Category Layering resin colors

Layering resin colors

Epoxy resin offers a variety of possibilities that is unlike any other material. In conjunction with wood, you are able to achieve a wide range of design possibilities: epoxy resin coated with wood as a protective layer, wood in cast molds, epoxy resin river tablesand much more is possible. We are showing you what is possible with the combination of epoxy resin and wood and giving you specific instructions, ideas, and tips. Epoxy resin or resin is a two-component material which cures within a few hours of the components being mixed together then can be cut, grinded, and polished.

In contrast to polyester and polyurethane resins, resin epoxy shrinks considerably less during curing. All other products could come off of wood in a few hours or days and as a result are not appropriate to use. There are products for different areas of applicationand it is important to choose the correct product here.

Resin reacts differently to UV rays. The resin usually comes in a clear form and tends to turn yellow under the sun and is no longer completely translucent.

In some instances, additives that protect against UV rays can be mixed in to reduce yellowing in the best possible way. After curing the mixture, there is a huge difference. Some products are rather softother products are resistant to scratches and temperature. For everyday objects such as cutting boards, tabletops, and other items that are exposed to high mechanical stress, it is worth buying a higher quality resin.

Tip: Make sure you stick to the specified mixing ratio so the resin cures well. They are characterized by l ess shrinkage, good quality of flow, and good compatibility :. The wood should be prepared before coating with epoxy resin or using for embedding epoxy resin:.

Small fragments can cut your hand. For larger surface areas such as a wooden table, we recommend using an orbital sander to prevent stress marks. Tip: Before pouring, use a bubble level to check if the wooden surface is in the water. Due to flow characteristics, the epoxy resin will only flow in one place and not spread as desired. The two components resin and hardener must be mixed together in a container. It is very important that the entire mixture is combined well over several minutes.

It is the only way to ensure the curing process will work out as planned.

Preparation between layers of glass/epoxy

At the end, it needs to have a uniform fluidity without any streaks. Only then can the color be added. Wear nitril gloves so that your skin does not come into direct contact with the fluid.

The mixing ratio can be found on the packaging.

layering resin colors

In the market, there is three different systems: a ratio, a ratio, and a 4;1 ratio. Epoxy resin is usually sold with the resin and hardener pre-packaged in the exact amounts needed. Plastic or wooden rods are best for mixing. Make sure to stir carefully to minimize air bubbles. Epoxy resin is suitable for sealing wood as well as waterproofing it.

Some examples of this application include sealing a table top, wooden boards in the kitchen, or furniture. Sealing kitchen work surfaces, wooden flooring, or any other application is also possible with it. As you can see, application possibilities are nearly unlimited.Log in or Sign up. Boat Design Net. At what point does epoxy resin in a general sense stop chemically bonding with the next applied layer of glass in a laminate?

I am curious if, after the laminate becomes tack free, there is some surface prep that can be done fairly easily and quickly to continue laminating without having to let it fully cure and start sanding it all over again and relying on a mechanical bond?

layering resin colors

If you can press a fingernail into the tack free goo and leave a dent, you're probably safe to assume a chemical bond with additional no sanding coats.

If you have no dent or need to press fairly hard to get one, you should probably wait until a full cure, sand and go for the mechanical bond.

layering resin colors

There's no specific point, just common sense and experience. This is because of hardener types, environmental differences, thickness of laminate, etc. Once you get a feel for a brand or hardener under certain conditions, you can fairly predict when things will occur working time, pot life, gel time, tack free, etc.

Think of it as the next application going over something soft enough, to be attacked by the subsequent coating chemical bond. If it's too hard, you have to add some "tooth" to it. If it's soft enough, it'll tooth itself on a molecular level. PARJan 6, PAR is right. It all depends on many variables, including properties of your epoxy, and temperature as main variables, at what time you can still overcoat without sanding. The thumbnail trick is a good one.

But also keep in mind that some epoxy can "blush", leaving a greasy substance on the surface, inhibiting any bond at all. So not only press your nails in the surface, but also run your fingers over the surface, and see if that leaves trails. Blushing occurs mostly in a damp environment, hot or cold does not seem to matter.

Another option is the use of peel-ply. Apply this as the last layer, and after peeling off, your surface is prepped for the next step works in all circumstances, whether the epoxy is fully or not fully cured, or has blushed.

