artist 3d drawing with resin glue

A number of my paintings are done on surfboards and skateboards, and as a upshot I have learned how to laminate my art work with fine art resin and solve the nigh common issues one deals with when adding a thick, glossy and clear coat of resin to your art. Hither is my how to and lessons learned guide to resin art, organized in 8 sections:

Which art resin should I utilise to coat my fine art?

Will resin work on my back up?

How do I avoid art resin bubbling?

Other fine art resin issues and how practise I deal with them?

Resin fine art tips and tricks

Coloring resin

Resin art examples

Resin fine art resources

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1. Which fine art resin should I use to glaze my fine art?

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The materials available to artists for coating their artworks are:

• Epoxy resins, available as a two-part kit of resin and curing amanuensis or hardener that is usually mixed in a i:1 or 2:ane ratio (4:i or higher ratios for many industrial applications).
• Polyester resins, usually hardened by mixing with a liquid and highly toxic, high volatility catalyst (MEKP). Most polyester resins too utilize Styrene, a chemical that is on the spotter listing of a number of organizations for its potential link to cancer. They tend to be lower forcefulness, more brittle and lower adhesion than Epoxy.
• Acrylic pouring medium, for use on flexible surfaces. They are rubber and piece of cake to use only will result in thiner coats with less transparency than Epoxy.
• Varnishes, which I will non comprehend here every bit they are impractical for thicker applications. I do use acrylic varnishes prior to applying Epoxy resin, as described in this article.

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Among resins, Epoxy is the fabric of pick for artists because it is extremely strong, durable, versatile and available as either clear casting or laminating resin. Epoxy is relatively safe to utilise, every bit long equally contact with the peel and optics is avoided and proper precautions such equally ventilation are taken when manipulating both the resin and hardener. Epoxy resin is available at your local Tap Plastics store or via a online merchants such equally Art Resin, which specializes in UV resistant epoxy for artists.

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A few things are of import to know before using Epoxy resin, as they explicate about of the issues artists can face up when using them:

• Epoxies are thermo-setting plastics –rut is key to proper curing of the resin and hardener mix
• Epoxy resin is combined with a hardener to form a tertiary, solid plastic. The speed of that reaction depends on oestrus, humidity, size of the mix (large batches will cure faster as the reaction generates heat) and the type of hardener used (fast or slow). In general, slow curing equals a stronger cease event. Proper mixing and exact volumes of resin and hardener are required for adequate curing. Most epoxies volition exist solid to the bear upon in 5 to 7 hours, but they require up to 48 hours for a complete cure.
• Epoxy has poor UV resistance, and some can have poor h2o resistance equally well. Additives are required to the hardener to amend UV resistance to a level that is adequate for fine art applications. In nigh cases, you will want to avoid Epoxies for outdoor applications.

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My top three Epoxy resins

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Subsequently many experiments with epoxies, I accept narrowed down my choices to three options:

• Entropy Super Sap BRT and CCR Epoxy -full general purpose laminating (BRT) and casting (CCR) resins that are extremely clear, UV stabilized and with a depression viscosity. Entropy is the most eco friendly epoxy resin equally it contains no petroleum-based materials only rather uses pine oils and bio-fuels. Equally a outcome, Entropy has about half the carbon footprint of petroleum based epoxy resins (4 tons of CO2 per ton of resin, as opposed to 8 tons for most petroleum based resins).
• Ultra-Glo -a very easy to use resin that delivers cracking results extremely consistently. Unfortunately, it is not eco-friendly. Note that Environmental Technology, the company behind Ultra-Glo, also makes a pricier, "industrial" version with greater UV resistance called EX-74. You can find both Ultra-Glo and EX-74 at Tap Plastics stores. They besides sell a lower terminate solution called EnviroTex Lite via arts and crafts stores. All three resins are very similar in terms of handling and I utilise the term "Ultra-Glo" to describe all iii in their application.
• Art Resin -an epoxy resin adult specifically for artists, with focus on ease of apply and UV resistance. The resin is available via their web site, with gratis aircraft. I have tested their new resin and notice it extremely easy to employ and perfect for my uses. Art Resin besides has a great FAQ section on their web site that will tell you everything you need to know to commencement working with Epoxy resins. Art Resin focuses more on clarity and non yellowing resistance than Ultra-Glo -something that is difficult to either evaluate or measure, merely that can brand the difference in the long term. In detail, Art Resin uses hindered amine calorie-free stabilizers (abbreviated equally HALS), agents that slow downward the degradation of the resin when exposed to light. Art Resin is as well distributed in Europe by http://www.easycomposites.co.uk.

