
5.1.3 Printer preferences

Select a heavy stock setting in your printer preferences such as “card stock or “Other photo papers”.
I recommend using the “normal” print quality setting rather than “best” setting which tends to sacrifice detail
for colour on some printers.
Ensure that the page setting on your printer is set to “Actual Size” – not “Fit” nor “Shrink Oversize Pages”.
5.1.4 Toner cartridges

Check your toner cartridge levels before printing. Losing a colour half way through a print job is a waste of time;
good paper and toner. It’s best simply to print only those pages you will be working with presently.
5.1.5 Scale
Pulp Places designs are specifically targeted for 1:64 scale. Since the designs are heavily dependant on foam
board components, changing the scale of the model is not a simple matter of changing the scale on the printout.
The scale of the card stock (thickness) is invariant and would impact the resizing of such things as rabbet joints.
5.1.6 Note on alternatives to card stock

There are a couple of other alternatives to using card stock to capture design images. These alternatives are
often considered when designs are to be mounted on wood rather than on foam board. Pulp Places cannot
recommend these alternatives but they may be appropriate to your circumstance and application of the Pulp
Places designs:
5.1.6.1 Adhesive Printer Paper

Adhesive Printer Paper which can be used for large components which will be applied to foam board. The
designs can be printed, cut, stripped and applied directly to foam board without the use of glue.
5.1.6.2 Photo Matte stock paper

Photo Matte stock paper can be used instead of card stock for large components which will be applied to foam
board. This paper is a bit harder (flimsier) to work with than card stock.

5.2 LABELLING
In order to keep both card stock and foam board components easily identified by component number and
orientation it is a good idea to label the back of unfinished walls with both their component numbers (or other
identifier) and an indicator of their orientation for the final assembly. So:
1) Mark the backs of all card stock components when they are cut out.
2) Mark the backs of all foam board components after they’ve had their card stock designs glued to their front
surface.
Label the back of components with their identification and an arrow showing orientation
5.3 WORKING WITH CARD STOCK

5.3.1 Scoring Card Stock
“Scoring refers to the process of making a crease in paper so it will fold easier. Basically, a paper score is a ridge
that is indented into the paper where the fold line will occur.” Keith Beaty, Formax Printing Solutions
Card stock scoring is best done before cutting a design out as the larger surface increases the stability of your
ruler and your scoring.
Additionally, in Pulp Places designs, the fold mark indicators are located outside of the design (in preference to
dotted lines on the design) wherever possible. If you cut out the design you lose the fold mark indicators as well.
An example of a complex set of folds where it is best to score before cutting. The black arrows outside the design indicate where folds
should be made.

Scoring can be done by a number of different tools:
 a bone folder
 a scoring stylus (ball-end burnishing tool)
 a dull X-ACTO blade
 the back of an X-ACTO blade
I prefer either of the former two tools (bone folder or scoring stylus) as they will not tear the surface of the card
stock and they can be applied one side of the card stock regardless of the direction of the fold (forward or
backward).
Using a steel ruler as a guide, use the folder or stylus to score the fold by drawing the tool along the fold line.
One or two passes may be required. Do not press the tool too heavily.
Scoring a fold on a door design
If you do use an X-ACTO blade for fold lines, keep in mind that you should score the lines on the side of the card
stock the paper will fold into. If this is the blank (non-design) side, you can mark the line which must be scored
by using a pin to pierce the two ends that define the line on the design side, then flip the card stock over and
score the line using these two points.
1) Perform your scoring on a self-healing cutting mat. (It is easier to create the crease when the card stock
rests on a rubbery surface)
2) Use a steel ruler with a cork backing to hold the card stock firmly in place aligned to the fold line.
3) Center the tool edge/ball on the fold line.
4) Draw the scoring tools along the fold line exerting enough pressure to create the crease but not so much
pressure as to cut or abrade the card stock. One or two passes may be required.
5.3.2 Cutting card stock

1) Always use a sharp X-ACTO knife
2) Note that it is generally advisable to perform any scoring of folds before you begin cutting designs from card
stock.

