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Not only is resin jewelry fun to make, it can be an inexpensive way to be creative! You can incorporate colors and findings along with molding your resin into exciting shapes. The possibilities are endless!! This article gives basic information on how you can make your own resin jewelry. Before you get started: When it comes to working and pouring resin, you need to know two things before you get started.
Pot time and cure time. Pot time refers to the amount of time you can work with the resin after it is mixed until it starts to cure. Every resin is different; some have only minutes, whereas some may be up to an hour. Don’t mix any more resin that you can comfortably use in the pot time stated. The cure time is the TOTAL amount of time needed for the resin to completely cure. Sometimes resins may state a demold time (period after which you can remove the resin product from its mold), but may have a longer cure time.
This lets you demold a resin project after a period of time to let you use the mold again, but you may need to let it completely cure another couple of days to avoid fingerprints and smudges. Choose an area to work with resin where you can cover the area with wax paper, as the resin won’t stick to wax paper and can be thrown away. Have a clear dome (plastic storage containers work well) to cover your resin pieces while they are curing.
There’s nothing like a little dust or cat hair to ruin your piece! If you’re in a humid climate (like Florida), you may want to consider a dehumidifier or at least having the air conditioning on while you are working the resin and during the cure time. While the outside temperature may not feel too bad, the humidity may be enough to keep your pieces tacky and not fully harden. You will also want to wear gloves to protect your hands.
While the resin may be not be caustic, it can be difficult to get it off your hands with soap and water. If you are planning on casting resin casting with something inside your resin jewelry, you should prepare the embedment before mixing your resin. Completely seal your image or finding with glue (Elmer’s, Mod Podge, Nunn Design glue or Ultra Seal). If you’re piece is solid and non-porous, this step is probably unnecessary, but if it has a lot of holes or cavities, I would suggest dipping it in resin first and allowing to cure.
This will trap air in (or out). If you don’t seal first, trapped air may show up as a bubble in your resin piece later or may show water stains. Allow your embedments to dry for 24 hours before adding them to resin. Mold me! If you’re going to use a mold for your project, you will need to prepare it as well. If it’s a polyethylene deep flex mold, spray it first with Castin’ Craft mold release and conditioner and allow to dry.
This will allow your casting to pop out easily. We also have the Ultra 4 parafilm and Petrolease mold release. If you’re casting silicone resin into silicone resin, you will definitely need the rubber to rubber mold release to keep the silicone from sticking to itself. Mix it up! Whatever resin you use, follow the label directions! You will need to mix a specific amount of the resin with a specific amount of the catalyst or activator.
Don’t go a little more or a little less! I also recommend graduated mixing cups so that you can be exactly sure of the amount you’re pouring. Also, use two separate cups to pour into; one for your resin and the other for catalyst. Don’t pour resin into one cup, and then pour catalyst on top (or vice versa). At least if you over pour one or the other into separate cups, you can return it to its original container without contaminating your entire stock.
Once you have poured your resin and catalyst, you can pour catalyst into resin, if it’s a small amount. If it’s a large amount of resin (2 to 3 ounces or more), pour them both into a third cup. Why? If you don’t get a good mix on the resin (like some is still stuck to the side of the cup), you’re resin won’t cure properly. Stir the resin with a toothpick or a stir stix, (stir stix work especially well if you’re mixing a large volume).
While a few air bubbles are to be expected, do not mix too roughly or you will end up with tons of air bubbles. Stir the cup for a minute or two, making sure you scrape the sides of the cup with your mixing stick. Like this post? You may be interested in Mason jar coasters DIY If you would like to see some resin mixing in action, please be sure to view our youtube video on How to mix resin for jewelry making [embedded content] It’s color time! If you want to add color pigments, now is the time to do it.
If you’re adding liquid colors, add a drop (yes, just ONE) at a time and mix. A little goes a long way. If you’re adding dry pigment colors, liquefy some with a bit of resin first to make a ‘stock solution’. Add a bit of this solution to your larger resin mixture. Want to experiment? Alcohol inks also work well. You can try some paint pigments too, but I would suggest experimenting before making a piece that you want to try to sell or give to someone.
Sometimes the pigments attract moisture which will keep your resin jewelry from curing properly. Ready, Set, Pour! If you want to add something (such as a bead or picture) pour a tiny bit of resin in first, then place your addition in, otherwise, you may end up with an air bubble. Be careful when you pour. If you have mixed a large amount of resin, you may want to pour a little bit into a smaller cup to pour from.
