Kobracast Art Examples

Worbla’s Kobracast Art is one of our newest products, and quite different than the rest of our lineup in some ways! Paper thin and incredibly sticky when activated, Kobracast works much like a thermoplastic interfacing: you can use it to fuse to and manipulate fabrics, creating seamless looks and permanent details. It also can be used for hatmaking, both as an alternative to buckram in some aspects or for creating sculpted details such as feathers or ruffles that stand on their own without wire.  Kobracast can be sewn through with a standard machine, reshaped with heat whenever needed, and can be washed in cold water, making it excellent for costumes where more finicky materials would give trouble. 

Below you can see some ways Kobracast has been used to create costume and accessory pieces.

You can also see videos of it in action and how it has been used in the above projects below!


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A post shared by Lenore (@elementalsight)

Pleated and Embossed Pleather Belt with Kobracast

How about some permanent pleats and pleather embossing with Kobracast Art? That’s exactly what Eva from evadoescosplay (TikTok, Twitter) did in this sponsored build creating the belt for her Red Mage, and the results are fantastic! She outlined just how she accomplished the effects in this video tutorial – take a look for yourself! 

Scarlet Witch from WandaVision – With Kobracast


Wanda’s final look from WandaVision is amazing, but also has some very specific techniques the creators used to design the look of fabric and armor without stitching. We’ve seen a few cosplayers use Kobracast Art as a way of stabilizing and fusing fabric to a foam or corset base, and the results speak for themselves. Take a look at this phenomenal build by Carmenvalentina – and she shared how she did it in this fantastic video, so you can follow along for your own build!


KobraCast Art for Lightweight Collars

If you have a character with a large collar it can be difficult to really execute from design to reality without relying on heavy materials that require you to be careful with handling – buckram is great but doesn’t handle sweat well and can’t be allowed to get wet, interfacing slowly breaks down and shows creasing, and wire can add a lot of weight, snap, or rust through fabric, and Fosshape can be too thick when a thin, sharp look is required.

KobraCast Art is an excellent alternative when those elements are a concern. It can be laminated to your fabrics, sewn through, is waterproof, and has memory that allows it to be handled far more roughly than most stabilizers and simply snaps back into place. If under extreme pressure it creases, you can simply iron or heat it back into shape.  We used it to make this extreme raised collar as an example of what you can create: your next witch, wizard, or Sakizou design just got easier! 

(Oh and did we mention light weight? The whole collar pictured below weighs 123g or 4.3 ounces.)

Here’s how we did it – and how you can too!

Step One: Patterning
Figure out your pattern with paper first. This collar was just eyeballed and drafted into the dress form, then cleaned up to make sure it was symmetrical. 

Step 2: Fabric

Note: For this build we created a sort of slip cover for the KobraCast, so there would be a seam along the outside edge, instead of simply laminating the fabrics to each side and cutting the shape out. The pros of this process are that you have a completely closed, clean edge on the outside of your build. The cons are that your stitching/cutting need to be very exact, or there will be areas your fabric extends past your KobraCast, your closed edge can be visually thicker than you’d like depending on your fabric, and stretch fabrics (like we used here) might stretch as you heart and laminate the fabrics later.
(In short, you can do it this way, but if I make a collar like this for myself I’d just laminate the fabrics to the KobraCast and cut them out together, and hide the edge with trim)

Cut out your fabric using your pattern. We used some leftover spandex scraps – red for one side, black for the other. Stitch them together along the outside edge and turn inside out.

Step Three: KobraCast

Cut your KobraCast out using your paper pattern, then slip it inside. Make sure you have the edges matched as close as possible and if necessary, clip in place, then iron both sides flat. The Kobracast will fuse to your fabric, so be careful of stretching the fabric as you iron (you can see I didn’t pay attention and have some excess fabric on the right side of the third image)

Step Four: Shaping

To shape this collar, I pinned the neckline into place onto my dress form and then heated each area I wanted to work on one at a time. KobraCast is very soft when heated, so hand shaping big, flat areas can be tricky, especially because KobraCast has stretch along one side, so you can warp a piece if you aren’t careful. I rolled some craft foam into a cone, placed it between my dress form and the collar, heated the collar with my heat gun (being careful not to burn the fabric!) and then taped the collar in place while it cooled.

Step Five: Decorate

I covered half the collar to show how things might look with additional details – and to show that said details can be sewn on. The overlap fabric is sewn, as is the trim around the outside edge, and the lace appliques are glued down. You can sew the collar into your costume or create a removeable system – snaps, Velcro, magnets, hooks – whatever works best for you and your design. This makes transportation and storage a LOT easier, as you don’t have to worry about the collar getting damaged when in a suitcase or hanging from a hanger.

Here’s a video of how simple it is to move, pack, or store the collar. Now go and make your own outsized collar – and share it with us!



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Working with Cardboard Instead of Foam – Sword Build

We teamed up with Gillian of All Tomorrow’s Patterns (GillianConahan on IG) for a tutorial on building a sword with her preferred stabilizer – cardboard or cardstock instead of foam! This allows a lighter, sharper finish, which can be excellent for bladed weapons and large builds! 



– Thin cardboard or book board (about 1.2mm thickness, solid all the way through and smooth on both sides)
– carbon kite rod or other thin, rigid support core
– Worbla’s Kobracast Art for internal support on the blade
– Worbla’s Black Art for the hilt and detailing
– twine to wrap the hilt for bulk
– light-bodied acrylic gesso or your preferred primer
– light-bodied acrylic paints in your preferred metallic shades plus black
– glass cabochons for gems
– leather scrap and heavy linen thread for hilt wrap, plus a scrap of felt for padding.

