Art resin: coat your art with resin
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:
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.
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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.
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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 sectionon 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.
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.
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).
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 edges
2. 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 edges
4. 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.
1. Tape the bottom edges
2. 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 edges
4. 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.
Discussion (92) ¬
Over time, you should expect scratches and less clarity as a result.
I actually have never seen the resin contaminate the artwork itself, but that would be another reason for using a varnish first. Note that I use non yellowing, UV resistant archival varnishes that are flexible.
I coat the artwork with the UV resistant varnish before I apply the resin, the goal being to 1) prevent yellowing of the artwork itself and 2) prevent any interference between the wet resin and the artwork (I use watercolors and they can bleed into the resin).
Entropy and Ultra-Glo have non yellowing agents and are quite good in terms of yellowing in my experience. Most of the high end / artist Epoxy resins such as ArtResin have similar characteristics so if you stick to those Epoxy resins you should be fine, assuming of course that the exposure to the sun is limited / controlled. Please also note that the curing agent contains the non yellowing agent in most cases, so using those resins with another curing agent may end up in a faster yellowing resin.
I do not cover the cured resin with a UV resistant varnish when using Entropy or Ultra-Glo, but it can be done and it will help (though you may lose some of the mirror finish of the resin).
As far as I know, you cannot add non yellowing agents to Epoxy resin -it would prevent the resin from curing correctly. As mentioned earlier, that non yellowing agent is included in the curing (or part “B”) agent.
Finally it might be worth mentioning that all Epoxy resins do yellow -what we are talking about here is minimizing yellowing; and that is best achieved by using high quality, ultra clear Epoxies with their recommended and non yellowing curing agent; and minimizing exposure to UVs during and after curing.
Kristen
Great artwork and info!
I am curious about a project percolating in my head…
I have several pieces of artwork from my elementary students over the years that I thought of trying to encapsulate some how into the stepping stones and walkways throughout my garden and greenhouse and the only thing I could think of was those little bottle cap crafts with the resin coating! After a Google search on resin coatings I found myself here.
From your experience with resins, does this sound feasible??
I was thinking to somehow “laminate” each piece and then just embed the pieces into the stones. I’m not super concerned with perfection as it will be walked on but I do want it to be durable and clear enough to enjoy the art.
What are your thoughts?
Thank you in advance!!!
I think it is feasible but I am worried about three things -first, the resin will get scratched and eventually “dull” or opaque if walked on frequently. Second, there is a high risk of the resin yellowing over time due to the high and constant sun exposure. The third problem will be water infiltration -if the stones are porous, they will soak up humidity and you will end up with a water layer between the stone and the resin -then the resin will delaminate from the stones, or you will end up with cloudy resin originating from the humidity.
If you are in a very dry climate and accept some yellowing / eventual dull spots, then you could do it. Otherwise I think it is a risky proposition -sorry!
Pour epoxy 1/8″ into a fiberglass tray sprayed with release agent.
Glue down drawing after 1st pour is dry.
Pour another 1/8″ of epoxy on top.
Let dry.
Should I go up to 1/2″?
Spray gloss varnish will work fine on fully cured resin. It will not dull down the resin since you are using a gloss, clear varnish.
You do need to make sure the resin is fully cured though -I am assuming the smudges you mentioned were left because you touched the resin before it cured -but if they were made after the resin cured, then you may have some soft spots which will require adding an additional resin layer or attempting to cure them by applying hardener.
Laura
The first thing I would do for UV protection is use a printer with fade resistant inks (archival inks) and a UV resistant paper (for instance, a non yellowing, 100% cotton paper). This will be far more resistant to UVs and much more fade resistant than laser printer inks and standard paper.
Another solution would be achieve your desired transparency through some other method, one that allows for the use of a UV resistant varnish -what about brushing (not spraying) the varnish ?
I do not recommend covering artwork that is on canvas with resin, especially at those sizes.. it simply isn’t rigid enough, and the canvas is also a vey poor barrier to air so you will end up with air bubbles.
You would need to first glue the canvas to a rigid support (wood or metal), the spray varnish it to prevent any air from coming through the backing, and then pouring the resin.
I think I read through this post and answers carefully but in case you answered these questions before I apologize.
1) do you prefer slow dry or fast dry Entropy resin (I’m coating a relatively well-sanded piece of plywood with a variety of paints and inks)
2) is it ok to mix in a glass container (I’ve made the mistake of mixing other brands in plastic with a scary melting smoking result!)