HermanJan 6, What kind of resin? They are thousands of formulations. Polyester laminating resin is air inhibited and will stay green for a very long time. He says "At what point does epoxy resin in a general sense " so I guess he made his choice already. For polyester resins, you are right, mostly. If you like to depend on a chemical bond, please steer away from LSE additions in the resin, or DCPD resins, which are more prone to secondary bonding failure then ortho, iso or iso-npg resins.Resin is essential to creating realistic ocean art: it's clarity, consistency and gloss replicate the look of water in a way you simply can't get with any other medium.

Layering various shades of tinted ArtResin creates a feeling of motion and depth: beautiful, deep ocean blues contrast with white wave crests against a sandy shore and ArtResin's irresistibly shiny finish makes you want to dive right in.

Whether you call it ocean art, beach art or a seascape, chances are you've seen this gorgeous look before and wondered how it was done: artist Rebecca Brianceau dropped by the ArtResin studio to demonstrate how easy it is to create your own stunning ocean art, even for a beginner!

Let's get started Gather your tools so that everything is on hand before you start, including your dust cover. Measure equal amounts, by volume, of resin and hardener and mix thoroughly for at least 3 minutes, scraping the bottom and sides of the mixing container as you go.

Divide the resin equally among small plastic cups, allowing one per color. Don't be afraid to mix and match to achieve the colours you wish to use.

Check the transparency by using the mixing stick to pull some of the tinted resin up the side of your cup: if the tint is too translucent, add a little more until you're happy with what you see. After your tinted resin has had a chance to sit and thicken, you're ready to pour.

First, start with the sand color to create the beach. If you're using a round panel, apply the sand to the edge closest to you, spreading the resin out and over the sides with a popsicle stick or a plastic knife. Next, we're going to start building our ocean, starting with the dark turquoise to represent the deepest, darkest part of the water. Apply the dark turquoise to about half of your panels tarting on the far end the side opposite to the sand.

In this case, Rebecca wanted a more saturated color so added more turquoise for a deeper, richer look. Experiment and have fun! Next, pour the light turquoise: this will represent the shallow water closer to shore. Once again, Rebecca adjusted her color, adding a little white to increase the opacity and richness.

Remember, there's no wrong or right - add and adjust until you see the color you're happiest with. Apply the lighter turquoise to the remainder of the canvas. Blend well where the light turquoise meets the dark turquoise to get a nice, even transition between the two colors. This is where the magic happens! Start with a thin strip - you can always add more.

Layering Resin by Little Windows

Add a second or third line of white anywhere else you see fit in your ocean. Now we're ready for the fun part Aim the hairdryer where you want to start, in the white strip between the ocean and the sand. Move the hairdryer back and forth, staying close to the white and pushing it in and out to spread it over the blue resin. If your wave spreads too thin and disappears, you can add a little more white and try again.

Use a toothpick to drag through the white seafoamexaggerating and elongating the wave. Torch the resin to remove any remaining bubbles. If you're using a square panel to create your beach scene, the technique is very much the same. Remember to tape off the edges of your piece with painter's tape if your panel has a lipped edge - the tape will prevent resin splashes on the edges. Apply the dark turquoise in the opposite corner of the square panelechoing the same arc shape as the sand.

Blend well, on the same arc line as the beach, for a seamless and natural looking color gradient. Using the hairdryer, push the white resin layer back and forth creating a lacing effect to mimic sea foam.

Because a square panel presents a more confined space, ensure the hairdryer is kept at the lowest setting to prevent the resin from splashing. Torch the bubbles from your piece, cover and wait.

The next day, once the resin has dried to the touch, remove the tape. Once you've mastered this technique, you can even expand on this method by adding embellishments such as shells, rocks, and sand: whether you're a brand new resin artist or a seasoned professional, creating your own one of a kind, realistic ocean art is a fun and easy project, with gorgeous results. We'd love to hear - let us know in the comments below!Casting resin can be used for a variety for different uses, inks and pigments can create different artistic effects and looks to project.

Creating layered bands in contrasting colors in a mold is both interesting and intricate work. It will take some time or days depending on the depth of each layer of resin. Once the first layer has been poured, you can not pick up or move the mold.

