Planning Your Scene and Gathering Materials
The scene concept drives all material decisions, so define it clearly before buying anything. A forest floor scene requires different materials than an urban rooftop, which differs from a snowy mountain pass. Sketch the intended scene roughly — even a stick-figure sketch that shows where the figure will stand, what surrounds it, and what the background suggests — and identify each element you'll need to create.
Base materials for the diorama foundation: foam board, rigid insulation foam, or thick cardboard for the base layer. Foam is preferred because it's lightweight, easy to cut and carve for terrain shape, and accepts all adhesives and paints. A base size of approximately 15x20cm accommodates a single Labubu figure with generous surrounding scene while remaining shelf-practical. Larger dioramas for multiple figures use 20x30cm or larger bases.
Scenic materials fall into a few categories: ground cover (fine sand, model railway scatter, dried herbs, spices), vegetation (dried moss, miniature artificial plants, static grass), structural elements (small stones, bark pieces, miniature wood), and detail items (miniature furniture, tiny props at 1:12 to 1:6 scale). Model railway supply shops (physical and online) are the best source for scenic materials in small quantities; many of these materials are also available in miniature versions from art supply stores.
Building the Terrain Base
Cut your foam base to size and shape any terrain features by carving with a craft knife. Gentle slopes, rocky outcroppings, and ground-level depressions are all achievable with simple cuts and carving. Sand carved edges lightly to remove blade marks. For dramatic terrain like cliff faces or boulder formations, glue carved foam pieces to the base to build up height — hot glue works well for foam-to-foam bonding.
Seal the foam surface before painting by coating it with a 50/50 mixture of white glue (PVA) and water, brushed on in a thin layer and allowed to dry. This sealer prevents paint from being absorbed unevenly and creates a slightly textured surface that ground cover materials will adhere to. Apply two coats for a more durable base. The sealed foam feels slightly papery when dry — this is correct.
Base coat the entire terrain with dark brown or dark gray acrylic paint, depending on your scene's ground type. Apply the paint with an old brush and work it into all crevices and carved surfaces. This dark base coat prevents any gaps in your scenic coverage from showing through as white foam, which would break the illusion. Allow to dry fully before adding scenic materials.
Adding Ground Cover and Vegetation
Apply ground cover materials while a layer of thinned white glue (PVA diluted 1:1 with water) is still wet on the terrain surface. Sprinkle fine sand, model scatter, or ground-up dried herbs over the wet glue and press gently to embed. Allow to dry completely, then tip the diorama to remove unattached material and seal the remaining cover with a diluted glue wash (1 part PVA to 4 parts water) dripped over the surface. This wash locks all particles in place without disturbing the texture.
Layer different ground cover materials for visual complexity. A forest floor doesn't consist of a single uniform texture — it has patches of fine soil, areas of coarser material, dried leaves, small rocks, and moss clumps. Vary the density and material across the base to create zones of different texture. Model railway fine scatter for open ground, coarser material around rock edges, and preserved moss for shadowed or damp-looking areas creates a convincing naturalistic result.
Add vegetation in layers from background to foreground, largest to smallest. Place any background trees or large plants first, securing them with white glue or hot glue into holes poked in the foam base. Midground vegetation (small plants, mushrooms, flower clumps) comes next. Fine-detail vegetation like individual grass tufts and tiny flowers are placed last, after the ground cover is fully sealed, pressed into place with tweezers.
Painting, Weathering, and Final Assembly
Dry-brushing over the completed terrain creates highlights that make the scene look three-dimensional under light. Load a stiff brush with light tan or cream color, remove most of the paint on paper, and drag across raised ground surfaces to deposit color on high points only. This simulates sunlight catching the tops of terrain features and adds depth that flat base paint doesn't provide. A second dry-brush pass with an even lighter color (near-white) on the highest peaks enhances the effect.
Acrylic washes — heavily thinned dark paint (brown or black) applied over the terrain and allowed to run into recesses — deepen shadows and unify scattered surface materials. Mix one part dark brown acrylic with six to eight parts water, brush liberally over the terrain surface, and allow gravity to pull the wash into low areas. Wipe excess off high surfaces with a paper towel after 30 seconds. The result looks like accumulated organic matter in natural depressions.
Place the figure in its intended position and mark the location lightly before permanently affixing it. Check the scene from photo shooting angles (not just straight on) and adjust the figure position if the framing looks better with it shifted. When satisfied, attach the figure to the base with a small amount of museum putty for a removable bond, or white glue for permanent placement. Any museum putty at the base junction can be blended with matching ground cover material to hide the attachment.