Thank you!!!!!
I would need to know both the type of resin and the cleaner you use to be able to give you a precise answer and solution, but here are a few things to keep in mind:
– If you are going to have multiple layers of resin, then 1) let the first one cure fully (24 hours +) and 2) make sure it is completely clean and dry before applying the second layer. Specifically, you do not want any uncured resin at the top of the first layer, and you also do not want to have any Amine blush (wax like residue) showing up.
– Do not clean a fully cured layer of resin with products like Windex that contain ammonia. Just use water or acetone / alcohol. Also do not use cotton or paper but a microfiber fabric, similar to what you would use to clean glasses.
i am using Clear Epoxy Resin 2:1 ratio
I have used CLR for coating artwork in thin layers, and CCR for casting applications (when doing a table top with a thick layer of resin for instance). CLR will cure faster than CCR so un less you are doing casts, I would use CLR.
Before applying resin I used UV Archival Satin protector so my paint doesnt get vanish(already tested without UV Archival and it did get vanished).
1. I use wood panels
2. I tape the back
3. I raise the wood panel above the table on which it rests by using spacers that do not interfere with the back edge
4. During the curing process I thin out the drips and the resin on the edge of the panel, using a plastic scraper
5. Once fully cured I sand off the remaining drips on the back edge of the panel
This way I am able to get a completely smooth edge + back of the painting.
A large painting that I sold 2 years ago has been hanging in a climate-controlled space, with fairly even humidity and temp, and indirect, northern exposure. Upon visiting it recently, I discovered that it has developed subtle crazing throughout the surface, and some slightly tacky spots. Hard to say exactly when it started – certainly not noticeable during the first 6 months.
Do you think adding a varnish like Golden Hard MSA would restore the surface, or would I do better to re-pour another resin layer? And if so, do I need to sand the surface prior to another pour? I don’t want to cloud anything.
Is the painting on a hard surface or canvas? Most cracks occur because the support flexes. If that is the case, then additional layers will not solve that problem unless you can somehow improve the rigidity of the backing.
With regards to the tacky spots, are they spots where the resin did not fully cure initially, or are they covered with a wax like residue? The later you can wash off with lukewarm water. The former you can try to fix by applying a bit of catalyst, or adding a new layer.
In both cases, I don’t think a varnish layer will help, and you should avoid sanding the surface.
This being said, you could use a slower catalyst and lower temperatures to extend the curing time, and you could also use a blow torch to achieve different curing times and consistencies in the resin. It’s something you would have to experiment with.
also hoe hard do you think it would be to get “clean” puzzle pieces with out a lot of run off or dripping?
thank you
I would drill through and add the jump rings later so that the jump rings can move freely from the puzzle pieces. If you use a Dremel you should have no problem drilling through the cured resin. Apply a piece of tape on both sides of the puzzle piece before drilling, to avoid scratches and make a cleaner hole.
Getting clean puzzle pieces is tricky, especially since I am assuming you will want to apply resin to both sides. You have a few options:
1) You could drill the hole first, and hang the puzzle pieces from a string so that you can brush on the resin on both sides. You will end up with a thin layer of resin, and there should be only one corner with accumulated resin (a drop) that you will need to cut or sand off. You can also use this technique and pour the resin on both sides, which will give you a thicker and more even distribution of the resin.
2) If you need a thicker layer of resin, then you have to apply the resin in two sessions. For the first layer, raise the puzzle piece by using a spacer underneath the piece. Apply the resin and brush off the drops of resin as it cures. Alternatively, apply rigid paper tape to the back, and brush off the resin that accumulates at the edge of the piece and on the tape. You will be left with a thin layer of resin on the sides that you can cut and sand off. You can repeat those steps for the other side.
All those steps will be easier if you use a fast curing resin with a high viscosity level.
Whats your recommendation for non yellowing epoxy? I have done some tests with cheaper resins which yellowed quite noticeably. Are the two you mention (Entropy Super Sap CLR Epoxy,Ultra-Glo Polymer Coating) good in terms of non yellowing? Have you done much work over white where the effect is more noticeable. I also noticed your comment about varnishing with a UV clear coat before the resin process – does this help with yellowing in general?
Yes Entropy and Ultra-Glo have non yellowing agents and are quite good in terms of yellowing in my experience. Most of the high end / artist Epoxy resins such as ArtResin have similar characteristics.
