The thing about working with resin is that there are so many possibilities,
it's so much fun to embed all kinds of things in it and just be able to have
them preserved in there and see them from every angle. Lately I've been
thinking about how I can put images in there and combine them with other things
to make little scenes and that's just what we're going to do today. Hi there,
Sandy here, welcome to another jewelry making video at keepsakecrafts.net. So I
purchased these molds last month sometime and I've been dying to try them
ever since. The fun thing about resin is that, like I said in the intro, there are
so many possibilities, and I was wondering if I could add transparencies
to my resin and make scenes like this one with just some charms and some beads.
This is a colored image and some beads framing it, these are a lot of fun to
make, now I have to tell you that my particular combination of materials
worked for me but I can't guarantee that all other combinations will. I like to
use magic glos resin because it cures with UV light or in direct sunlight so
you don't have to mix parts of this and parts of that together and then wonder
if it's going to work. This is my favorite, and I also have these left over
from my scrapbooking days. I would often print things on transparencies to
personalize my scrapbook pages, and they are for inkjet printers so you can
actually print on an inkjet printer and then have a transparency that once it
dries is smudge free. So of course the first thing you're going to need are
some images. I actually have purchased these images from 123RF and
those of you who are my patrons will be able to download these images from the
Patreon site, just my way of saying thank you, and there are a few things to keep
in mind. First of all I'm not sure how well this one is going to work, here's
one of my test sheets, now you'll notice that this one looks
far more fuzzy than this one. I don't know if you can see this one's just much
more crisp, this is the difference between the 72 dpi and 300 dpi so you
have to change your settings. I definitely did a bit of playing around
in Photoshop, this is a test sheet I have a picture of my sons as little boys. Oh
my goodness, so cute. I think he was 2 and he was 4 at
the time. So I just took this into Photoshop, desaturated it and also bumped
up the contrast quite a bit. the thing you have to keep in mind with the
transparency rather than having something printed on white paper is that
the white that's behind it is not going to be there unless you only wear it with
a white shirt. The first tree that I chose was one that I already had. I
thought this was really pretty and lacy and delicate looking and that was kind
of the problem, that once printed on a transparency it you might end up losing
a bit too much of the detail and I think I'm happier with this one, we'll see at
the end. I've already done one pendant with this which you can see and I'm not
sure how this one's going to come out but I'll give it a shot,
but something with deeper, bolder, more graphic lines I think you're going to
have better success with, or something with bright areas of color that show up
like the owls. Once you have an image chosen and edited... Oh, and here's a really
cool trick: So I was scrolling through all these images on my computer, they
were on my computer screen and I was trying to decide which one of these
molds if any would work with it and a fun little trick I figured out was even
though the image on the screen was large, you can see it on camera, I could hold my
mold like up to my face and have the the computer screen which was 5 feet away
but I could do this and kind of get an idea if the
proportions would work. So did I want to use the oval one or the square one or
one of the rectangular ones, if so which one worked better. So I thought that was
a cool little trick, before I even printed out my images I could pick and
get the proportions that were right. You, of course, want to do lots of printing on
just plain printer paper to test things out and then once they are printed you
can then hold your molds over them to decide which one you want to use. So
that's how I chose that the little owl is going to go in the oval because he
fits in there. I also measured and then measured this and put some guides on in
Photoshop so that I could bring it down to the right size, and I definitely
should have changed the resolution on these. These are all the, whatever the
default is, I think 72, I should have changed them to 300 at least. So once
you have a bunch of things printed on paper so you're not wasting your film
then you can go ahead and attach the film to the paper and send it through the printer.
What I like to use is some repositionable scrapbook adhesive. Now if
I'd been smart I would have attached the adhesive to the paper and then just
stuck the transparency on, I wasn't thinking, it will come off, it's
repositionable, you can, removable, you can rub it off but it kind of leaves it gooey
behind. So you gotta use Goo-Gone or something.
So put it on your paper, then you can put position this right where you
want it. I actually printed this and then scooted them down a little in Photoshop
so that I wouldn't have to deal with the adhesive, and then printed it again, that's
why they're off a little bit, but you can if you want get it exact. On one of these,
on this one I was using up a scrap of leftover transparency so I put it
exactly where I wanted. So that takes a little bit of testing with them. Once you
have your transparencies you can proceed to play with resin. So you'll want to
spend a little time just deciding which mold you want that in, if you have a
selection, and then trim it down to fit. You want to trim it pretty neatly, the
edges mostly don't show, if you tilt it in certain lights you might be able to
see the edges that I trimmed. I was thinking they would disappear entirely
in the resin and so I trimmed this pretty carelessly and then I found
afterwards that you can kind of see them, so it's, they definitely fade into the
background but I would say just trim trim neatly, you'll be happier with it. So
there we go, there's my little tree... you get out of here... so then to work with the
resin. I actually had to delay this video because it was pouring rain and I didn't
have any sunshine. I had bought myself a UV flashlight but it takes forever. That
big light in the sky is a lot stronger! So I've just poured a little bit of
resin in, what I want is just enough to coat the bottom. Now these molds, I don't
know that I was thrilled when I realized that they have a little post for a hole
already in them. I'm quite capable of drilling a hole where and when I want it,
and I actually thought of trimming these out but I was afraid it would leave like
a ragged patch that I wouldn't be able to
smooth over in the resin so I decided to leave them. So around these posts are
prime bubble areas so be sure that you get that filled in. So you want just
enough to cover the bottom because we're going to be layering in other things. As
you're doing this you want to be conscious of which side do you want to
be the front, the underside or the top side. I'm going to have the top side be
my front in this one and I'll show you how to do it the other way in a minute.