Which Epoxy resin to choose?

• If you care about avoiding CO2 and greenhouse gas emissions and reducing your carbon footprint, the Entropy resin is the way to get -unless you are a very occasional user, in which example your CO2 savings, unfortunately, make very piddling divergence when looking at the massive amounts of epoxy resin used in industrial settings.
• If y'all exercise not care about the environmental bear on of your resin use, and so Art Resin is the style to go as it offers a few advantages for coating artworks -mostly it is easier to mix (1:1 ratio of resin to hardener, as opposed to Entropy which has a 2:one ratio) and has slightly better viscosity and a better resistance to surface temperatures (which is key to remove air bubbles with a blow torch). The Entropy resin, however, produces a much lower number of bubbles when mixing resin and hardener than Ultra-Glo or Fine art Resin and is a great resin to work with overall -in my view, it can be worth the (limited) extra work and care.

I recommend sticking with these iii resins. If you are doing this for the commencement time, use Art Resin. If you have some experience using epoxy resins, try out Entropy and see if the bio benefits are worth the additional (slight) complications. Using other resins will lead in many cases to bug with curing times, yellowing, Amine blushing etc. Information technology is simply not worth the risk associated with trying to salve a few $ on the resin. Â

To get started, y'all can order the starter kit from Art resin here. As an culling, I use the one gallon kit as information technology is much more economic.

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ii. Will resin piece of work on my support?

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Epoxy resin will adhere to whatever clean, dry out, rigid and flat support. Metal, wood, stone, concrete, paper or canvas glued on masonite -all volition work.

Yous may have seen paintings on canvas with a thick, articulate coat of resin in fine art galleries. While in well-nigh cases the sail is glued to a masonite backing, ensuring rigidity and allowing for the use of Epoxy resin, you lot may come across the same await achieved on stretched canvass. The edges are clean of any resin, and there are no cracks in the elevation layer despite the relative flexibility of the canvas. How is this done?

In that instance, Epoxy resins are typically not used. Rather, a flexible and UV resistant acrylic top coat is applied. Acrylic is water soluble and tin be sprayed on; if applied with a roller, the edges can be taped and cleaned out of any acrylic before the top glaze dries off, giving you a clean edge after removing the tape. Acrylic coating materials suitable for artwork protection include the Sunset Gloss Glaze by Lexjet and equivalent solutions such as a Liquitex or Gold pouring medium. Those mediums are milky in advent merely will dry clear. Acrylics dry quickly, and yous tin employ multiple coats to achieve the desired thickness. The downside of using acrylic acme coats is that the finish is not as clear or stiff (and thick) every bit when using Epoxy resin. The principal advantages are the easier application, low toxicity, greater flexibility and possible use on less stable or rigid supports. Therefore, while this articles focuses on Epoxy resins, you should explore acrylic mediums if you want to coat relatively flexible materials such equally stretched canvas and paper prints. Â

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3. How practice I avoid art resin bubbles?

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Bubbling are your number i enemy when layering resin -here is how to avert them.

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Why are at that place bubbles in my resin?

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Starting time allow's review why nosotros stop upwards with bubbles in the first example. Resin art bubbles appear for three main reasons:

• From mixing the Epoxy fine art resin with its hardener (air inclusion). Different resins seem to have different propensity to yield bubbling during the mixing process. Ultra-Glo for instance generates many bubbles, much more so than standard Epoxy resin. In my feel, it is nigh unavoidable to introduce air during the mixing of Ultra-Glo. Those bubbles are easy to get rid off however, so exercise not allow the mixing process guide your resin option.
• From the support itself (air and gas release, solvent contamination, support shrinkage or air trapping). The support you use for your artwork tin can generate bubbles throughout the curing process, which can make it extremely difficult to get rid of all the bubbles.
• From some form of contamination of the resin due to the presence of solvents, humidity, etc. Epoxy resin is less humidity sensitive than Urethane resin, and unlike epoxy resins seem to have different reactions to humidity. The gear up is simple though -do not mix and cast resin when the air is boiling and if the room temperature is also low.