I like to use cardboard as a base for sword props, especially the blade portion, because it’s lightweight, can be cut with just a craft knife, and it creates flat, smooth surfaces and edges with relatively little effort. You can also crease it to create added structure and rigidity, which I used to my advantage for this large unusually-shaped blade. The cardboard is solid all the way through, smooth and uncoated on both sides and about 1.2–1.5mm thick. I got a large sheet from an art store, but also stole the cardboard off the backs of several notebooks to cut smaller pieces. (I’ve used thinner oak tag for other projects, but found that it wasn’t rigid enough for this wide blade and tended to curl and lose its shape.)

For this build, which is based on the Dawn Court Warlord’s battle gear from volume 5 of Monstress, I started by drawing the pattern out by hand on tracing paper. I find it easiest to work full size for large props, as it gives a more intuitive sense of the proportions.



Transfer the blade design to the cardboard by rubbing a soft pencil on the back of the pattern and using a hard pencil or ball-point stylus to go over the outline from the front. Draw in the crease lines down the center of the blade and around each of the curved edge bevels, then score them with an awl so they bend cleanly. This gives the blade almost enough dimension to hold its shape even before adding the support.

Next, rough cut Worbla’s Kobracast Art to fit each half of the blade. Kobracast has a pronounced texture that can require a lot of finishing if you use it on a surface face, so I like to use it on the inside of the cardboard and use the smoother, sandable paper as the outside. Kobracast is very lightweight and can warp and flutter unpredictably as it heats, so it helps to leave a little extra and trim it off later. It’s also important to heat it evenly all the way across the piece so that the stiff cold areas don’t pull the softened areas out of shape. Weight one end to prevent it from shifting and start heating from the other end, sweeping slowly back and forth across the blade while moving along its length.  The material is very sticky and just needs to be pressed down lightly to adhere it to the cardboard. Once the piece is smoothly covered, trim away the excess and make sure all areas are firmly adhered, reheating and pressing down as necessary. 

The large projection on one side of this blade turned out to need a little extra support, so I cut an additional piece of cardboard that I just stuck to the inside of the Kobracast, making sure to keep it a little way from the edges so there’d still be enough adhesive to hold the two halves of the sword together. This is also a good time to insert the core support for the sword, in this case a 12mm pultruded carbon tube that I ordered from a kite shop and cut to length with a hand saw. Kobracast is very sticky when activated, so usually nothing special is needed to keep the support rod in place. If you have a thin rod or thicker blade and need to pad the support to keep it centered, you can roll up your Kobracast trimmings into sticky ‘snakes’ that will cradle the rod and hold it in place. 

Next, heat both halves of the blade evenly around the edges and carefully match them up, adjusting the creases so they meet perfectly around the edges. If there are points where the curves are a little sharper and the edges don’t want to stay together, you can roll up more Kobracast scraps and insert them between the layers like an adhesive putty.  After everything is well adhered and cool, use a craft knife to smooth the edges and bevel away a little of the cardboard thickness so the edge is thinner and more bladelike – though obviously for safety reasons you don’t want to go TOO sharp. Fine-grit sandpaper also works well for smoothing and getting rid of paper fuzzies. 

I cut out and scored the wedge-shaped detail for the base of the blade in the same way, but beveled the underside of the cardboard before adding the Kobracast to make the join a little smoother. To attach pieces like this, simply heat the edges to activate the adhesive and press in place. (9) Low-relief details like the flame shape on this blade can be cut from cardstock and adhered with a glue stick, but you may wish to test your paper with the primer you’ll be using later as some types will warp and ripple when moistened.

Hilt and Pommel

Next is building up the hilt of the sword, as it’s easier to wrap and smooth before the cross guard is in place. Start by roughly sculpting a stopper on the end of the support rod, using a scrap of Kobracast for the stickiness covered with Worbla’s Black Art for the main shape. To get an easy disc shape, cut a narrow strip of Black Art and wind it around the support rod in a spiral to the desired radius. 

Kite rods are too thin to make a comfortable hilt, so bulk it up with twine to achieve your desired thickness. First, wrap a scrap of Kobracast around the support rod, which helps to secure the twine and prevent it from rotating around the rod. For a more oval-shaped hilt, first cut scraps into strips and lay them along each side to create a wider, flatter profile. (This is a great place to use up your very ugliest scraps – these were from a failed experiment and still have paper shreds stuck in them.) 

Secure the end of the twine and start wrapping, heating as you go so that the first layer is solidly adhered to the hilt, although I try not to heat the bare support rod too long or too directly to avoid any chance of warping it or potentially releasing harmful fumes (depending on the composition of the support material.)  Continue wrapping the twine until the hilt is nearly large enough, then tie off the end and made sure it’s well stuck in the Kobracast.  Measure the circumference and cut a strip of Black Art just large enough to cover it. Some bumpiness is likely depending on the smoothness of your twine wrap, and you can either leave it for an interesting grippy texture or go back in and smooth it by hand with sculpting tools. I planned to finish my hilt with a leather wrap, so I just did a cursory smoothing pass.


Sculpt the pommel by shaping Worbla’s Black Art around the stopper you already built. There’s no real trick to this – I started by rough cutting a stack of scraps for each side of the pommel and squishing them together around the end of the support rod, then progressively smoothed and sharpened the details on one side at a time.  I do almost everything with one basic wooden sculpting tool, which I’ve rubbed with olive oil to prevent it from sticking to the Worbla. To avoid inadvertently squishing parts you’re not actively working on, try to heat only a small area at a time and allow it to cool and firm up before moving on to another area.