Resin can pour quickly and there’s nothing worse than having a big glob of resin cover you mold and work area. Talk about mess!Know too that your resin will shrink just a smidge when it cures, so you want to fill your resin mold or jewelry finding as close as you want it without over pouring. Bubble, bubble, toil and trouble Even if you are really, really careful with mixing your resin, you will have a few bubbles in your piece.
Many will rise to the surface and pop on their own, but if it’s close to the end of the pot time and they are still there, I recommend ‘going in after them’. Sometimes you can be lucky enough to draw them to the top of your resin with a toothpick. If you can’t scoop them out with the toothpick, you can lightly blow over the bubble with a straw (the carbon dioxide in your breath gets them to pop) or you can go over the top of the resin with a heat gun or hair dryer.
Be careful with a blow gun since the force behind the air may cause your resin to spill over or may even melt your mold. Check a time or two over the next hour to make sure no more bubbles have shown up. If you’re thinking about adding the Resin Obsession toobies, embed them in your project before your first pour. If you are doing two pours and want to add toobies to your project (like in the Steampunk bracelet tutorial), add your toobies while the resin is still tacky.
When finished, cover your resin pourings with the dome I talked about earlier. Finishing your resin pieces After your piece has completely cured, they should pop out of most molds very easily. If not (and you are sure it is dry!), try flipping the mold over and tapping with the butt of a screw driver or a rubber mallet. You can trim excess resin with scissors (if it’s thick), or sand your edges with sandpaper.
Start with a coarser grit sandpaper (400 or 600), then work down to a very fine grit sandpaper (1500 to 2000) to get a super smooth edge. (You can find the very fine grit sandpaper at auto supply stores). A nail file can come in handy to get hard to reach places. If you’re going to do a lot of sanding on your piece, do it underwater so you don’t breathe the dust and so the dust won’t melt back into your piece from the heat produced by the sanding friction.
If you want an extra final gloss to your project, you can coat with a thin layer or carnauba wax, or use the Easy Cast Clear gloss resin sealer spray. Share this:
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Share this: A number of my paintings are done on surfboards and skateboards, and as a consequence I have learned how to laminate my art work with art resin and solve the most common issues one deals with when adding a thick, glossy and clear coat of resin to your art. Here is my how to and lessons learned guide to resin art, organized in eight sections: Which art resin should I use to coat my art? Will resin work on my support? How do I avoid art resin bubbles? Other art resin issues and how do I deal with them? Resin art tips and tricks Coloring resin Resin art examples Resin art resources 1.
Which art resin should I use to coat my art? The materials available to artists for coating their artworks are: Epoxy resins, available as a two-part kit of resin and curing agent or hardener that is usually mixed in a 1:1 or 2:1 ratio (4:1 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 also use Styrene, a chemical that is on the watch list of a number of organizations for its potential link to cancer. They tend to be lower strength, more brittle and lower adhesion than Epoxy. Acrylic pouring medium, for use on flexible surfaces. They are safe and easy to use but will result in thiner coats with less transparency than Epoxy. Varnishes, which I will not cover here as they are impractical for thicker applications.
I do use acrylic varnishes prior to applying Epoxy resin, as described in this article. — Among resins, Epoxy is the material of choice for artists because it is extremely strong, durable, versatile and available as either clear casting or laminating resin. Epoxy is relatively safe to use, as long as contact with the skin and eyes is avoided and proper precautions such as 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 as Art Resin, which specializes in UV resistant epoxy for artists. — A few things are important to know before using Epoxy resin, as they explain most of the issues artists can face when using them: Epoxies are thermo-setting plastics –heat is key to proper curing of the resin and hardener mix Epoxy resin is combined with a hardener to form a third, solid plastic.
The speed of that reaction depends on heat, 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 end result. Proper mixing and exact volumes of resin and hardener are required for adequate curing. Most epoxies will be solid to the touch 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 water resistance as well. Additives are required to the hardener to improve UV resistance to a level that is adequate for art applications. In most cases, you will want to avoid Epoxies for outdoor applications. My top three Epoxy resins After many experiments with epoxies, I have narrowed down my choices to three options: Entropy Super Sap BRT and CCR Epoxy -general purpose laminating (BRT) and casting (CCR) resins that are extremely clear, UV stabilized and with a low viscosity.