3) Perform your cuts on a self-healing cutting mat

4) Use a steel ruler with a cork backing to hold the cardstock firmly in place aligned to the printed cutting edge.
5) Ensure your ruler is placed over the printed detail such that mistakes in cutting (due to slippage) will be
limited to blank areas and not carry over to the design.
Align your wrist to the cut and hold the blade at a 900 angle to the card stock
6) Ensure the knife edge is sharp. It should only take you one pass with your X-ACTO to cut through the card
stock.
7) Draw the X-ACTO blade along the ruler at a 900 angle to the surface. If the knife blade is sharp you shouldn’t
need to apply too much pressure to cut through the paper. Do not press too firmly as this leads to your knife
slipping.
8) Tab cuts can generally be done without the aid of a steel ruler. Lay the full length of the X-ACTO cutting
blade over a line on the gluing tab and press down firmly.
5.3.3 Folding card stock

After design components have been scored and cut from card stock it is generally a simple matter to fold the
card stock along the previously scored lines by hand. However, when folds occur close together or the piece to
be folded is quite small (i.e. furniture components) it is a bit more difficult. In such cases:
1) Use a steel ruler to firmly pin one side of the card stock along the scored fold line.
2) Slide your X-ACTO blade under the other side of the card stock (back side facing in) and rotate the blade to
make the fold.
Folding card stock with ruler and X-ACTO blade

3) If it is a particularly long fold line, you can substitute another ruler for the X-ACTO blade to create the fold.
5.3.4 Colouring card stock edges

The intent of colouring is to obscure any white backing or edges which might show through on the final
assembly. You should colour the edges of your components after having cut them to size. A good practice is to
colour edges from the back of a design such that any slippages of your brush or marker will not mark the design.
Colouring from behind the design
You should also consider colouring over any dashed lines (for folds). In most Pulp Places kits, fold lines are
indicated by black arrows located outside of the design as to avoid marring the appearance of the design with
dashed fold lines. This is not always possible such as in the case of outer wall overlaps:
Colouring over a dashed fold line for an overlap edge.

Sometimes, colouring needs to be performed after gluing a card stock design to foam board as is the case below
where both the card stock and foam board pieces needs to be coloured.
Using a colour marker to fill in the bottom of a stair landing. Note that the colour applied doesn’t need to be an exact match to
successfully obscure the backing. It also appears that the supporting foam board could use some colouring as well.
Colouring can be done either by using colour markers or acrylic paints. The advantage of using acrylic paints is
that you can mix colours to get a close match to the design background. It is also easier to colour foam board
edges with a paint brush than it is with a magic marker. The disadvantage of using acrylic paints is that they are
more expensive to purchase than colour markers.
Coloured washroom cubicle
5.4 CUTTING FOAM BOARD

5.4.1 Straight cuts
1) Always use a sharp knife. Your X-ACTO blade should always cut smoothly through the material
without encountering “bumps”. If you are not getting clean cuts, it is time to change you blade.
2) Always cut down at a 900 angle to the surface.
3) For straight lines (the majority of your cuts will be straight lines) always use a steel edged rule,
preferably with a cork backing (for grip).

4) Always cut away from the graphic you wish to preserve. Thus if your X-ACTO blade slips away
from the graphic you can recover from the error.
5) Spread your non-cutting hand over the rule and press directly down. Ensure none of your
fingertips extend beyond the steel edge.
Cutting a mounted design from foam board
6) If the line to be cut exceeds the width of your hand spread on the ruler, you will need to pause
your cutting and slide your hand down the ruler for the remaining cut.
7) Be very careful to ensure that your X-ACTO blade follows the steel rule. Do not push heavily on
the blade or you might nudge your ruler out of place. (If you always cut at a 900 angle, this
should not be an issue.)
8) The first stroke should just pierce the top cardboard backing on the foam board.
Pull the blade across rather than pushing it into the foam. The point here is to cut a straight line
for the subsequent strokes to follow. It’s easiest to start your cut from the edge of the foam
board or a little before the cut line.
9) The second stroke should be applied across the cut line with a bit more pressure than the first
stroke. It should cut all the way down to, or through to, the bottom cardboard backing on the
foam board. Make sure your blade remains at right angles to the foam board surface throughout
the cut. You do not want an angled edge on any of your foam board cuts.
10) The third cut should be applied with sufficient pressure such that you feel the blade touching
down on your cutting board. If you need to do more than 3 cuts to get to this point, chances are
your X-ACTO blade is too dull – replace it.
5.4.2 Cutting Windows and doors (on card stock-layered foam board)
Pulp Places kits provide masks and images to apply window and door insets on outer walls of buildings to add
further depth to the appearance of your model.
To use insets, you will need to carefully remove card stock/foam board regions of a component which requires
some specialized cutting:
1) Ensure that you will be working with a printed design which has mask layering turned on.