When working with a solid mass of Worbla like this, I try to time the heating/cooling cycle depending on what kind of sculpting I need to do. Blending edges and smoothing wrinkles is best done right after heating, when the outermost layer of Worbla is as hot and soft as it’s going to get but the interior is still firm. As the heat distributes through the whole thickness of material, large-scale reshaping becomes possible. Finally, sharp edges and fine details are easiest to achieve as the surface cools and begins to firm up again, when it’s just on the edge of being too hard to work with.


Once the hilt is wrapped, you can start building the crossguard on top of it. For complex designs, you may need to build this up in layers, looking at which components are thicker or overlap other components. In this case, I identified three distinct segments: the cat’s eye shape that holds an inset gem, lower prongs, and upper prongs. Each would be patterned individually and then assembled around the hilt.

I’ve gotten great results from a ‘sandwich’ method using Kobracast on the inside and Black Art on the outside, as the extremely sticky Kobracast is helpful for joining pieces and the Black Art is great for sculpting surface detail. 

Joining up the crossguard can get a little tricky because it needs to wrap around the widest part of the blade and hilt but still meet at the edges of the prongs. Unless you’re an outstanding patternmaker or do a ton of trial and error, you’re likely to have some gaps where the pieces are supposed to meet at the edges. You can compensate for this by adding a rolled-up Kobracast scrap to each side to increase the contact area when the pieces were squished together, then sculpting Black Art scraps across the edges to smooth and refine them.  If you need more material to work with in any particular spot, like I did when sculpting the bevels, you can lay down scraps wherever they’re needed and blend them into the surface with a sculpting tool. 

Gems and Detail Sculpting

My favorite way to do custom gems is with clear glass cabochons, which can be ordered inexpensively in lots of different sizes and shapes. Paint the back of the stone with metallic paints, using a soft brush and several thin coats to get smooth coverage, or place metallic paper in the Worbla setting behind the stone, and the result is a very clear, shiny stone with a surprising amount of depth.  You can also basically ignore them when painting the prop, as any stray smudges of acrylic can be scratched off the glass without damage using your fingernails or a wood or plastic tool.

To create the relief design, roll small pieces of Black Art into snakes and shape them into tapered bevels by hand. For repeated elements like the symmetrical designs in front and back, make sure they’re all the same size by cutting half-inch strips of material from your scraps and measuring off the same length for each element of a set. Keep a copy of the detailing pattern handy so you can check the shapes as you go. 

To set the gem in, first level the area by cutting away overlays and building up layers of Black Art around it as needed. Place your prepared stone and lay doubled strips of Black Art over the edges to hold it in place, then use sculpting tools to shape them into your desired bezel shape. The glass stone retains heat, so it helps the surrounding area to stay soft longer and makes it very easy to sculpt. Once the gem is secured, heat both the surface of the hilt and your additional embellishment pieces and gently press them in place. Finally, go back over the details with a tool to sharpen them up.  Make sure the piece is fully cool and hardened before flipping it over to repeat for the other side of the hilt.

Here you can see the finished sword base, ready to prime and paint.


Primer and painting

As soon as the blade is done, even before you finish sculpting the hilt and crossguard, you can start applying coats of primer to help seal and protect the paper surface. I like using acrylic gesso for the exposed cardboard blade, because it’s relatively dry for a brush-on water-based sealer and it dries to a semi-flexible sandable finish. Although the gesso needs multiple coats with up to a day to cure before sanding, this is an easy step to do on a weeknight when you might not have the time or energy for sculpting. If you’re impatient like I am, you may want to also work on other parts of the costume so you’re not tempted to rush the dry time. Black Art tends to acquire a very smooth, hard surface after sculpting, so you may need to sand it lightly to help the primer adhere. Apply several thin coats, being careful to avoid drips as they can cause the primer to chip or peel when sanded. 

Make sure to use breathing protection when sanding. I use a fine grit sandpaper and sand until the surface has a smooth, papery texture, as more than that is probably overkill for brush painting. If airbrushing or using another spray finish you may wish to go smoother. The water-based primer does not respond especially well to wet sanding, but you can use a slightly damp cloth to wipe away any dust once you’re finished.
Follow with a base coat of acrylic – black works well for most metallics, or you can try red for warm golds. I paint with light-bodied flexible acrylics to minimize brush strokes and cracking.  I often find gold and bronze metallic acrylics to be too warm-toned for my taste, but I’ve noticed that metallics tend to get muddier and less saturated when mixed so I dull the too-brassy golds down by mixing with silver or black metallics.
In addition to the main colors for the hilt and blade, select or mix at least one highlight and shadow color for each. Put down your base layer of mid-tone metallic, then look at where the shadows and highlights fall naturally on the surface and follow those lines to exaggerate the effect. For example, the weight balance of this blade means that it naturally orients itself in a particular direction when held, so the same side always faces down. This allowed me to paint the lower face of the blade a darker color to emphasize the shadow, and be confident that it will look natural in most lighting. Finish off by dry-brushing black into the corners and crevices, where grime and patina would naturally accumulate and not be removed by polishing. You can also add more highlights to corners and edges that would be likely to be rubbed smooth by wear. 