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Seal your resin art panel

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The single most important footstep to avoid resin art bubbles is to make sure your back up will not release any air or gases during the resin curing process. A porous support creates bubbles; a sealed ane doesn't.

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If you are using thick wood panels for instance, you lot are almost certain to run across bubbling forming throughout the curing of the epoxy or urethane resin. To avoid them, yous must make sure that:

• Your support is equally dry as possible
• The top surface of the support or panel is completely sealed using an acrylic varnish or equivalent
• The support is flat, with no air trapped between the panel and the artwork

If in doubt, pour a very thin layer of epoxy resin over your support. Let it cure fully, varnish it using an acrylic / archival varnish before gluing your artwork to the panel. Apply your 2d, thicker coat of epoxy art resin the following solar day.

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Benzomatic – The resin artist'south best friend

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The second vital step is to apply oestrus to the surface of the resin every bit information technology cures to go rid of the bubbles that volition emerge. The CO2 released by the blow torch will immediately eliminate the bubbling. It is best to use a small accident torch, one of those typically used in the kitchen, which will give yous more precision and focus the heat on the bubbles (too much heat applied over a broad area during the curing procedure can damage the meridian layer -employ the flame at an angle, and fix your blow torch at its everyman setting while applying heat every bit apace as possible).

I use a portable (pencil) flame torch from Benzomatic which works not bad for both modest areas and first pass at larger areas. When used in combination with an Ultra-Glo cascade and a sealed back up, the flame torch will get rid of all bubbles -guaranteed.

It usually takes most 5 passes and ~20 minutes of conscientious watching to make certain all bubbling are eliminated; the resin itself takes of grade much longer to fully cure. A blow torch volition be more effective than a heat gun since it is the combination of heat and CO2 that eliminates the bubbles nearly effectively. Blowing on the bubbles does work well too -use a hand air squeegee to avoid running out of breadth!

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Bubbles and deep resin casts

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If you lot are doing deep resin casts (annihilation more than than a quarter of an inch in-depth), you will need to degas the resin, using vacuum at the mixing stage (when well-nigh air is entrapped), equally bubbling might not all be rising to the top. Alternatively (but less effectively) you tin use a vibration table after mixing your components to drift bubbles to the meridian; or y'all can degas the pour itself. Using silicon molds volition help reduce bubbling too. You can also achieve deep coats by multiplying the layers of resin, making sure to use the new layer before the previous one is fully cured (<48 hours) to ensure a strong bond. Â

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four. Other art resin issues and how do I deal with them?

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The other principal issues you might accept to deal with are:

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Art resin not curing

If you use the 2 Epoxy resins listed above and followed the basic instructions (including using the correct curing agent), in that location are but two reasons why the resin would not cure:

The room temperature is besides depression: Epoxies require a recommended temperature of 75 to 80 °F for proper curing. Annotation that both Entropy and Ultra-Glo will cure well at lower temperatures over a 24 hour period of fourth dimension -I use them with no issues at temperatures of threescore to seventy °F here in San Francisco. However, viscosity and flow, as well equally curing, is improved at the college temperatures.

You used the wrong mixing ratio of resin to hardener or did not mix the resin well plenty with the hardener-a typical outcome when doing larger batches.

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To avert curing issues, follow those five steps-all the fourth dimension:

• Utilize fresh resin and hardener
• Mix resin and hardener in a clean, dry container; pour it in a second container earlier applying to your artwork
• Mix the proper quantity of resin and hardener
• Mix resin and hardener vigorously and thoroughly
• Cure at the highest room temperature recommended in the resin and hardener specifications (typically 80 °F)

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To fix curing issues:

• If the trouble is widespread, scrap off the resin and showtime all once more
• If y'all are dealing with soft spots, use hardener and heat to the problem areas (indirect estrus)
• If y'all cannot use the above steps, your last two options are:
  • Attempting to cure the slice again in a controlled surroundings offering the advisable temperature and low humidity (your kitchen oven will do fine if the piece is pocket-sized plenty). Notation that near Epoxies volition soften at around 140 °F, which ways that the ideal temperature setting is somewhere between 80 °F and 140 °F, depending on what you are trying to solve (uneven curing or wearisome curing).
  • Re-layering the piece -which is a risky process I would not attempt unless and until everything else fails. At that place is a high risk of eventual delimitation of the new layer considering of the instability of the old one. If you are re-layering, you must do then before the base of operations layer is fully cured, typically within 48 hours of applying the base layer.