Now see those bubbles? This is the coolest trick ever, okay, they need to be
near the surface. Bubbles are the big enemy in working with resin, then you
just take a lighter and swoop and you just pop, it's like magic, it's kind of
fun to do actually. Just a second, you don't want to hold it there, just a
second. For this one I'm going to have the side that's facing me be the front
of the pendant. What you want to do is slide it gently,
lay it down, that way any air that was trapped under there has been pushed out.
If you look on the backside of this one you can see I didn't do that very well
and I've got little pockets of air trapped in different places. So take a
little more care like I just did. I'm just going to add a couple more drops
of resin over this. I'm keeping my layers thin because I want to add things to
this, so I need to leave room for the additional layers and that's really the
whole trick to it is just keeping in mind that you're working in layers. Now
another thing to keep in mind... here this image is very lacy and delicate so I'm
not concerned about the UV rays not getting to the resin that is underneath
the printed areas. On an image like this where the printed areas are so much more
dense that would be a concern. So what you would need to do is add your resin, a
very thin layer of resin first and then cure it, then add your piece. Now the
thing you have to keep in mind that's a little bit different than working with
other types of resin: the sunlight needs to reach it in order for it to cure
properly. If I put one of these big steampunk gears in then the sunlight is
definitely not going to reach the resin underneath it so that has to be cured
first. It's not a bad idea to let it sit for a bit and let any bubbles come to
the surface before you go curing it. That's another thing I like about the UV
resin is I could let this sit for days and it would do nothing until I put it
in sunlight or under a UV light. So there's a start. Let's pop the bubbles.
If you go over them and they don't pop that just means they're not near enough
the surface so we just kind of poke them and prod them, they feel like these solid
little things, sometimes you can scoop them out. All right I'm going to cure
these and then we'll go on to the next steps. So here we are with this back, it's
actually not a bad idea to put your mold on a tile so that it doesn't flex and
move, you can see I've kind of got some ripples here because I was carrying it
unsupported, so just having it on a white tile is good. Now I forgot to mention
this before I went off to cure this but one thing that's really helpful to do is
have a little sacrificial drop of resin somewhere off to the side that you can
touch and test to be sure that it's cured, then you don't have to touch your
good stuff and risk making a mess of it. And I mentioned that I have a UV
flashlight and I used that to make this one in its entirety from start to finish
three or four layers and it worked pretty well, it was very slow but it
worked. It's a UV light that you just shine on
there, obviously the sun is a lot brighter, but in a pinch at night.
There are lamps that I think I want to get, something that's maybe a little quicker
because it just took a long time to do this. Now I should have mentioned before
that what you want to do is before you even get started with the resin is
really carefully plan things out, you want to plan out your embellishments,
your inclusions, so that they'll work out the way you want them to. So here's my
little owl that I'm going to put in this one and I gathered up a bunch of little
things that I thought would be cute. Boy, it's hard to find ones that are small
enough. So before you even pour any resin while everything is still dry and can be
moved... some little polymer clay leaves, aren't those cute?
You could go find a branch outside or you could sculpt a little branch out of
polymer clay, there's a little feather out of polymer clay, seashells, if you
have some tiny ones would be cute, little seed beads are great although they do
pose a problem with bubbles because they have a hole in them. I thought though I
would like to make this guy a steampunk owl, I'll put that gear there and
I've got these little bitty gears and it... maybe just get rid of that leaf all
together. So this is what you want to do before you start. There are two ways of
building your scenes, one is front to back and the other is back to front. So
this one I'm going to build so that the part that's on the tile will be the
front of my pendant. Notice that this is reversed so pay attention to that if you
have something with people, with words, pay attention to which way it's going. So
this is actually going to go on last, but what I have underneath is my paper
printout and that way I can arrange everything just the way I want it. So
again a thin layer of resin, these molds are a little less than a quarter of an
inch thick, maybe right around a quarter of an inch deep, and I'm able to get
three good layers in there. Unless you have something deeper I wouldn't count
on being able to do more than that. So that first layer we put down and
cured was the front of the pendant. It's funny, you pour it in and you think
you've got way too much and then you try to spread it you find it doesn't go
quite far enough. So also the resin will shrink slightly upon curing, this comes
into play in the last layer. You may find tweezers helpful,
honestly I found they just slip around on me and are annoying so I'll just use
my fingers.