Leather Wrap

To finish off the hilt, you can sculpt and paint like the rest of the sword, wrap the handle with strips of fabric or decoratively patterned cord, or make a stitched wrap with leather or fabric. For a leather wrap, cut a piece of leather to fit around the hilt, with enough extra around the edges to tuck them to the inside for a neat finish. Fold in the edges and hand or machine stitch, then glue a piece of felt to the inside to smooth and pad the grip.  Spread glue on the inside of the wrap to hold it in place while you stitch it closed, then stitch the two sides together around the hilt, positioning the seam on the downward side of the handle to keep it unobtrusive.  You can also embellish the wrap however you like before stitching – details like cording, studs, or embroidery are all great options for adding texture and grip.


There you have it! A lightweight sword with a core of cardboard, some Kobracast Art, and details made from Worbla’s Black Art.


Thanks again to Gillian, Gillian Conahan on IG,  All Tomorrow’s Patterns, for partnering with us on this build! 

Yojimbo FFX – a Cosplay Build (Part 1-5)

The fantastic ThermoCosplay used Worbla’s Kobracast Art for her amazing Yojimbo costume, and shared a complete breakdown with us on her process from armor to sewing to painting and details! It’s such a hugs writeup we broke it down into two parts!

This page covers

1: Pauldrons
2: Sword
3: Breast Plate and Shirt
4: Hat
5: Painting

Parts 6-10 can be found here.

Take a look at how she created her fantastic cosplay below!

I have always enjoyed Final Fantasy X. The characters, the story, the ART…it is all so inspiring. When Sunset Dragon Designs released a female drawing for Yojimbo I HAD to create it. I knew I wanted to make some modifications so I used Sunset Dragon’s Art AND some Concept Art from Square Product Development.

I started this build in October of 2018 and finished (or THOUGHT I finished it) in March of 2019. I made A LOT of modifications to it between March 2019 and May 2019 (I will discuss why). There are still some changes I want to make (wearing this for 10 hours taught me some things) but it is an overall success in my book.

Estimated Cost for making this outfit = $400

Final Budget = $400

So enough about me, let’s get to it!


Here are some things you will need to make this costume…


  • Fabric Scissors
  • Cutting Shears / STRONG Scissors (for everything else)
  • Exacto Knife and blades
  • Utility Knife and Blades OR Sharpener
  • Sewing Machine
  • Seam Ripper
  • Cutting Mat OR Safe Cutting Surface
  • Paint Brushes
  • Respirator (graded for particulates and paint)
  • Goggles
  • Gloves (I like Mechanic’s Gloves with neoprene coating)
  • Well Ventilated Area
  • Sewing Pins OR Clips
  • Hand sewing needle(s)
  • Painter’s Tape (for masking and patterns)
  • Saran Wrap (for patterns)
  • Markers, Pens, etc. Some sort of drawing implement
  • Dremel or rotary tool
  • Sand paper (low grit) OR Sanding stone
  • A Heat Gun
  • A Hot Glue Gun
  • A Ruler and/or Yard Stick


  • Fabric (I used nearly 15 yards of fabric for this costume)
  • Contact Cement
  • Gorilla Glue Super Glue Gel (quick set in 10 seconds)
  • Gorilla Glue High Temp Hot Glue Sticks
  • Wood Glue
  • KwikSeal (yes, the plumbing sealant)
  • Plasti Dip
  • Spray Paint
  • Acrylic Paints (mid to high grade)
  • Paint Brushes
  • 2 MM, 4 MM and 6 MM EVA Foam
  • 1 2×4 of MDF or Balsa Wood (or an equivalent)
  • Sintra (3 mm)
  • Worbla’s KobraCast Art
  • A cheap plastic circle serving tray (for the hat)
  • Hair Clips (6 or more)
  • 2 6 packs of Neodymium Magnets
  • Double Sided Velcro
  • Iron On Gold Vinyl
  • Tulip Aerosol Fabric Paint (Gold Glitter, Gold, Red, Purple)
  • Americana Fabric Paint Textile Medium (so you can make your own fabric paint)
  • A pair of opaque blue tights
  • A pair of red platform sandals
  • Foam Clay
  • Black Flat Nylon Belt Webbing (at least 1/2 a yard)
  • Wide Gold Vinyl Trim (3-6 yards)
  • Red Bias Tape (2 Double Fold Wide Packages)
  • Narrow Gold Vinyl Trim (1-3 yards)
  • 1 yard of purple ribbon
  • A wavy green lace front wig
  • Etc.

Additional materials may appear in each section as I review the methods for creating this outfit.

Step 1: Pauldrons

For those visual learners in the crowd I have included a video that summarizes this process above. Below you will find the written version…


  • EVA Foam (2 mm and 6 mm)
  • Worbla’s KobraCast Art (sponsored by CosplaySupplies)
  • Foam-Mo Foam Clay
  • KwikSeal
  • Wood Glue
  • Plasti-Dip
  • Cutting Shears
  • Ruler
  • Respirator
  • Heat Gun
  • Marker
  • Paints (we’ll chat about that in section 5)

I start by cutting out strips of EVA foam so I can build up the shape of the pauldrons. Yojimbo’s pauldrons have a mix of soft and hard surface modeling so I had to find a method of balancing that by layering my strips in angles. I laid out the strip design in foam first (using painter’s tape as a stabilizer). Once I had the shape I wanted I took one strip of foam at a time, wrapped it in Worbla’s KobraCast Art (using a heat gun on a low setting to heat the material so it was malleable) then held it in the curve I wanted until it cooled.

Worbla’s KobraCast Art adheres to itself so, when warm, you can stick parts to one another. This made assembling the pauldrons a lot faster and easier than expected. I will warn that this thermoplastic has a MUCH LOWER heat activation than typical Worbla’s Original Art. Be sure to test a few bits out. Thankfully it is just as reusable as the Original Art so if you mess up, just heat the piece up, roll it out, flatten it and let it cool.