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Viscosity bug

You tin can become viscosity bug when applying layers to oily or wet surface, and to surfaces which are not flat. Viscosity issues result in top coats which are bumpy, emulating a golf ball appearance in some cases. The solution is to work with make clean surfaces that are equally flat as possible, and to apply multiple and sparse layers when dealing with slopes. Yous can also sand each layer with extremely fine sandpaper and a polisher to eliminate the worst bumps between layers. Finally, every bit noted above, room temperature influences viscosity.

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Poorly spreading resin

Occurs when using a thin layer of resin on a support that although apartment and smooth has pocket-sized areas that the resin will not adhere to. The problem is that those areas tin can only exist detected one time yous beginning pouring the resin. In most cases, the solution is to utilise more resin; y'all can as well add resin in the problem areas throughout the curing process, so that the new resin is contained to the problem areas past the surrounding and solidifying resin. Some other solution is to apply the resin layer in two steps -first a very thin layer, using a plastic spreader, to brand sure the resin is adhering to the back up. Second, and immediately following the first pace, applying a generous southward amount of resin to the entire surface.

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Blushing

A course of h2o spotting resulting from the condensation and entrapment of moisture during the curing process. It results in dry out spots than will appear to be matte (non glossy) or opaque. Sometimes the problematic spots volition exist milky or slightly white. Blushing tin can exist very hard to fix just yous can normally avoid it by 1) operating with a  dry out support and in a dry environment 2) minimizing the curing time by making sure you are working at the right room temperature or past using accelerators with your resin. If you lot run into blushing during the curing process, you can sometimes minimize it past applying abiding heat and / or immediately applying a new coat of resin, which may soften the bottom layer and release the moisture.

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Blooming (sometimes called leaching)

The migration of h2o soluble chemicals to the surface of the resin. It leaves a waxy residue on acme of the resin coat. If blooming is not too severe, information technology can exist cured by simply using lukewarm h2o to dissolve the waxy residue. Do non apply solvents, and never try to sand off the waxy compound itself or yous volition cease up with a gooey mess.

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Delamination

layers of epoxy can separate from their back up, especially if the original surface is boiling or contaminated. When in uncertainty about the quality of the surface, you can use a spray acrylic varnish prior to layering the resin. Any issues will announced and they are far easier to fix with a very thin layer of varnish on acme than with resin. If y'all are applying a new coat of resin on summit of a previous layer, call up that it is best to apply the new coat within 48 hours as the bond will exist stronger if the base layer is nevertheless curing.

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Yellowing

All Epoxy resins will yellow with age and exposure to UVs. You tin notwithstanding minimize yellowing to a bare minimum past post-obit steps:

• Apply archival, UV resistant varnish to your artwork prior to applying the resin -this will seal and protect the artwork from yellowing, and volition prevent any haemorrhage of the colors and pigments from that art into the resin.
• Utilise clear, loftier quality Epoxy resins and curing agents -artist grade resins such as ArtResin or Ultra-Glo comprise not yellowing agents that minimize the impact of UVs. Note that the non yellowing amanuensis is typically part of the curing agent (or part "B"), which is one more than reason why you lot should ever use the curing agent provided with the resin. One cannot add together separate non yellowing agents to resin, which is why you lot need to first with the highest quality, clear grade resin you lot tin can get.
• You can also apply UV resistant varnish to the cured resin as a top layer. While I do non do this myself (equally I like to keep the mirror like end of the resin), it can provide additional protection especially for pieces that volition be exposed to the sun. Yous can of course reach the same outcome with UV filtering frame glass.
• Minimize exposure to the lord's day -the best protection is of course prevention. As with any other artwork, keeping your piece out of straight sunlight will have the highest affect on non yellowing.