2) Establish the line of the cut: Using a steel ruler and X-ACTO blade begin your first cut at one edge of a
masked area and carefully cut through the first layer of card stock. You should only be engaging the tip of
your X-ACTO blade for this first cut. Draw the blade all the way to the end of the masked area.
The initial cut should just use the tip of the blade
3) Deepening the cut: Redo the cut from the beginning, increasing the depth of the blade into the foam layer
and finally through to the self-healing mat. Note that this may require multiple passes to complete. Do not
draw the blade all the way to the end of the mask area – it is too easy to overcut the line.
Repeat, increasing the depth of the cut
4) Reverse the X-ACTO blade and set the blade angle at 900 to the surface of the component. Position the blade
to the mid-point of the cut and draw the blade to the starting position ensuring an even cut through all
layers of material.
An even cut to the starting corner
5) Now perform the same reverse blade cut moving from the mid-point of the cut to the ending position of the
mask area. You may need to “saw” this cut a bit, given that there usually is more material to cut through at

this end. Ensure that your X-ACTO has a good grip on the blade.
Flip the component about and apply the even cut to the other end.
6) Perform the same series of cuts as describe in to the remaining side of the mask.
All four sides of the mask have been cut
7) Gently attempt to push out the mask. If it resists, you probably still have some uncut corners. Turn the
component over, check the cut throughs on the back to determine which corners still need work and then
flip the component over and complete those cuts.
Mask section removed

8) Remove the mask and tidy up any hanging fibres.
Cleaned up window space
9) Colour the edges of the window space, then test fit and glue the window design:
Completed window inset
5.4.3 Curved cuts (on card stock-layered foam board)

When insetting Pulp Places masks with curved aspects (e.g. windows, doorways, etc.) you will need to cut the
curved line without a guide (i.e. by hand). For such a mask:
1) Perform all the cuts for any straight aspects first.
2) Important: You should keep the blade at a 900 angle to the surface throughout all your cuts.
3) Starting at one end of the curved aspect, use just the tip of the X-ACTO blade to define the curved line. If
you perform this cut by moving the blade over the mask you will find that your blade is inclined to tip away
from the center of the curve – a better approach is to hold the blade rigid and, with your other hand turn
the component during the cut. Carry the cut through to the end of the curve.
4) Perform subsequent cuts as above but cut deeper into the component. This will become more difficult the
deeper you go – try to keep the blade at a 900 during these cuts (it’s hard). Continue making these cuts until
you cut through to the self-healing mat.

5) Finish the start and end of the angle cut by setting the blade angle to 900 (as you did for straight lines) and
evening the ends.
6) Remove the mask, tidy up any remaining fibres.
Curved window space
7) Colour the edges, test fit the inset piece and then glue it in place.
5.5 CUTTING RABBET JOINTS

Pulp Places kits use 3 kinds of rabbet joints:
 Rabbet joints used to fit floors into exterior wall assemblies
 Rabbet joints used to fit the outer walls together
 Trenches used to fit inner walls to both/either other inner and outer walls
Rabbet joints require either one or two cuts to the face of the foam board (only one is required to create a
rabbet joint on the edge of a foam board piece). For all three types of joint though, the same techniques apply:
1) Cut the rabbet joint in 2-3 passes over the face of the foam board with your X-ACTO blade:
a) The first pass should just cut through the topmost cardboard layer of the foam board – pull the blade
rather than pushing it into the foam layer.
b) The second pass should cut through the foam layer and lightly scratch the lower cardboard layer. Be
careful not to push the blade down too hard.
c) You may need a third pass of the blade if you encountered any ‘hills’ in the foam (denser areas of foam)
which you didn’t fully cut through in the second pass. Again – go lightly – you will also have an
opportunity to clean up any extra foam later.