To fill in gaps/holes I used Foam-Mo Air Dry Foam Clay. It will be a bit squishy after it dries but it is much faster then trying to use Bondo, Wood Filler or Caulking.

Once I had both pauldrons assembled wanted to smooth out the surface. Worbla’s KobraCast Art, when stretched, creates this mesh texture. It also stretches REALLY far so there were a few bumps where I had knicked it or accidentally stuck it to something and stretched it out. To solve this problem I watered down KwikSeal in a paint palette then painted on a thin coat of the silicone sealant. I allowed this product to dry for 12 hours before applying two thin coats of wood glue. Allow your wood glue to dry overnight (8 hours) before proceeding with Plasti-Dip.

You DO NOT have to Plasti-Dip. I like doing this as it creates a clean painting surface for me. It also helps me add shadows.

And that’s it. We’ll discuss painting the pauldrons in Section 5 but I will say I used one coat of Metallic Gold Spray Paint and a WHOLE LOT of Metallic Gold Acrylic, Black and Red Paints.

Step 2: Sword


  • Dremel or Rotary Tool
  • Sand Paper or Sanding Stone
  • Marker or Drawing Implement
  • Ruler or Yard Stick
  • 4 MM and 6 MM EVA Foam
  • Foam-Mo Foam Clay
  • Contact Cement
  • Worbla’s KobraCast Art (sold by www.cosplaysupplies.com)
  • 2x2x4 made of lightweight wood or other composite material
  • Masking Tape
  • Heat Gun
  • Wood Glue
  • Plasti Dip
  • Acrylic Paints (discussed in section 5)
  • 2 or 3 mm Sintra
  • Respirator / Goggles / Gloves

For starters, I measured my height from below my chin to my feet. This gave me the proper length of the sword (since Yojimbo’s sword is about as high as his chin). Next I cut out 1 piece of sintra that matched the height and width of my 2x2x4 piece of composite wood. I used the Sintra to add more height to the top portion of the wood composite (double or triple your Sintra for strength). The Sintra is secured to the wood with Contact Cement (I used two long pieces to overlap with the Sintra Handle and Composite Wood Blade for stability).

Now that I had the length correct I created a flat oval disc from foam and cut a slit into. This slid up to where I wanted my handle and sword to join. This would be where I created the guard on the sword. Once I was certain all adhesives were cured, I drew a curve onto the bottom of the sword for the blade and used a dremel to sand down the sides (NOTE: check with your local events to determine how “sharp” an edge may be). My edges were created to look dulled so they are considered con safe in my state. To remove the excess wood composite at the bottom, I used a cutting bit on my dremel (see this in the attached video).

Next I used a sanding stone to smooth out all rough edges and add a bit more definition to the handle. Please wear safety gear (respirator, gloves and goggles) when sanding, cutting and using power tools.

For the guard I used Foam-Mo and built up the shape. Next I use Painter’s Tape to create a pattern which I transferred onto 4 MM foam. Finally, I wrapped the foam around the Foam-Mo and secured it with contact cement.

For the detail on the handle I followed these steps…

  • Wrap the handle in 4 mm foam (for padding)
  • Cut a BUNCH of scallops or half circles out from Worbla’s KobrCast Art the match the width of the handle and are about 2-3 inches high at the arch.
  • Use a heat gun to warm up a scallop/half circle and stretch it around the handle
  • Repeat this step in a series of staggered patterns until you have the entire handle wrapped in Worbla’s KobraCast Art
  • Apply the pommel design with foam or Worbla’s KobraCast Art
  • When all items are created on the sword apply one thin coat of wood glue to the entire prop. Allow it to dry 3-4 hours before applying 1-2 coats of Plasti-Dip. Then you can paint the sword with acrylics, spray paint or airbrush paints.

Step 3: Breast Plate and Shirt



  • Worbla’s KobraCast Art (sponsored by CosplaySupplies)
  • Painter’s Tape
  • Saran Wrap
  • Breast Form and/or Mannequin and/or Yourself
  • Marker or Drawing Implement
  • 4 Way Stretch Gold Spandex
  • Sewing Machine & Hot Glue Gun (high temp)
  • Gorilla Glue Hot Glue
  • Acrylic Paints
  • Fabric Paint Textile Medium


This was A LOT of fun to make. To get the shape correct you MUST have something with breasts on it (or a chest for the male persuasion). I am not overly busty and the female version of Yojimbo is VERY busty. So to pull this off I purchased a Breast Plate from BoobsForBoys on Etsy. The Breast Plate is made for men so I had to pull out a little bit of expanding foam from the back (this allowed my own breasts to sit behind the plate without warping its shape). I attached the breast plate to a sports bra for comfort and used makeup to have it match my skin tone.

You can avoid this complication if you ARE busty OR if you don’t plan on making large breast armor. Using Saran Wrap and Painter’s tape, you can create your own shape. I placed my breast plate on my dress form then wrapped it gently in Saran Wrap. Next, I tore off strips of Painter’s Tape and slowly applied it in layers on the breast plate until both breasts were fully covered. If you have done this correctly the breast shape should still exist (DO NOT wrap the tape around as it compresses breast/skin and will shrink your measurements).

I drew on my Breast plate pattern with a marker then carefully cut out the back side of the saran wrap so I could gently pull off the full pattern without losing its shape. Next I cut out the pattern, transferred it to Worbla’s KobraCast Art, cut the pattern out on the thermoplastic and FINALLY taped it to my breast plate for adjustment.