Entropy is the most eco friendly epoxy resin as it contains no petroleum-based materials but rather uses pine oils and bio-fuels. As a result, 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 great 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 also sell a lower end solution called EnviroTex Lite via craft stores. All three resins are very similar in terms of handling and I use the term “Ultra-Glo” to describe all three in their application.
Art Resin-an epoxy resin developed specifically for artists, with focus on ease of use and UV resistance. The resin is available via their web site, with free shipping. I have tested their new resin and find it extremely easy to use and perfect for my uses. Art Resin also has a great FAQ section on their web site that will tell you everything you need to know to start 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, but that can make the difference in the long term.
In particular, Art Resin uses hindered amine light stabilizers (abbreviated as HALS), agents that slow down the degradation of the resin when exposed to light. Art Resin is also 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 go -unless you are a very occasional user, in which case your CO2 savings, unfortunately, make very little difference when looking at the massive amounts of epoxy resin used in industrial settings.
If you do not care about the environmental impact of your resin use, then Art Resin is the way 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 2:1 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 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 three resins. If you are doing this for the first 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 problems with curing times, yellowing, Amine blushing etc. It is simply not worth the risk associated with trying to save a few $ on the resin.
To get started, you can order the starter kit from Art resin here. As an alternative, I use the one gallon kit as it is much more economical. 2. Will resin work on my support? Epoxy resin will adhere to any clean, dry, rigid and flat support. Metal, wood, stone, concrete, paper or canvas glued on masonite -all will work. You may have seen paintings on canvas with a thick, clear coat of resin in art galleries.
While in most cases the canvas is glued to a masonite backing, ensuring rigidity and allowing for the use of Epoxy resin, you may see the same look achieved on stretched canvas. The edges are clean of any resin, and there are no cracks in the top layer despite the relative flexibility of the canvas. How is this done? In that case, Epoxy resins are typically not used. Rather, a flexible and UV resistant acrylic top coat is applied.
Acrylic is water soluble and can be sprayed on; if applied with a roller, the edges can be taped and cleaned out of any acrylic before the top coat dries off, giving you a clean edge after removing the tape. Acrylic coating materials suitable for artwork protection include the Sunset Gloss Coat by Lexjet and equivalent solutions such as a Liquitex or Golden pouring medium. Those mediums are milky in appearance but will dry clear.
Acrylics dry quickly, and you can apply multiple coats to achieve the desired thickness. The downside of using acrylic top coats is that the finish is not as clear or strong (and thick) as when using Epoxy resin. The main 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 as stretched canvas and paper prints.
3. How do I avoid art resin bubbles? Bubbles are your number one enemy when layering resin -here is how to avoid them. Why are there bubbles in my resin? First let’s review why we end up with bubbles in the first case. Resin art bubbles appear for three main reasons: From mixing the Epoxy art resin with its hardener (air inclusion). Different resins seem to have different propensity to yield bubbles during the mixing process.
Ultra-Glo for instance generates many bubbles, much more so than standard Epoxy resin. In my experience, it is nearly unavoidable to introduce air during the mixing of Ultra-Glo. Those bubbles are easy to get rid off however, so do not let the mixing process guide your resin selection. From the support itself (air and gas release, solvent contamination, support shrinkage or air trapping). The support you use for your artwork 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 different epoxy resins seem to have different reactions to humidity. The fix is simple though -do not mix and cast resin when the air is humid and if the room temperature is too low. Seal your resin art panel The single most important step to avoid resin art bubbles is to make sure your support will not release any air or gases during the resin curing process.
A porous support creates bubbles; a sealed one doesn’t. If you are using thick wood panels for instance, you are almost certain to see bubbles forming throughout the curing of the epoxy or urethane resin. To avoid them, you must make sure that: Your support is as 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 second, thicker coat of epoxy art resin the following day. Benzomatic – The resin artist’s best friend The second vital step is to apply heat to the surface of the resin as it cures to get rid of the bubbles that will emerge. The CO2 released by the blow torch will immediately eliminate the bubbles.
It is best to use a small blow torch, one of those typically used in the kitchen, which will give you more precision and focus the heat on the bubbles (too much heat applied over a broad area during the curing process can damage the top layer -apply the flame at an angle, and set your blow torch at its lowest setting while applying heat as quickly as possible). I use a portable (pencil) flame torch from Benzomatic which works great for both small areas and first pass at larger areas.
When used in combination with an Ultra-Glo pour and a sealed support, the flame torch will get rid of all bubbles -guaranteed. It usually takes about 5 passes and ~20 minutes of careful watching to make sure all bubbles are eliminated; the resin itself takes of course much longer to fully cure. A blow torch will be more effective than a heat gun since it is the combination of heat and CO2 that eliminates the bubbles most effectively.