Varnishing with a UV resistant varnish prior to applying the resin will limit yellowing of the art work, but not of the resin -you would need to add the UV resistant varnish on top of the cured resin for that. I don’t feel it is necessary to do this when using Entropy or Ultra-Glo -I have many pieces that have been exposed to UVs for long period of time and they show no yellowing.
Jo
Whether you need to degas the resin or not prior to pouring really depends on the depth of the cast. My experience is that bubbles will rise to the top and can therefore be taken out with a blow torch as long as you are below a quarter of an inch in depth. Above that level, some bubbles may not reach the top. Entropy is actually one of the best resins in terms of low bubble generation, but if you are doing deep casts you will most likely need some way to degas the resin prior to the poor. Silicon molds will help as well in terms of achieving a smooth finish. No sanding should be necessary if you use Entropy, degassing and silicon molds.
After working with it for half a year now i solved most of the problems.
But there’s one left ! Dust particles ! I’m working in a room wich inclean out a lot !
Spray it with a flowerspray before pooring and cover my work while drying.
But still there are some dust particles in my work ! What can i do and how can i sand them out ?
Many thnx in advance for your help !
Best regards hans (amsterdam-holland)
1. Are the dust particles embedded in the resin, or do they float on the surface? The former would indicate that they get trapped in when you mix the resin and the hardener; the later that they are in the air and get deposited on the surface of your work during the curing time.
2. If the dust particles are at the surface, you can burn them off with the blowtorch you use to get rid of air bubbles before the resin sets. You can use resin / hardener mixes with a shorter curing time as well to minimize the risk of contamination. You can also try to do the curing in an environment where you control both heat and the air (your oven would work).
3. If they are trapped in the resin, I would transfer the mixed resin and hardener into a new container via a plastic (not fiber) screen to remove foreign elements and before applying it to the art work
It sounds like you used the wrong resin, in conditions that were cold and with dust present. For your next try, 1) you can use EnvirotexLite or EX-74 2) mix a large enough quantity -you want the resin to overflow on its own to all edges to guarantee a mirror like finish on the surface 3) tape the sides all the way to the back of the cradle boards, so that you can sand the resin down to the tape and avoid scratching the wood 4) make sure to mix and pour the resin and let it cure in a well heated (70° F minimum, but you can and should go higher if possible to reduce set and curing time -all the way to 90° F), low humidity, dust free room. At that temperature (70° F) you will have about 25 minutes of working time, and will need to make sure no dust rests on the surface of the resin for up to 7 hours -use a protective plastic sheet that you lay 1 inc or two above the curing resin.
-John
You are seeing either Amine Blushing or Blooming triggered by humidity in the air and on your oil painting. You need to work in dryer conditions by either getting a de-humidificator or curing your work in a kitchen oven or equivalent… also make sure no humidity is present on top of the oil painting by blowing warm air gently (to avoid damaging the art itself) prior to pouring the resin on it. Finally, your oil paint itself should be completely dry, which can require several months if you work with impasto.
Bought a large piece of rock art. Flat slates are put on a board that is then resined and different rocks are added into the resin to make a design, then it is sprayed with a sealant. When delivered I thought it was base of my calilever umbrella for my balcony so put box up there for two weeks until I realize my error. That box baked in the sun, resulting in impressions on the flat and shiney slate of bubbles which are noticeable because they dull that area. And I can actually fell a slight depression. Any ideas to fix. Artist is a little flummoxed and is doing research also. Respraying with sealant a possibility? Using GooGone first? HELP
I would love to cover walls and flooring with epoxy resin in one of my Interior Design project. Having fabrics below, protected and framed look-like thanks to the glossy finish of the resin.
Reading your explanations I would preferably go for Entropy as I am quite concerned about the environmental footprint of my designs. Sorry to bother you with that but it is really hard to find an expert on that subject and you seem to be the one.
Do you think this could be feasible?
Thanks for your help, regards, Astrid
Yes it is feasible I believe but there are several things to consider. I understand from your question that you want to have a fabric encased in epoxy resin on both the floor and the walls. This means that you will need to use quite a bit of resin, and in that case going for the greenest epoxy makes sense for obvious reasons.
You will need a rather heavy fabric to minimize issues when saturating it with resin (lighter fabrics will buckle and make it harder to achieve an even spread). Ideally you would apply two layers of resin as well -one to secure the fabric to the floor and eliminate any bubbles, and a top layer to achieve a smooth finish. Your floor needs to be rigid (meaning, not a wooden floor) otherwise the constant flexing will eventually delaminate the resin layer. You might consider separating the floor into several sections with a metal piece separating the sections to minimize that risk as well.