Once I was happy with the shape I pinned the thermoplastic to the back side of some 4 way stretch gold fabric and sewed along the outside of the Worbla’s KobraCast Art (do NOT sew on the thermoplastic). Once you have a thread barrier created, cut off the excess spandex. Next, get your hot glue gun and carefully wrap the spandex around the edge of the thermoplastic (gluing as you go). Since Worbla’s KobraCast Art IS heat activated you may have some warping occur. DON’T WORRY, this will cool and be hidden under the spandex.

When I finished covering my Worbla’s KobraCast Art in spandex I let it cool as I quickly sewed a tank top. If you don’t know how to do this, just use any old tank top, lay it out on your fabric of choice, and trace the pattern. Stretch stitch the sides and you’re done! OR you can buy a tank top and not be all extra like me (seriously, buying a tank top is absolutely ok).

With my tank top ready I pinned the breast plate to it then added stitches along the underside. Finally, I used MORE Gorilla Glue Hot Glue to secure it to the shirt. Now that it was secure I was able to cut away the center of the shirt to create a boob window (the armor acts as a stabilizer).

The final steps are as follows…


  • Grab your Fabric Textile Paint Medium
  • Grab your acrylic paints
  • Mix your acrylic paint 1:1 with the medium
  • Congrats! You just made fabric paint!
  • Now paint your booby armor!
  • Allow it to dry for 24-48 hours
  • Heat seal it with a heat gun (6-12 inches away)
  • You’re done!


The textile paint medium allows you to turn acrylic paint into fabric paint. This means your clothing is MACHINE WASHABLE. Now, I would suggest avoiding washing thermoplastic but if you must please wash on cold and air dry. You can also clean cosplays that are delicate with a mixture of 1 part Vodka, 1 part Water and 1 part fabric softener. This disinfects and freshens your cosplay.

Step 4: Hat



  • Dollar store serving tray (oval or circle)
  • 2 MM and 4 MM EVA Foam
  • Cutting Shears or Utility Knife
  • Gorilla Glue Super Glue Gel
  • Hot Glue Gun (high temp)
  • Gorilla Glue Hot Glue
  • Marker or Drawing Implement
  • Painter’s Tape
  • Hair Clips
  • Bun Clip
  • Rare Earth Magnets
  • Metal Washer
  • Plasti-Dip
  • Acrylic Paints
  • Heat Gun
  • Respirator
  • Wig
  • Rubberban with plastic case


This is actually VERY simple to create. So here we go…

  1. Take your dinner plate and trim off any excess material so the oval/circle only has a very small “brim”
  2. Wrap your plate in 2 MM EVA foam (use a heat gun to help mold it and wear safety equipment)
  3. Cut out 2 circles (4 inch diameter and 2 inch diameter)
  4. Cut out a BUNCH of strips (how many depends on you – mine were 2 inches wide by 12 inches long and I had 12 of them) in 4 MM foam
  5. Place the 4 inch diameter circle in the center and glue it down with super glue gel OR hot glue
  6. Place the strips around the circle evenly (I used painter’s tape to figure out the placement of mine before gluing them down)
  7. Glue down your strips (make sure they wrap over the brim so you can see them on top and in front)
  8. Place the 2 inch diameter circle on top of the center circle
  9. Cut out 12 1.5 diameter circles (I used a sewing thread bobbin)
  10. Glue your small circles onto the front brim of each strip (one per strip)
  11. Use your Heat Gun to Seal the foam

Wig / Clips / Securement


  • Take your wig and give it a high bun (I used a bun clip to create this)
  • Add your hair clip to the bun and glue on 2 rare earth magnets to the clip
  • Take your metal washer and glue OR sew it onto the front of your wig (right at the hair line)
  • Place the hat on top of the head at an angle and use a marker to mark where you need to glue magnets onto the hat
  • Use the marks and glue 2 magnets to each section.


That’s it! Next is painting. Be sure to do the following…


  • Cover your magnets in painter’s tape
  • Plasti-Dip the hat so your paint has a smooth surface to paint on
  • Use Spray Paint and/or acrylic paint to create your design
  • Version #1 of my hat only had red and gold paint. I added purple and blues to it later which punched up the color and effect.


Step 5: Painting

The video pretty much covers it all but here are the supplies and steps just in case you don’t have time to watch :)



  • Acrylic Paints (in a variety of colors)
  • Plasti-Dip
  • Wood Glue
  • KwikSeal
  • Paint Brushes
  • Respirator
  • Goggles
  • Gloves
  • Paint Palette
  • Water Cup


Painting Pauldrons


  • Seal with one coat of wood glue (use paint brush)
  • Seal with one THIN coat of KwikSeal (wear respirator and gloves, use paint brush)
  • Seal with one more coat of wood glue
  • Apply one coat of Black Plasti-Dip (wear respirator and goggles)
  • Paint gold using Metallic Folk Art
  • Shade with reds, coppers and black (dry brush method)
  • Seal with High Gloss Mod Podge OR Plasti-Dip


NOTE: In hot climates the Plasti-Dip Glossifier FAILS spectacularly. Use Mod Podge if your average temperature is over 80 degrees Fahrenheit

Painting Sword


  • Apply 1-2 coats of wood glue
  • Apply 1-2 coats of black Plasti-Dip
  • Paint using Acrylics and/or spray paint
  • Seal with Mod Podge High Gloss Spray Sealant


Painting Hat


  • Apply 1-2 coats of Plasti-Dip
  • Paint using acrylics and/or spray paint
  • Seal with Matte Mod Podge Spray Sealant


Fabric Painting


  • Mix acrylic paint 1 part to 1 part with Fabric Textile Paint Medium
  • Paint Fabric
  • Allow fabric to dry for 24-48 hours
  • Heat seal with Heat Gun (6-12 inches away – quick once over)


NOTE: 3/4 of the way through the video is a recording breaking down HOW I painted the pauldrons.