Cutting a single face cut rabbet joint
2) Repeat 1 above if this rabbet joint requires two facing cuts.

3) For rabbet joints with one facing cut, finish the cut of the rabbet joint over the edge of the foam board as
follows:
a) Insert the X-ACTO blade between the uncut cardboard layer of the foam board and the foam. The blade
depth should be about .5 cm
b) Draw the blade along trying to keep it as close to the cardboard layer as possible (but don’t cut through
the cardboard!!) until you slice through to the other end.
Cutting the edge piece for a single facing cut rabbet joint
4) For single face cut rabbet joints gently pry the cut extent from the foam board leaving the rabbet joint
Trying the cut piece from a single face cut rabbet joint

5) For single face cut rabbet joints If you have any remaining foam ‘hills’ in the joint, you can remove these by
rubbing them away from the cardboard layer with a dull instrument – like the sculpting tool in the
photograph below.
Scraping out foam fragments from the exposed foam board card stock
6) For double face cut rabbet joints you will need to “chisel” out the foam board between the two cuts using
either a sculpting tool (used in step 5 above) or a flat head screw driver.
5.5.1 Notes on alternative to Foam board

Some hobbyists will substitute 5 mm thick wood instead of using foam board. The advantage of using wood is
greater permanence. It should be noted, though, that Pulp Places kits are not designed to be mounted on wood
and anyone mounting the kit on wood would need to adapt solutions for rabbet joints, trenches and cutting
cavities for window and door insets in wooden media.
5.6 GLUING TECHNIQUES

5.6.1 When not to glue
In Pulp Places building interiors the foam board walls are structured to dove tail into exterior and interior wall
rabbet joints such that gluing is not required. This makes it easier to manipulate walls to use as backdrops in
miniature photos and/or to accommodate game play.
Other ways to avoid gluing walls is to use a tacky wax such as Bard’s Tacky Wax to seat joins firmly. (Tacky Wax is
also great to have around for seating your miniatures solidly in displays.)
Another advantage of not gluing wall pieces in place is that, should you need to, you can replace individual wall
pieces without having to redo an entire floor assembly.
5.6.2 When to use white glues and when to use Photo Mount spray
1) It is highly recommended that you use a photo mount spray for gluing large sections of card stock to foam
board (i.e. walls and rooves). Photo Mount spray does not contain water and will cure in minutes.
2) Note however that card stock sprayed with Photo Mount must be very carefully positioned as it is difficult…
sometimes impossible to reposition once it touches the target surface.
3) White glue or hobby glue should be used on smaller components as directed (sparingly in most cases).
White glues have a water component which, when applied to large surfaces, interacts with card stock and
foam board paper promotes warping. The standard method for minimizing warping is to spread the glue

evenly and thinly and once applied to cover the glued component with a large weighted object (i.e. a coffee
table book) and leave it for 24-48 hours to dry. Even then, the component will probably warp slightly… and
assembly will take much longer.
5.6.3 Using Photo Mount sprays

When using photo mount sprays on the backs of cardstock images you will be applying to foam board:
1) Read and adhere to, all the instructions on the photo mount aerosol can.
2) Lay cardstock sections to be glued face down on wax paper such that the wax paper extends 6 – 8” on all
sides.
3) Try to protect as much of your work area as possible with wax paper. (Computer monitors, keyboards, lunch
should all be covered).
4) Ensure that your work area is properly ventilated – the glue spray is very fine and tends to remain airborne
for quite a while after release. (It is best to do this outdoors!!)
Outdoor photo mount spray station
5) Spraying
a) Use horizontal and vertical stokes in spraying
b) Ensure that all areas (especially corners) have been covered.

