Goal / Intro

I’ve crafted several board game components and I thought I’d share some lessons learned and techniques used to help others considering crafting similar projects. The accompanying photos are from my most recent creation for Dixit. I created components to support 12 players instead of six, which included 156 mini-cards and 628 corner cuts. That’s a bit ambitious for a first crafting project, so it’s the principles, not the project, that are the focus of this article. As an example, it provides plenty of useful ideas that can be applied to a first or smaller project.

The completed project with components for a 12 player game of *Dixit*

Design

If you’re using a design created by someone else, you can skip this section. But if you’re wanting to create your own designs or put a twist on an existing design, then you’ll find this part useful.

General Approach

Mindset

The design phase is where a project’s success is determined. Rushing this step leads to mistakes and frustration. And like good writing, requires plenty of review and revision to get all the details right. Any project of substantial scope is full of details. If you’re not a detail person, then you have a couple of options. You can set your expectations to be satisfied with “good enough.” Or you can set your expectations to adopt an iterative approach and prepare for the endurance or pacing required to make multiple attempts to get it satisfactory.

So MANY details: One of 11 pages of design work in CorelDRAW for my Dixit upgrade project.

I’m both a detail person and a perfectionist so I put plenty of effort into the planning and design. That can lead to its own issues. First, don’t design a project that is beyond your skill level to execute, or that is too detailed for your burnout threshold. And second, be prepared for inevitable corrections, changes, and refinements. That preparation can take form as either accepting imperfection or expending the extra effort to make those extra improvements. There’s always the option to revisit a design later and test the current design to flesh out any hidden changes needed. You don’t have to get it all right at once. A break between iterations prevents burnout and stepping away from a project gives fresh eyes better able to see needed changes. As an artist, I found the same overall process applies to crafting: Patience and persistence across iterative improvements gives the best final product.

To find the balance of effort, ask yourself “How often will it be seen or played?” If it’s a prototype, be realistic about it being revised before it wears out. Give yourself the freedom to scale back the scope of the project and expected level of perfection. And speaking of the size of your project, don’t forget it’s physical size. You don’t want to craft a masterpiece that won’t fit into the game box.

Technique

Skill vs. Tools

Your skill with a product is equally important as a tool’s feature set, so use what you’ve mastered and upgrade only when necessary. I use CorelDraw™ as my main design tool since I’ve used it for years and it was cheaper than Adobe’s alternative. If you’re starting out there are plenty of free or inexpensive options (Inkscape, Painter.NET, Procreate, Affinity, GIMP, etc.).

FFF

As you’re working, keep the design mantra “Form Follow Function” preeminent. A simpler design is more legible and can save time if you’re experimenting. Don’t be afraid to add text to iconography, even in the final product. Clarity trumps aesthetics and ornate layouts can also be a challenge for the color-blind.

Get Your Mind in the Gutter

Plenty of white space promotes both clarity and aesthetics. But is also helpful for the actual crafting steps. Sufficient gutters and margins compensate for printer alignment variances. And you want to leave enough room for the crease folds (i.e., accommodate the width of the “ditch”) to be far enough from the component so that it gets cut as waste. And while on the topic of white space, I’ve found that white edges hold up better over time than a full bleed, especially for cards. If cost is a consideration, white space conserves expensive toner. And you might want to large areas or the use of color where it has a justified impact and benefit.

Make the First One Right

Game components, like cards, often have the same and repeating basic design. Don’t get carried away in the excitement of creating and start replicating that template too soon. Take the time to get that first one refined before your start replicating it as a template. Otherwise, revisions to all the copies will be tedious. And like any form of writing, it’s best to do multiple reviews with sufficient gaps in proofreading to give you fresh eyes.

Make

In this section the design is completed and you’re ready to start crafting a product. Each subsection appears in the typical sequence that most of my projects take. But first, let’s look at some general techniques that apply to multiple steps.

General Techniques

Several crafting steps require lead and follow-through. For example, when spray-painting, start spraying off to the side of the target and then pass the spray across the surface. Continue past the far edge before you stop spraying. A steady and consistent action, with lead and follow-through, often gives the best results. And this basic technique is used when spraying, creasing, cutting, etc.

This square of scrap cardstock has been cut to size and used as a jig to center the hole punch accurately. (for a different project)

On a related note of physical consistency, I structure my work in an assembly line fashion. If I’m going to be repeating a particular cut or fold, I focus on doing just that action across all the items. Similar to woodworking, I’ll create “jigs” for measuring, cutting, or punching. It can be as simple as cutting a piece of cardstock or cardboard for an important or fiddly repetitive step. These not only promotes a consistent outcome, but also leads to time efficiency.

Good lighting is important, not only to prevent fatigue, but for accuracy. It’s not only the quantity of light, but also the quality. If it’s too harsh, dark shadows from rulers and guide can make accuracy difficult. Add multiple light sources and bounce their beams off the ceiling and walls to soften any shadows.