For the walls, you will need to create panels that are then secured to the walls -spreading resin directly on the walls is unlikely to work well and will leave you with an uneven finish as gravity pulls the curing resin to the bottom. You can create the resin panels on an horizontal surface, and mount them once fully cured to the walls. I have done this in the past, creating panels that were ~7ft high and 5ft wide, and it works quite well.
That wouldn’t be a good idea. The resin will eventually crack as the stretched canvas is not rigid enough to prevent flexing and eventually damage to the cured resin.
You can use Epoxy resin for your piece involving leaves. I would keep in mind the following to help make sure it’s a success:
– You probably will want to use a casting resin if your resin layer is more than a quarter inch deep. Casting resins cure more slowly and will give you better results.
– My first step would be to spray varnish (using an archival, UV resistant varnish) each leaf on both sides to augment their rigidity and protect them better against UVs.
– The leaves will most likely change color unless they are extremely dry or red / brown in color. Chlorophyll is unfortunately an extremely photosensitive pigment and no amount of UV protection can limit the impact of the sun to that extent on material that is photosensitive. Red leaves will contain more anthocyanins that absorb UVs -they are less likely to lose their color.
– When doing the resin cast, start first with an initial layer of resin, then place your leaves before adding the last layer. You can do all this in one application, but the key is to prevent air from being trapped underneath each leaf
I’m using polyester resin to seal small acrylic paintings on board . I’m sealing the painting with a spray varnish then taping the edges to get a good finish and I do the edges separately. I’m then sanding down to wet&dry for a perfect waterproof finish. My problem is there are little crack like flaws within the surface. Mostly around the edges but sometimes in other areas. They can be up to 6 mm long. Any ideas on cause?
Polyester resin is quite brittle, especially in thicker applications, which is why I never use it to seal paintings. Using polyester resins quite often results in a separation of the layers (the resin separates from the painting) or cracks. Epoxy resins will give you better results.
Leigh
Yes Epoxy will stick to metal. I would just make sure it’s completely dry, degreased and doesn’t flex. If you can abrade the metal with fine grit sandpaper it will help as well, but it’s not vital if the metal + resin is not going to be stressed after curing (e.g. exposed to the sun or humidity).
You can pour resin into a glass jar -it will not shrink when curing. Use a casting resin given the thickness of the layer. You can mix any form of pigments to the resin just after having mixed it in with the hardener; they make both opaque and transparent pigments for that 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.
we want to order art resin but we are located in Belgium / Europe. The shipment cost is (understandable) even higher then the product itselfs… .
I don’t think any of the resins I review in this article are viable options for Europe. There are however equivalent products for sale in Europe -you can check out http://www.boutique-resine-epoxy.fr/59-epoxy-stratification-bio or http://www.geant-beaux-arts.fr/Resine-cristalle-epoxy-EC141.html
You mentioned using a UV varnish before the resin…can I use something from the Home Depot or it has to be art grade? I found a non-yellowing, UV resistant, clear gloss latex paint by Rus-Oleum…will that work? Also, being that it’s a statue, obviously I can’t pour the resin…can I brush it on? What is your advice & steps to doing that? What effect should I expect? In addition, being that the statue has texture & may potentially trap some air under the paper will that create more bubbles in the resin? Any advice & direction is greatly appreciated.
A few comments on your status project:
1. Since you are gluing paper, your statue will be very sensitive to UVs -in fact, if you are using newsprint or any other form of wood based paper, you will see yellowing within weeks, no matter how many UV protection layers you add to the statue. I don’t think there is a way around this, except if using archival grade, cotton based paper.
2. Pouring resin will not work either -you have to brush it on, while rotating the statue during the application of the resin. If that is not possible, then using a spray varnish is probably the best option.
To summarize, I think avoiding yellowing is near impossible if you are using paper, so I would try to avoid the paper layer. At any rate, using industrial strength UV protection layers such as the one you mention is most likely your best option in terms of cost and applicability.
I use the soft, thin packing foam that comes in a roll. I have also used bubble wrap. It doesn’t scratch the surface -just make sure to wait a few days before packing so that the resin is fully cured and the surface as hard as possible.
1. Tape the bottom edges
2. 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 edges
4. 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.