Blowing on the bubbles does work well too -use a hand air duster to avoid running out of breadth! Bubbles and deep resin casts If you are doing deep resin casts (anything more than a quarter of an inch in-depth), you will need to degas the resin, using vacuum at the mixing stage (when most air is entrapped), as bubbles might not all be rising to the top. Alternatively (but less effectively) you can use a vibration table after mixing your components to migrate bubbles to the top; or you can degas the pour itself.
Using silicon molds will help reduce bubbles as well. You can also achieve deep coats by multiplying the layers of resin, making sure to apply the new layer before the previous one is fully cured (<48 hours) to ensure a strong bond. 4. Other art resin issues and how do I deal with them? The other main issues you might have to deal with are: Art resin not curing If you use the two Epoxy resins listed above and followed the basic instructions (including using the correct curing agent), there are only two reasons why the resin would not cure: The room temperature is too low: Epoxies require a recommended temperature of 75 to 80 °F for proper curing.
Note that both Entropy and Ultra-Glo will cure well at lower temperatures over a 24 hour period of time -I use them with no issues at temperatures of 60 to 70 °F here in San Francisco. However, viscosity and flow, as well as curing, is improved at the higher temperatures. You used the wrong mixing ratio of resin to hardener or did not mix the resin well enough with the hardener-a typical issue when doing larger batches.
To avoid curing issues, follow those five steps-all the time: Use fresh resin and hardener Mix resin and hardener in a clean, dry container; pour it in a second container before 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) To fix curing issues: If the problem is widespread, scrap off the resin and start all over again If you are dealing with soft spots, apply hardener and heat to the problem areas (indirect heat) If you cannot use the above steps, your last two options are: Attempting to cure the piece again in a controlled environment offering the appropriate temperature and low humidity (your kitchen oven will do fine if the piece is small enough).
Note that most Epoxies will soften at around 140 °F, which means that the ideal temperature setting is somewhere between 80 °F and 140 °F, depending on what you are trying to solve (uneven curing or slow curing). Re-layering the piece -which is a risky procedure I would not attempt unless and until everything else fails. There is a high risk of eventual delimitation of the new layer because of the instability of the old one.
If you are re-layering, you must do so before the base layer is fully cured, typically within 48 hours of applying the base layer. Viscosity issues You can get viscosity issues 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 clean surfaces that are as flat as possible, and to apply multiple and thin layers when dealing with slopes.
You can also sand each layer with extremely fine sandpaper and a polisher to eliminate the worst bumps between layers. Finally, as noted above, room temperature influences viscosity. Poorly spreading resin Occurs when using a thin layer of resin on a support that although flat and smooth has small areas that the resin will not adhere to. The problem is that those areas can only be detected once you start pouring the resin.
In most cases, the solution is to apply more resin; you can also add resin in the problem areas throughout the curing process, so that the new resin is contained to the problem areas by the surrounding and solidifying resin. Another solution is to apply the resin layer in two steps -first a very thin layer, using a plastic spreader, to make sure the resin is adhering to the support. Second, and immediately following the first step, applying a generous s amount of resin to the entire surface.
Blushing A form of water spotting resulting from the condensation and entrapment of moisture during the curing process. It results in dry spots than will appear to be matte (non glossy) or opaque. Sometimes the problematic spots will be milky or slightly white. Blushing can be very difficult to fix but you can usually avoid it by 1) operating with a dry support and in a dry environment 2) minimizing the curing time by making sure you are working at the right room temperature or by using accelerators with your resin.
If you see blushing during the curing process, you can sometimes minimize it by applying constant heat and / or immediately applying a new coat of resin, which may soften the bottom layer and release the moisture. Blooming (sometimes called leaching) The migration of water soluble chemicals to the surface of the resin. It leaves a waxy residue on top of the resin coat. If blooming is not too severe, it can be cured by simply using lukewarm water to dissolve the waxy residue.
Do not use solvents, and never try to sand off the waxy compound itself or you will end up with a gooey mess. Delamination layers of epoxy can separate from their support, especially if the original surface is humid or contaminated. When in doubt about the quality of the surface, you can apply a spray acrylic varnish prior to layering the resin. Any issues will appear and they are far easier to fix with a very thin layer of varnish on top than with resin.