Pick a safe place to leave the mold, as it will take 24 hours to 72 hours to cure depending on which casting system you are using and how many layers you are intending to create.

layering resin colors

The next layer of resin can be poured over the first layer. Coat the item with a resin glue or sealer, and allow the item to dry. Depending on the weight of the item, the resin may need to be partially cured before inserting the item. Pour the remaining resin into the mold and allow the casting to cure. Use a wooden stick to move the item into to place.

Cured resin shrinks during exotherm, leaving a small gap between the resin and mold. This allows the next layer of resin to run down the sides of the other layers in the mold. If this occurs, it would require a lot of arm strength and time, to sand and polish the finished job. This will ruin your project, and could possibly destroy pieces you have placed in the casting. How to Use. August 10, When do I pour the next layer? Epoxy Resin. Richard McLaughlin August 17, How To Use Coating Resin?Of course, the normally transparent resin is also often used in its crystal clear, colourless form, e.

How to color Resin – Tutorial and the best Resin Color

For many projects, however, coloured casting resin is required and here too the material proves its incredible flexibility.

With this article we help you to find the right epoxy resin colour for your project. Many, but not all, of the numerous color media available on the market are suitable for coloring epoxy.

For example, the mixing ratio of the resin changes if the chosen colour contains oil or water. If this is not taken into account, it can happen that the resin has dull spots or even does not harden completely.

In addition, not all colours have sufficient light resistance. However, there are different colour media that are very suitable for mixing with epoxy resin:. With colour pigments, the colouring of casting resin is very easy.

In addition, this variant is very economical, as only a small quantity of high-quality pigments is needed to colour the resin. Often the colour pigments are available in powder form. As these often do not dissolve completely in the resin, exciting, slightly granular effects can be created. On the market you can find some colour media that have been specially developed for working with epoxy resin. These are available in liquid or paste form. Such inks are naturally ideal for colouring resin.

A very productive epoxy paint of highest quality is offered e. Due to the similar composition these two components can be mixed very well. Epoxy resin contains polymers — epoxy paints are usually based on prepolymers. If a color medium is added, the mixing ratio between resin and hardener changes, which can lead to unforeseen problems. Therefore some things should be considered:. As already mentioned, there are paints on the market that have been specially developed for use with epoxy resin.

We have already discussed their advantages and the most well-known product on the market, ResinTint from ArtResin, in more detail above. Airbrush paint is also very well suited for use with resin. With this paint medium, however, you should make sure that the paint concentration contained in the product is sufficiently high.

This is usually the case with higher quality paints. An airbrush color from the Schmincke company is Aero Color, which is very well proven for working with resin. Due to the fact that ink has an extremely high pigmentation and concentration, this colour medium is very productive. Just a few drops are sufficient to colour synthetic resin. This applies both to alcoholic inks and to those based on water as a solvent.

A disadvantage of ink as a colour medium is, however, that it is not particularly light-resistant. Therefore it is rather unsuitable for workpieces that are frequently exposed to UV light. Colour pigments are colour powders that can be produced either naturally or synthetically. Examples of natural, inorganic pigments are soils or minerals.Hello resin crafters!

The options really are endless though, depending on what molds you have, what colors, and what kind of item you need. I could see this working really well for jewelry too!

Use the Mold Release and Conditioning Spray and just spray a thin layer into your mold. Let that dry, then spray a second thin layer. This will ensure your mold is ready to use and that your resin will be removable once it is cured. Put on your latex gloves and protective eyewear and here we go! Pour into a second clean cup and mix thoroughly again.

This ensures that all the resin is completely mixed. I did about five drops of each paint color but this will really depend on the viscosity of your paints. You want to use as little as necessary to get your desired color, so do a few drops and mix, then add more if necessary.

Too much paint will result in the resin not curing properly. Pour the resin slowly and in one spot in the center of your mold. The resin will spread evenly across the bottom. Let the resin settle for a few minutes, then use your micro-butane torch, or exhale over your piece, to remove the bubbles.

Now let this layer cure for at least 24 hours. Cover it with something large so it remains dust free. You will follow the exact same instructions for the second through sixth layers, just changing the colors added as you prefer.