c) Avoid applying glue to any tabs or other fold sections by folding them under the front (design) side
before spraying the photo mount on the reserve side.
Photo mount spraying card stock (on a wax paper cover sheet).
d) Remove the card stock sections carefully from the wax paper (don’t slide the card stock – lift it up
directly) and place the sections aside.
e) Allow 1 minute for the glue to become tacky.
6) If you do overspray – note that the photo mount glue does wash up quite easily with a soapy sponge and
warm water.
7) Applying the first side of cardstock to foam board:
a) Ensure that you select a section of the foam board big enough to base your cardstock image.
b) Take the glued sections of cardstock and apply them to the foam board starting at one corner or side
and smoothing the rest of the section onto the foam board without creasing.
c) Take the rounded edge of a wooden ruler or use the flat of your hand to press all areas of the card stock
section into the foam board.
Evenly press the glued card stock onto foam board
8) Discard the wax paper or overlay it with a clean piece of wax paper if you will be mounting more designs.
9) Applying the second side of cardstock to foam board section:

a) BEFORE GLUING ensure that the glued cardstock matches the foam board section.

b) ENSURE that the orientation of both the glued cardstock and foam board section is correct.
c) Take the longest edge of the glued cardstock and carefully line it up with the edge of the foam board
then apply the edge when satisfied.
d) Carefully smooth from the applied edge to the rest of the foam board.
5.6.4 Using White/Craft Glues on large assemblies

Pulp Places strongly recommends against using white (PCB) glues for large assemblies but, if you must, when
mounting card stock on foam board with white glue:
1) Cut the card stock design from the printed page.
Cut out the card stock design
2) Have a moistened #2 paint brush ready to apply the glue.
3) Sketch out the area on the foam board where the card stock piece will be applied.
Sketch out the foam board area for the design by tracing the design
4) Apply the glue to the sketched-out area of foam board ensuring that all sides and corners are covered. Apply
glue in a criss-cross fashion over the center of the foam board.
Applied glue for good coverage within the sketched out area.
5) Use the moistened #2 brush to spread the glue to all corners and the edges of each side of the sketched-out
piece. Spread the glue out in the center of the sketch out. Smooth out any remaining hills of glue on the

foam board.
Spread the glue evenly and thinly over the sketch out area. You can also use the brush and a paper towel to sop off any excess glue.
6) Lay down the card stock design starting at one end of the sketched-out area to the other. Smooth the card
stock down with your hands or the rounded side of a wooden ruler. Glue may squeeze out onto the foam
board not covered by card stock - mop it up with paper towel or Kleenex.
Smoothing the design onto the glue area with the rounded edge of a wooden ruler.
7) To prevent warping, cover the glued assembly with wax paper and then add a covering board or book whose
weight will keep the assembly flat while glue cures and dries (approximately 24 – 48 hours depending on the
relative humidity of your environment)

Any of James T. and Karla L. Murray's books on New York Storefronts not only make excellent reading/viewing, but they are also
great for weighting down glued assemblies.
5.6.5 Using White/Craft Glues on small assemblies

Gluing Pulp Places small assemblies is generally limited to gluing down tabs and gluing together filler
components (see section 6.9 “Filling” small assemblies (e.g. furniture)).
5.6.5.1 For gluing filler components

1) Follow the same procedure as outlined in section 5.6.4 Using White/Craft Glues on large assemblies for card
stock, foam board and cardboard up to the final step.
2) You needn’t weight down the assembly to protect against warping as, for small components, warping is
usually not a concern.
5.6.5.2 For gluing tabs

1) Apply the glue to the tab sparingly.
2) Spread the glue on the tab with a #2 brush to cover
3) Fold the tab onto the target surface and hold until tacky.
4) Keep pressure on the tab until the glue begins to set. There are several ways to do this:

a) Simply use your fingers to maintain pressure.
Using a finger to apply a tab to a foam board surface with glue already applied
b) For hard to reach places, roll the ball of your scoring stylus or burnishing tool over the tab.
Rolling a burnishing tool over a glued step. For gluing into corners, using a burnishing tool is highly effective.
c) For long tabs roll the side of your scoring stylus or burnishing tool over the length of the tab.
Rolling the side of a burnishing tool over a glued overlap piece.
5) For small assemblies, warping is usually not a concern so just set aside the glued component and allow it to
dry.