If you are applying a new coat of resin on top of a previous layer, remember that it is best to apply the new coat within 48 hours as the bond will be stronger if the base layer is still curing. Yellowing All Epoxy resins will yellow with age and exposure to UVs. You can however minimize yellowing to a bare minimum by following steps: Apply archival, UV resistant varnish to your artwork prior to applying the resin -this will seal and protect the artwork from yellowing, and will prevent any bleeding of the colors and pigments from that art into the resin.
Use clear, high quality Epoxy resins and curing agents -artist grade resins such as ArtResin or Ultra-Glo contain non yellowing agents that minimize the impact of UVs. Note that the non yellowing agent is typically part of the curing agent (or part “B”), which is one more reason why you should always use the curing agent provided with the resin. One cannot add separate non yellowing agents to resin, which is why you need to start with the highest quality, clear grade resin you can get.
You can also apply UV resistant varnish to the cured resin as a top layer. While I do not do this myself (as I like to keep the mirror like finish of the resin), it can provide additional protection especially for pieces that will be exposed to the sun. You can of course achieve the same result with UV filtering frame glass. Minimize exposure to the sun -the best protection is of course prevention.
As with any other artwork, keeping your piece out of direct sunlight will have the highest impact on non yellowing. Do not let this list of common issues discourage you from working with resins -if you select the right Epoxies and use the right mixing ratio, the odds are you will not encounter any of them. 5. Resin art tips and tricks How does one avoid those issues in the first place? Here is a checklist to guarantee a successful resin coat for your artwork: Do not improvise Sse known ingredients in a controlled environment where heat and humidity are known and manageable.
Follow the instructions Clean containers and mixing tools Take the time to prepare your environment: avoid dust, direct sunlight and make sure you are working in a well ventilated area. Mix you epoxy resin and hardener in a clean bucket void of any previous resin / hardener. Measure well. Wear gloves. Protect your work table. Check and check again the integrity of the support layer: you art needs to be set on a rigid support, level, clean, dry 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.
Do small batches: I have found that trying to coat more than five pieces of art at the same time can result in disasters… depending on the room temperature, you will have between 30 minutes and 2 hours to layer the epoxy, get rid of bubbles and solve any other issue that might come up. Somehow, trying to do more than five pieces in that time window invariably lead me to problems. Carefully measure resin and hardener Match the type of resin you are using with the curing conditions of the environment you work in-for instance, do not attempt to do casting work if you cannot control heat 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 art piece before applying resin -brush in or spray an archival acrylic varnish; if using fabric or canvas, seal the back as well. Keep things simple Work with hard, rigid surface -not canvas Work on flat surfaces Do your first attempts with slightly “grippy” surfaces: paper, not vinyl When in doubt, always test first With potentially porous or problematic surfaces -test on a blank before committing to the art piece itself When first using certain types of resin -test on a blank Protect yourself Work in a well ventilated space, use masks, gloves and googles.
Clean edges To get clean edges along your painting, you can do the following:1. Tape the bottom edges2. Put the painting so that the bottom edges are not in contact with the table. You can use anything (pieces of wood, bottle caps etc.) to raise the painting from the bottom, ensuring it stays completely flat and level but with the bottom edges had an inch above the table.3. Pour then resin, ensuring you pour enough resin so that it overflows evenly on all edges4.
You will get clean, resin covered edges and drips accumulating on the bottom edges. Let the resin cure.5. Sand off the drips on the bottom edges. I use a sander, others use a router to get a very clean cut. You will then be able to remove completely the tape from the bottom edge. 6. Coloring resin You can mix any form of pigments to the epoxy resin just after having mixed it 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 pigment (no water based pigment -you do not want any water in the resin) should work. 7. Resin art examples These two 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, “candy” like top coat and a great result with a carbon footprint reduced by 50% and the use of recycled skate decks for truly eco friendly art! These decks were coated with Ultra-Glo: http://www.
tripier.com/skateboard-art/ This surfboard was painted and then laminated with surfboard epoxies -hard work and lots of sanding but the ned result is exceptional! Here are a few shots of resin being applied to three paintings. You can also use resin laminates for your own custom furniture: 8. Resin art resources Please leave a comment or use the comment form below if you have any questions on resin art processes.
As you will see, there are a significant number of questions and answers already, and they provide additional information not found in this article. Good luck with your own experiments and do not hesitate to use the comment form to correct this how to guide or let me know your own techniques, tips and tricks! I will also respond to your questions whenever possible so use the comment form if you are running into issues.
Title: How To Make Resin Art