And, while on the topic of visibility, I have several pairs of reading glasses on hand to make detailed work easier. I’ve found 3.0x to be a good general-purpose magnification. And for extreme detail I have a pair of 6.0x readers.

Print

I love the feel of linen paper, and it gives cards a nice float for shuffling. Printers struggle with thick cardstock, so I print on 65-pound paper and glue a folded sheet to create a 130-pound card. My HP LaserJet has difficulty getting toner to adhere to the texture of linen paper, even if I print only on the smoother side. I compensate for this by telling the printer it’s bond paper, which causes the printer to use a higher fusing heat. But texture can still be an issue, so choose your paper accordingly. Don’t exceed the thickness limits of your printer and instead use spray glue to combine sheets. If I want even more body, I sandwich in a sheet of lamination film to give a card a strong and flexible core. After spray gluing the paper, I take one side cut from a laminating pocket, and sandwich it between the paper and then run it through the laminator so the heat activates the bond.

And speaking of texture, most papers have one side smoother than the other. Be sure to add paper to your printer consistently if one texture is preferred over the other. Also, store your paper so it stays in alignment and is protected from humidity or temperature extremes.

Protect

Creasing, folding, and cutting stresses paper and the artwork printed on its surface. You may opt to give your printouts a coating of acrylic before any rough handling. If I’m going to sleeve cards or laminate a piece, then I often skip this step. But if I’m giving something a protective coat, I prefer UV-resistant clear acrylic by Krylon™, which is resistant to yellowing. The gloss version is slightly stronger than matte, but that’s more relevant for miniatures than with papercraft. And you can always layer matte over gloss to reduce shine or glare. The following tips are also relevant for spray painting also.

Preparation and technique are very important for spray paints or sealers. First, pick the right time and a place for spraying. You’ll need good ventilation, which usually means outdoors. Therefore, timing is required because temperature and humidity can impact your product’s performance. Find and comply with the manufacturer’s recommendations for those factors. Cold conditions can be compensated for in some cases by warming the can (e.g., letting it set in a bowl of hot water). And never skip the mixing or shaking recommendations.

When outdoors wind is a major factor, and you don’t want your overspray to speckle the car of a volatile neighbor. Even a slight breeze can carry overspray a surprising distance. Pick a location that is not upwind of anything that could be damaged. Wait for the breeze to calm and only spray when the air is still. Also use windbreaks (a brush or hedge) to block any surprise breezes. And since we’re trying to get all the elements of nature into perfect alignment, don’t forget to position the work area so it receives good lighting.

Before spraying prepare your work area. You’ll need something to set your work on while it dries. Or if you’re working on multiple pieces a couple of different places to stage items both before and after coated. You can use a big cardboard box (weighted so it’s stable), a bench, or a table. It is almost guaranteed it will be a victim of overspray, so although you could wrap it in cling wrap, it’s easier if it’s an old workbench or worktable that’s already weathered a bit of abuse. On top of the spraying work area, I put a large cardboard box as a spray booth to block most of the overspray. Protective gear like latex or vinyl gloves should be at hand, and some painter’s tape for holding items at an optimal angle. Also don’t forget to remove your watch and any jewelry.

When you spray, use lead and follow-through, and spray a light coat. The can should be held so that the spray does not hit the target at an angle. Move the can in a smooth side-to-side direction parallel to the target surface. Let the coat dry before applying another coat, and multiple thin coats is your goal. If you’re too close or heavy with the spay it causes dripping, frosting, or undesirable textures. Also, let the coating set, not just dry, before any folding, cutting, or other such handling.

Fold

Small cards and tokens might require some cutting before folding (my Dixit project did). But standard sized cards are made from a single sheet that’s first folded. And since the finishing steps include the most cutting, I’ll cover folding first. Folding is also useful when making booklets, envelopes, paper boxes, fans, rosettes, and decorative embossing.

Special equipment isn’t required for a crisp accurate fold, but it does make it easier and faster. First among these is a “folding bone.” They aren’t expensive, but if you’re really in a pinch you could probably find a decent substitute in your kitchen or workshop. It is knife shaped and has a smooth, thin, dull edge that makes a crease in the paper without tearing or cutting. Use lead and follow-through with light and consistent pressure to get a straight and clean crease, taking special care as you finish the crease not to use too much pressure and tear the paper.

You can use a straight edge like a ruler to guide the folding bone. But a scoring board has grooves that a folding bone will follow. Also, the sides keep the paper in alignment to create accurate parallel or perpendicular creases. Not only are they inexpensive, but many include a folding bone in a set.

A piece of florescent sticky note marks the center of the page to speed repetitive scoring.