5.6.6 Joining components which exceed the printed page size

Some of Pulp Places designs exceed the size of the printed page for certain scales. In these cases the design is
split over 2 or more pages and must be recombined by the modeller either before or during application of the
card stock to foam board. The method of recombining the images depends on what method you are using to
glue the card stock to the foam board.
5.6.6.1 If you are using photo mount spray (recommended) …

The easiest way to combine the images is to use scotch tape to join the pieces together BEFORE you mount the
card stock onto foam board. This takes advantage of photo mount’s ability to adhere to both wood and paper as
well as cellophane. Once the pieces are joined together, they can be mounted on foam board in the same
manner that smaller pieces can (see section 5.6.3 Using Photo Mount sprays).
To join 2 pieces of card stock:
1) Cut both pieces from the printed pages.
2) Orient both pieces into their proper positions and flip over the first piece
3) Pick the first conjoining edge of the flipped piece. If the edge is one which won’t be glued to foam board
(such as an overlap edge) move down to the first position which will be glued to foam board.
4) Apply a small amount of scotch tape as shown such that the overlap can be used later to join to the second
piece.
Scotch tape attached to back side of this piece
5) Repeat the above two steps for the second conjoining edge.
Tape on the other corner (backside). Note that the placement is back from the fold line.
6) Now flip the flipped piece back over such that the design on this sheet as well as the other are facing up.

7) Join the two sheets such that there is no overlap nor gap between the two and such that their texture
patterns line up. Press lightly on the scotch tape such that you can reposition it if necessary.
Both pieces joined seamlessly
8) Once you are satisfied with the fit, press the scotch tape down firmly and then trim any excess tape.
9) The conjoined pieces are now ready to be glued on foam board.
5.6.6.2 If you are using white or craft glue…

1) Cut both pieces from the printed pages.
2) Ensure that you have a piece of foam board which can accommodate the two (or more) pieces when joined.
Sketch out, in pencil, where the pieces will be placed.
3) Apply glue to the back of the first piece as per section 5.6.4 Using White/Craft Glues on large assemblies.
4) Paste the first piece to the foam board in the place sketched out for it.
5) Apply glue to the back of the second piece as per section 5.6.4 Using White/Craft Glues on large assemblies
but do not mount.
6) Mounting: Lift the second piece by the conjoining edge, one hand on each end and lower the piece down to
join the first piece while carefully aligning the texture patterns and ensuring that the second piece is butt up
against the first.
7) Smooth down the rest of the sheet with your hand.
8) Weight down and set aside as per the large assembly instructions.
5.6.7 Using Tacky Wax instead of Glues

Tacky Waxes offer the modeller several advantages:
 Individual walls can be easily replaced without requiring the entire assembly to be rebuilt.
 Walls can be removed to facilitate miniature movement during games.
 Walls can be removed to open-up camera angles for photographing miniatures in various “scenes”.

Having a jar of Tacky Wax is also handy for keeping your miniatures well-seated in their display cases:
Miniature case with figures "tacked" in with Tacky Wax
1) Use Tacky wax when slotting a wall component into a rabbet joint:
2) Apply the Tacky Wax with a scrapping or spreading tool.
Applying Tacky Wax with a scrapping tool.
3) Ensure that you only apply the Tacky Wax to the component (foam) edge – avoid getting the wax on the
card stock design.
4) Spread the Tacky Wax evenly over the component edge

5) Slide the component edge into the rabbet joint and press the supporting sides together.
Inserting a wall component into a rabbet joint using Tacky Wax to secure the joint.
To remove the component, just pull it out. You can reinsert it without having to add more Tacky Wax.
Police Station No 4 first floor Interior. None of the wall are glued in place for this floor. Tacky Wax has been used on all the exterior corners
and a few of the internal wall rabbet joint connections.

5.7 PRESERVING THE COMPONENTS

5.7.1 Applying Matte Finish
To preserve your model’s design and to protect your card stock and foam board assemblies from warping, you
should apply a light spray of matte finish to both sides of your assembled components.
Applying matte finish to several wall pieces.