Find part 2 here!

Yojimbo FFX – a Cosplay Build (Part 6-10)

The fantastic ThermoCosplay used Worbla’s Kobracast Art for her amazing Yojimbo costume, and shared a complete breakdown with us on her process from armor to sewing to painting and details! It’s such a hugs writeup we broke it down into two parts! You can find part 1 here.

This page covers
6: Capelet
7: Skirts
8: Belt and Bandages
9: Armor Attachment and Getting Dressed
10: Testing Fit and Appearance and Final Thoughts

Step 6: Capelet


  • 1 yard of stretch polyester in purple
  • 1.5 yards of ombre 4 way stretch YaYa Han Fabric in orange
  • .25 yards of gold vinyl trim
  • 1 gold snap
  • Gold or Yellow bias tape
  • Tulip Aerosol Fabric Paint
  • Sewing Machine
  • Thread
  • Gorilla Glue Hot Glue & Glue Gun
  • For the capelet I wanted some structure underneath for support. I created a purple bolero. I used an old button up shirt as my pattern but you can follow THIS TUTORIAL for more on how to sew a bolero. You could also just buy a purple shirt and cut/alter it to become a bolero following THIS METHOD.

    For the capelet itself I folded a 1.5 yard of fabric length wise and sewed down the middle. Then I folded it width wise and sewed the edges together (be sure the fabric is inside out). I left a small opening so I could flip it so the outside ombre was visible and I sewed up the little hole.

    Next I sewed and glue the capelet to the bolero collar area, leaving some room for the gold design work that I created from scraps of vinyl trim.

    After wearing this once (and getting professional photographs) I DID NOT like how vibrant the color was. I mean, Yojimbo is ANCIENT and he lives in a CAVE. So, I laid the capelet on a tarp outside and proceeded to spray horizontal lines across in different colors. I started with a light, glittering gold then moved on to a deep red, next was a deep purple and finally I used the gold again to blend the lines and edges.

    The paint needed 12 hours to dry but once it settled NO GLITTER ESCAPED. That was AMAZING because glitter is scary to work with. Finally, I added bias tape to the collar and installed a snap at the hollow of my neck seam so I could easily remove the garment.

    Step 7: Skirts


  • 4.5 yards of deep purplish navy bridal satin
  • 4.5 yards of red stretch knit polyester (heavy weight)
  • 1 yard of metallic burgundy
  • 3 packages of red bias tape (double fold wide)
  • 2 yards of gold performance fabric
  • 1 package of blue bias tape (double fold wide)
  • 3 yards of gold vinyl trim
  • 1 yard of purple polyester
  • Sewing Machine
  • Fabric Clips and/or Pins
  • Double Sided Velcro (Sew on)
  • Fabric Chalk
  • Measuring Tape
  • Sewing needles
  • Fabric Scissors
  • Ok, this looks SUPER intimidating but it wasn’t THAT hard. It’s just A LOT of measuring and A LOT of clipping/pinning.

    Outer Skirt
    1. Go to THIS SITE and calculate a circle skirt. The over skirt is a FULL LENGTH circle skirt. That means you MUST get fabric that is 60″ or wider or you won’t have the proper length. If you can’t find wider fabric then be prepared to add fabric to the bottom (which you have to do with this design anyways as the bottom is red).
    2. You will need to create a Maxi length circle skirt in both the purple satin and red stretch (red is the lining and trim/bottom while purple is the outside).
    3. Clip the waist of both together so the red is inside and the purple outside. Cut a line down the front center then pin your skirt to your dress form OR yourself (be careful).
    4. Create pleats at the back so the front opening widens.
    5. Take off the skirt and create the bottom trim (Mine is 4 inches tall)
    6. Clip/pin the trim to the bottom and sew (DO NOT SEW THE WAIST YET)
    7. Once you have the bottom and front side sewn, flip the fabric inside out so your seams are hidden.
    8. Sew the waist by folding the fabric in and using a straight stitch at the top (this also sews your pleats in)

    Inner Skirt
    1. Create a 1/2 circle skirt using the metallic burgundy fabric and the purple polyester
    2. Sew the bottom and edges together (leaving the front and waist open)
    3. Sew bias tape everywhere except the waist (red bias)

    Waist Belt
    1. Using the remaining metallic burgundy fabric, create a waist band 4 inches tall by whatever your waist length is + 3″.
    2. Pin/Clip the inner skirt to the waist band and sew it on (do not start at the edge, you need 1.5″ on either side available in the front)
    3. Pin/Clip the Outer skirt to the waist band and sew it on (ditto)
    4. Where the excess 1.5″ on either side is sew on velcro. (under side for one flap and outer side for other flap)
    5. Try on your skirt using velcro to keep it on

    1. Measure your hips and draw a straight line on the fabric that matches that measurement
    2. Make sure the skirt is as long as the over skirt (to your feet)
    3. Cut out long rectangle
    4. Hem bottom
    5. Apply blue bias to front sides
    6. Use velcro to create wrap around skirt style (should be big enough if you matched your hip measurements)