Be sure to position the paper so that the ditch created by the folding bone is centered on your folding lines. For repetitive folding I put a snippet of a sticky note on my folding board so I can quickly see where the folding bone should go. Normally the side of the paper that is creased becomes the inside of the fold. And that’s usually the unprinted side of a page. But it can be easier to get alignment on printed fold lines if you crease the printed side. The paper will still fold in the desired direction and follow the crease.

Crisp the edge using the flat of the folding bone

After creasing take the folding bone and use the flat side of the blade to make the fold crisp and flat. Since this rubbing puts friction on the paper’s surface, you want to smooth the crease on the side that doesn’t have any printing that close to that edge. If that’s not possible, put a scrap piece of paper over the artwork to protect any artwork. This will also keep your folding bone clean. If a folding bone does pick up ink from the paper or a ruler edge, I’ve been able to clean them with a cotton ball and a bit of alcohol. And speaking of cleaning, be sure to inspect and clean your ruler edges periodically.

Glue

Many of the preparations for spray painting or spray coating also applies to spraying glue (wind, overspray, protective gear, work area, etc.). Inevitably glue gets on one of my hands, so I always have Goo Gone ready.

Gluing a folded sheet creates a thicker component with printing that is on both sides while also being in alignment. But liquid glues warp paper, so I use spray adhesive (3M Supper 77™) instead. It dries fast, is strong enough for papercraft, and only requires a light spray to make a permanent bond.

If you don’t have a fold to enforce alignment, then you have a couple of options. For example, making a board by gluing a printed sheet onto a thick chipboard. Don’t try to eyeball it as the paper will certainly adhere to the backing at the wrong angle. You can use painter’s tape to create a hinge and recreate the alignment benefit of the fold technique. But the larger the pieces, the less reliable this can become. In that case, use a backing that’s considerably larger that the paper. Apply glue only to the paper, and after it is affixed, trim the excess board to match the paper’s edges. Use the edge of a marker’s tip to color the edge of the chipboard, being careful to not let the ink bleed into the paper. Or better yet, use cloth tape (used by bookbinders) to wrap the edges.

Cut

Aligned to the crop line so it gets cut off as waste

You’ve reached the final finishing step! But, if you are crafting a large number of components, this can also be the most labor-intensive step. As with other steps you want good lighting and an appropriate work surface. Not only do I use a cutting mat, but I also use it on a granite countertop where a slip of the knife isn’t going to destroy an expensive piece of furniture. If I’m cutting thicker cardboard (i.e., pressing down with the knife), I’ll even put a scrap sheet of wood or cardboard under the cutting mat just to be safe.

I use two different craft knives for straight cuts. Both utility knives and their blades are from Olfa™: one has the generic LB blade for general cutting. But the other has the LBB blade that is thinner and sharper for cuts that need to be clean and accurate. And when I’m doing precision cuts, I change the blade if there’s even a hint that it is about to get dull. A sharp blade requires less pressure, and I use multiple passes to make deep cuts. I use both lead and follow-through on my cuts to keep them straight. A sharp edge doesn’t require a lot of pressure, and less pressure means better control of the blade for both accuracy and safety.

Like the other phases in this project, a little mental preparation before you start is important. Every project is unique, so you need to plan the sequence of your cuts. The most important priority is not to trim off curial crop lines prematurely. After that, I try to make the make longer cuts first and work my way to the shortest cuts last. And, if possible, I try to prioritize cutting off the waste first as it’s mentally satisfying to see the components approaching their finished size. I also use the assembly line approach and repeat the same cut on all sheets before doing the next cut. This not only makes the work go faster, but also helps maintain consistency.

Cork tape used to back an inexpensive aluminum ruler for cutting. Also pictured is the Olfa with LBB blades that I use for precision cuts.

A straight cut requires a metal ruler, and I have a dedicated straightedge that I use for cutting since even aluminum can be shaved by a steel blade. It’s important that the ruler has a backing, so I had to add cork tape to mine. This lets it float and pivot on your work to get accurate alignment with crop lines. When lining up the ruler on long lines, I find it useful to place the far end of the ruler on the line. Holding that end in place, I pivot the near end until it’s in alignment. That alignment takes into consideration the width of the blade and where the cut will happen. I also want the cut to fall just to the side of the crop line, so that line is just on the waste side of the cut.

The cork backing also holds the ruler and the paper steady as you make the cut. Press down slightly with your off hand, and with your main hand hold the knife so the blade is vertical and flat against the ruler edge. Maintain this orientation as you pull the knife towards yourself in a smooth motion for the straightest line.

Making the cut. Extra Olfa™ LBB blades and the corner cutter in the upper right

The last cut I apply is with the corner cutter. Rounded corners are a little touch with a big impact that gives cards a finished look. I use the Sunstar Kadomaru Pro™ corner cutter, which three different radiuses to match various card sizes. I also use it on my player aids, thin flat token pieces, or anything frequently handled—either having an unpleasant point or a corner subject to crumpling.

Closeup shot of player #10’s pieces for *Dixit*

Click HERE to view or download my Dixit project.