6 TIPS
6.1 SHARP BLADES

CHANGE THE X-ACTO BLADE WHEN IT GETS DULL!! Blades are cheaper than the time you waste and the cost of
materials lost when you use a dull blade and ruin your work. The quality of our work also improves with the use
of a sharp blade.
6.2 PRINTING KIT INSTRUCTIONS

You can either use your instructions as displayed on your computer or print them out for use. If you choose to
print them, ensure that you print them on regular stock paper and select gray scale rather than colour printing
to save your toner cartridges.
6.3 WHEN TO PRINT DESIGN IMAGES

Only print design images pages on card stock as you need them. By printing only as you need, you avoid
unnecessary clutter and also protect yourself from printing pages after a colour toner cartridge empties.
6.4 USING STEEL RULERS

Use your steel rules with the cork side facing down (Some writers advocate flipping them over to get the steel
edge closer to the card stock). The cork surface is there to prevent slippage – use it!
6.5 TAKE CARE WITH MEASUREMENTS

All measurements in Pulp Places kits are in metric units. There are some components which have no design
element (such as bases) which you will need to measure and cut without a design template. Ensure that you
measure two or three times. When laying out cuts for rectangles, use of a T-square will help ensure that your
measurements are consistent.
6.6 TEST FIT BEFORE GLUING

Test fit components before you apply glue. Many times you will find that adjustments are required due to minor
cutting/folding deviations or poor measurements.
6.7 HOW TO HOLD YOUR X-ACTO

Cut with your X-ACTO blade at a 900 angle to the surface – even when just cutting card stock. (If you cut at an
oblique angle you may push the material out of line). One way to improve your cutting technique is to always
ensure that your wrist always lines up with the cut line.
6.8 PROTECT THE DESIGN FROM X-ACTO SLIPPAGES

Cut away from the design (i.e. place your steel ruler overtop of the design) such that a slippage of the X-ACTO
blade cannot cut into the design – thus allowing you to correct your cut without having to discard the piece you
are working on. Note that this applies to both card stock and foam board.

6.9 “FILLING” SMALL ASSEMBLIES (E.G. FURNITURE)

Some of Pulp Places structure and furniture assemblies consist of card stock designs “wrapped” around foam
board pieces. The foam board pieces help maintain the shape of the component as well as providing some
additional weight, making the component easier to handle and position.
Pulp Places will provide either templates for the foam board pieces or simple measuring instructions to aid the
modeller in cutting these “fill”.
You may find however, that the fit of the foam board components is a bit looser than you’d like.
The best remedy for this is to use the same template or measurements to cut out “fill” pieces of cardboard to
add to the assembly.
Bottom of file cabinets assembly showing filling consisting of 3 foam board and 1 cardboard pieces.
Cardboard can be taken from various household sources such as cereal or food boxes, shirt cardboard, backing
sheets from card stock packaging, junk mail!!!, etc.
Cardboard is generally thicker than card stock and will require more care and pressure when cutting with an X-
ACTO blade. When possible use scissors instead.

Pulp Places Techniques and Tips

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I then proceeded, with no malice intended, to ruin the models.

/Scott F. Colby, proprietor Pulp Places

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1. Self-healing cutting board

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4.1 GLUES AND ADHESIVES

 PVA (Polyvinyl acetate) glue

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4.2 COLOURING MATERIALS:

 Coloured marker set

4.3 OTHER MATERIALS:

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5.1.2 Card Stock

5.1.3 Printer preferences

5.1.4 Toner cartridges

5.1.6 Note on alternatives to card stock

5.1.6.1 Adhesive Printer Paper

5.1.6.2 Photo Matte stock paper

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5.3 WORKING WITH CARD STOCK

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Scoring can be done by a number of different tools:

 a scoring stylus (ball-end burnishing tool)

 a dull X-ACTO blade

 the back of an X-ACTO blade

Scoring a fold on a door design

3) Center the tool edge/ball on the fold line.

5.3.2 Cutting card stock

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3) Perform your cuts on a self-healing cutting mat

5.3.3 Folding card stock

Folding card stock with ruler and X-ACTO blade

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5.3.4 Colouring card stock edges

Colouring from behind the design

Colouring over a dashed fold line for an overlap edge.

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Coloured washroom cubicle

5.4 CUTTING FOAM BOARD

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Cutting a mounted design from foam board

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Repeat, increasing the depth of the cut

An even cut to the starting corner

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