    Final Details
    1. Add gold Trim to outer skirt front edges using gold vinyl
    2. Add small details using gold vinyl to inner skirt
    3. Spray fabric with metallic gold tulip glitter spray

    Step 8: Belt and Bandages


  • Fabric Scissors
  • Tailor’s Chalk
  • Measuring Tape
  • 1 yard of 4 way stretch nude spandex
  • .5 yards of polycotton blend in red
  • Iron On Gold Vinyl
  • Red Bias Tape (single fold)
  • Markers
  • Paint Brushes / Sponges
  • Fabric Paint Textile Medium
  • Acrylic Paints (brown and black)
  • Interfacing (mid weight)
  • Velcro
  • Bias Tape Red (double fold wide)
  • Paint Palette
  • Plain Scissors or Exacto Blade
  • Bandages / Waist

    For the waist “bandages” I took a full yard of 4 way stretch nude spandex and made sure the width matched my waist measurement. I folded the fabric in half and sewed along all edges except where the two ends were to meet. I flipped the fabric inside out (so there were no raw edges) and sewed the two opposing sides together. When sewing I pulled the fabric taught so it would create pleating when I slid it onto the dress form. Essentially you are creating a tube with your folded over fabric.

    Since the bandages are meant to look bloodied and old I used the Fabric Paint Textile Medium mixed 1:1 with acrylic paints. I watered down the fabric paint so I could layer the color and “soot” texture on the fabric. Once it was painted I allowed it to dry for 24 hours before machine washing it so it was soft when worn.

    Crotch Cover Thing

    For the front flap thing (I really don’t know what to call this…it’s not really a Sporran although it resembles one) I took .5 a yard of fabric and doubled it up (so I would not have to sew lining, the back WAS the lining). Next I drew a oblong shape and cut it out. I added some fabric interfacing to the top then sewed all sides except the top. I flipped the fabric inside out (so the interfacing was now inside) and used bias tape to seal the top.

    Next I drew the swirly patterns onto some Siserweed iron on vinly in gold and cut them out. I carefully laid the patterns onto the fabric and ironed them on (be sure to use parchment paper on top of the iron on vinyl as direct contact with an iron can melt it). Once ironed on I added details with a purple sharpie and put velcro on the back.

    To attach the “sporran” to the “bandages” I used spare Double Fold Wide Bias Tape in red and wrapped it around my waist twice. At the front I added velcro so everything could secure together

    Step 9: Armor Attachment & Getting Dressed

    Armor Attachment

    This is fairly easy. For the Pauldrons I used Nylon Belt Webbing and attached a 3 inch long strip to either side of the bolero shoulder under the capelet. Then I cut a small slit in the capelet on each shoulder and slid the webbing through. I glued on some velcro to the webbing and also added velcro to the Pauldron. Please see the 30 second video explaining how I did this for visuals or check out the image above.

    Getting Dressed

    This outfit includes the following parts…

    1. Hat
    2. Wig
    3. Hair Accessories (just clip in)
    4. 2 Pauldrons
    5. Bolero with attached capelet
    6. Two Fingerless Yellow Opera Gloves
    7. Tank top with attached Breast Plate
    8. Breast Form
    9. Waist “bandages”
    10. Waist Belt Sporran Thing
    11. Over Skirt with attached inner skirt
    12. Under Skirt
    13. Blue Opaque Tights
    14. Geta
    15. One Sword

    Please watch the video above showing how I attach/wear all of these pieces.

    Step 10: Testing Fit and Appearance

    I met my goal of completing this costume by March of 2019 however; after have professional photos taken of it I realized it was missing that Final Fantasy Grunge. So I made the following modifications between March and May of 2019…

    1. I added MORE shading to the skirts. I even painted the INSIDE of them.
    2. I painted the waist bandages as they were too plain.
    3. I added MORE COLOR to the hat and increased the magnet count for stability.
    4. I created a scabbard for my sword using scrap fabric and foam.
    5. I painted the capelet with a more dingy gradient.
    6. I changed the sealant on the pauldrons to Gloss Mod Podge after the Plasti-Dip Glossifier failed.
    7. I changed my tights to blue from black for more color.
    8. I changed my face makeup (and still plan on adding more detail the next go around).
    9. I re-styled the wig and raised the bun up higher so the hat had a better tilt when I tipped my head down.
    10. I added a waist pouch.

    These improvements made moving around in this costume easier, increased my love for its design and truly met the vision I had in my head.

    Final thoughts? Well…I WANT TO WEAR IT AGAIN.

    It was a TERRIFIC costume. I decided to NEVER WEAR GETA again. They broke while I was competing and I BARELY avoided face planting in front of hundreds of people. I have platform Geta inspired sandals that are MUCH safer that I will stick to.

    I also want to add MORE White and Orange to my face paint. I want to mimic Yojimbo’s mask from the game.

    I also want to meet MORE Final Fantasy cosplayers.

    Honestly…ALL positives. I learned lessons but they were worth. I also cannot stress enough how WONDERFUL COSPLAYSUPPLIES is. Seriously, go give them some love :)

    Feel free to ask questions and happy creating!

    Professional Photos taken by Kincart Photography and Zar Photo.

    Making Lightweight Ears from Kobracast Art – Video

    We sent Worbla’s Kobracast Art to some intrepid cosplayers and they gave us back a series of different ways to use the material for lightweight headgear – specifically ears!

    We’ll be adding more posts through the coming weeks, but first our first is Pokemon Ears by Thermo Cosplay!

    Next is these poseable ears by Kimidori Cosplay, which use wire and Kobracast Art to hold their shape.