Exercise non let this list of mutual problems discourage you from working with resins -if y'all select the right Epoxies and use the right mixing ratio, the odds are you lot will non encounter whatever of them. Â

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5. Resin art tips and tricks

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How does one avoid those issues in the first place? Here is a checklist to guarantee a successful resin coat for your artwork:

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Practice non improvise

Sse known ingredients in a controlled environment where heat and humidity are known and manageable.

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Follow the instructions

Clean containers and mixing tools

Take the time to gear up your environment: avoid dust, direct sunlight and brand sure yous are working in a well ventilated area. Mix y'all epoxy resin and hardener in a clean saucepan void of any previous resin / hardener. Measure well. Wearable gloves. Protect your work table.

Check and cheque over again the integrity of the support layer: yous art needs to be fix on a rigid support, level, clean, dry out and protected (via an archival acrylic spray varnish that deflects UVs – I use Golden's archival and acrylic matte spray varnish) prior to layering the Epoxy.

Exercise small batches: I have found that trying to glaze more than 5 pieces of fine art at the same time can result in disasters… depending on the room temperature, you volition have between 30 minutes and 2 hours to layer the epoxy, get rid of bubbling and solve whatsoever other result that might come up. Somehow, trying to practise more than than five pieces in that time window invariably pb me to problems.

Advisedly mensurate resin and hardener

Lucifer the type of resin you are using with the curing weather condition of the environment you work in-for instance, exercise not attempt to do casting piece of work if y'all cannot control rut and humidity more than a few hours.

Never use resin or hardener that are at or past their shelf life

Mix larger amounts of resin than you think you will need

Seal your fine art piece earlier applying resin -castor in or spray an archival acrylic varnish; if using fabric or canvas, seal the dorsum every bit well.

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Go along things elementary

Piece of work with hard, rigid surface -not sheet

Work on flat surfaces

Do your outset attempts with slightly "grippy" surfaces: paper, non vinyl

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When in doubtfulness, ever test showtime

With potentially porous or problematic surfaces -examination on a blank earlier committing to the art slice itself

When first using  certain types of resin -test on a blank

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Protect yourselfÂ

Work in a well ventilated space, use masks, gloves and googles.

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Clean edges

To go clean edges along your painting, you can do the post-obit:
1. Tape the bottom edges
ii. Put the painting and so that the bottom edges are not in contact with the tabular array. You tin can use anything (pieces of wood, bottle caps etc.) to raise the painting from the bottom, ensuring information technology stays completely apartment and level but with the bottom edges had an inch above the tabular array.
iii. Cascade so resin, ensuring you pour enough resin and then that it overflows evenly on all edges
4. You will go clean, resin covered edges and drips accumulating on the lesser edges. Let the resin cure.
five. Sand off the drips on the lesser edges. I use a sander, others employ a router to get a very clean cut. You will and so be able to remove completely the tape from the bottom edge.

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6. Coloring resin

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You can mix any form of pigments to the epoxy resin just after having mixed information technology in with the hardener. Pigments come in both opaque and transparent versions for that specific purpose (for instance: http://www.uscomposites.com/pigments.html) but any fine, dry paint (no h2o based pigment -you do not want whatever h2o in the resin) should work. Â

7. Resin fine art examples

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These 2 skateboard decks are shown before and after the addition of two layers of Entropy Super Sap CLR resin which were left to cure at 66 degrees for 24 hours each -very clear, "processed" like top glaze and a not bad result with a carbon footprint reduced by 50% and the employ of recycled skate decks for truly eco friendly fine art!

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These decks were coated with Ultra-Glo: http://www.tripier.com/skateboard-fine art/ This surfboard was painted and so laminated with surfboard epoxies -difficult piece of work and lots of sanding but the ned result is exceptional! Here are a few shots of resin existence applied to three paintings.

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You can likewise apply resin laminates for your own custom furniture:

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8. Resin art resources

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Please leave a comment or employ the comment grade below if you have any questions on resin art processes. Equally you will see, at that place are a significant number of questions and answers already, and they provide additional information not institute in this article. Good luck with your ain experiments and practise not hesitate to utilise the comment form to right this how to guide or permit me know your own techniques, tips and tricks! I will also answer to your questions whenever possible then use the comment form if you are running into issues.

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Source: https://www.tripier.com/how-to-coat-your-art-with-resin/