Be sure to wait at least 24 hours between each layer. You will find that the mixing and pouring goes quickly, so while this project takes many days, it is not very time consuming. Here are some images of the resin layers being poured. Remember to pop the bubbles after each layer is poured! For my final layer I decided to make a little more resin so it would be thicker, that is completely personal preference.

I filled my mold completely, you may not want to do so as it does make it slightly more difficult to remove from the mold once cured.

Now that you have the final layer poured, again pop all of the bubbles and let it also cure for at least 24 hours. I did 48 just to be sure the entire piece was completely cured. If you have trouble releasing the piece from the mold at 24 hours, it may mean that it just needs some more curing time.

I got a good image of the bubbles being popped on the middle section of this last layer, so I wanted to add that here. Remove your piece from the mold.

This can be a little difficult with large pieces in a full mold like this, but just take your time pulling the sides away from the resin. Once the air seal is broken it will release pretty easily.They are fairly common in the natural world. What follows are some suggestions that can hopefully open up avenues of creativity and expression for those coming to these pigments for the first time, or even for those already somewhat familiar with them but looking for novel and unique applications.

In terms of how the pigments themselves actually work their magic, an interesting topic in its own right, see the section on Iridescent Mediums in the following Just Paint Newsletter:. Just Paint 2: Iridescent Mediums — Understanding their unique qualities. As with any new technique, some experimentation and playing might be needed when learning how to use iridescent and interference paints, as they do not behave like regular pigments with mixing and in general use.

The initial important and helpful things to know about most of the Interference colors are:. While Iridescent and Interference colors can certainly be used by themselves to create many different effects, the colors and textural effects are multiplied many times over once you start blending in various Mediums, Gelsand acrylic paint colors.

While you can blend them with just about any regular paint color, you will find that lighter valued and more opaque pigments such as oxides and cadmiums, will require a bigger addition of Iridescent color to create the same intensity you could get with a more translucent color family such as Quinacridones or Phthalos. A selection of Iridescent and Interference colors on a white board with a center area of Black Gesso.

Here is the same sample board with a different light angle showing the full interference and iridescent effects. You can see that Iridescent Pearl creates the brightest reflectance. This is because it is reflecting all the visible wavelengths of light, showing a bright white metallic like effect. The Interference colors reflect just a small portion of the wavelengths, showing singular colors at a certain angle, and a complimentary color over white.

Iridescent Pearl is very useful in creating a huge range of iridescent colors simply by blending with any of our regular acrylic paint colors, other than whites or pale gray like colors, which tend to block the iridescent effect. All Iridescent colors will tend to lighten regular paint colors in mixtures, with Iridescent Pearl having the maximum effect in this regard. This can be used as an alternative method of tinting a color, where you also create a very different surface effect.

Mixing with the Interference colors is a bit different. It is possible to create very intense colors that can have an almost Fluorescent like effect but without the fugitive nature of Fluorescent pigments. This is similar with any lighter valued and more opaque color. Traditional color mixing sense tells us that when you combine complimentary or near complimentary colors, they cancel out and make browns and grays. This is true for regular pigments but not so with Interference pigments.

It seems counter-intuitive, but you can have complimentary colors in the same paint film. This does not work if you blend several Interference colors, only one Interference color with a regular color or blend of regular colors. It is hard to imagine until you see it. It is also hard to photograph, as the effects are angle dependent, so I have included several angles of each sample in the photos. The next variable to play with is the ratio of acrylic binder to pigment.

This is done by adding in various acrylic Mediums and Gel Mediums.

DIY Flower Paperweight – Layering Resin Tutorial

A little bit of Iridescent pigment can go a long way, and extending with Mediums is a key part of learning how to get the most out of them. Additions of Mediums will help you modulate the level of iridescence to just where you want it for your particular use, and to assist in beautiful layering effects via more translucency. As more medium is blended in to the more concentrated Iridescent color blend, the translucency and subtlety of the iridescence increases as well.

Matte and Semi-Gloss Mediums and Gels will have a very beautiful, softer iridescent effect, while Gloss Mediums and Gels will be more pronounced and more translucent. More opaque mediums such as our Pumice Gels will yield very interesting results due to the rough surface texture that scatters the light.

While you can use our Iridescent colors right from the tube or container for layering, you will find a wider range of possibilities by using them blended with various Mediums and Gel Mediums which allows for more control over the translucency of the films.


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