Remember that that side's the front so my little birdhouse needs to go face down
and this is where you're going to probably trap some bubbles so just take
a little time. Yeah, the awl really is my favorite tool
here. Take a little time, let it sit for a while, inspect it carefully. The awl is really
great with these little seed beads, for this frame what I did... it kind of worked in
my favor that that UV light was so slow to cure because I let it cure for I
don't know maybe 10 minutes, it was starting to firm up and gel but it was
still pretty squidgy, then I was able to take my awl and position these seed
beads in a frame around it and just kind of pushed them into the the resin. Sorry, I
know you can't see what I'm doing here. I'm just pouring those seed beads on. Oh,
I like the way that looks. This is when a little scoop is handy, it
gives you just a little bit more control. You could put little beads in the trees,
like the leaves or flowers, and the also another nice thing about using the UV
resin is that you have all kinds of time, you don't, again, it's not going to cure
until you put it in the sun. You have as much time as you need to rearrange,
reposition, get rid of air bubbles, and all that. Now for this one since we put
the transparency in first this is actually going to be the front side. Now
if you do it that way you can have objects sticking out, you don't have to
embed them in completely, so I'm going to make this actually my final layer for
this pendant and I'm just going to have
couple leaves.
This maybe isn't the best composition ever but it's kind of giving you the
idea for possibilities for what you can do. So sit and play and fuss endlessly or
not so endlessly. I think I'll stop right there. Remember that this one doesn't actually
have the picture yet, this was just behind it for a guide, so you can create
them back to front or front to back. So now it's time to go cure this one. So
while those ones are curing I've been working on a couple others. I've been
working on this one with my little boys, and what I did to get this really nice
tight trim was I held my picture up to the back of the mold that I wanted to
use, eyeballed where I wanted the cut to be and then used a very sharp craft
knife to cut a little outside that line, did that all the way around, and then
looked a little bit more closely, trimmed a little bit more closely. It took a few
trims to get it just right but that way I have it just right and I haven't
accidentally cut off too much. The biggest pain in the neck was cutting the
little hole here for this. Now these I could tell, these are going to be the
bane of my existence, but it is what it is, and then what I did was I managed to
get that kind of stuffed on that little tab and then poured the resin kind of
underneath and used my awl and tucked it underneath and hopefully there won't be
too many bubbles. And I think what I'm going to add to these, these are some
microbeads. These are small enough, I was saying before that it's tough to find
things that are small enough but these actually are. I thought they would be
cute just sprinkled,
maybe a few up there.
These microbeads are so fine, yeah, hence the name micro, but really, you get them
on your workspace it's kind of like beach sand. You know, have you ever
gone to the beach and the goal is to not bring sand home with you but you always
do because that's the nature of it. Well that's these microbeads are like that,
they're that fine and they just get everywhere, but that's really cute. Oh, I
like that. A sacrificial l drop of resin just on the
side, you'll be so happy you did that, it just makes everything much easier. One of
the things I mentioned earlier is that the resin shrinks slightly as it cures,
and I don't know if you can see it on camera but that often gives you this
kind of indented section which is why it can be nice to use the underside, the
part farthest away from you of the mold, as your front, but if you don't want to
do that for whatever reason there is a fix. Now this one is finally starting to
feel cured completely, yeah, it's still a little tacky, that's kind of weird, and
there's a fix for that, too, and that is to dome the resin on top and then cure
one more time. I'm not going to worry about my holes, I can clear those with a
drill after its cured. So it's easier to just go ahead, and pour you pour from the
center and this stuff has a very high surface tension, so it will dome, but you
don't want to put too much or it'll spill over and also the surface tension
doesn't last forever, so if you go off and let it sit overnight, not a good idea,
it will probably break, the surface tension will break and spill over and
the same with this one. And now you have this beautiful domed finish on your
piece. This one actually, because I used the
light to cure it and it was so slow and I did it in many stages and kept
forgetting to do my little test piece of, test dot of resin, I touched it a lot and
so it got kind of, it got kind of messy. And by the way, the way I'm curing these
is I'm just putting them in the sun. As I mentioned earlier I had to wait to do
this video. I could have done it with my light but it was kind of making me crazy
that it was taking so long. So we're gonna just see if there's any air
bubbles. I don't know if you can see, it'll just pop, it's kind of fun,
and if it doesn't that means you need to bring it a little closer to the surface
or drag it somewhere where it won't be seen. So here are these ones back from
their time in the sun, here's my little sacrificial bit of resin, that just picks
right off, and this one is actually all done. We'll take it out, we'll just pop it
out, and a good quality mold it should come out easily. You have to read the
directions with your mold, some want mold release, these don't and that's not bad.
As I suspected that very fine and delicate tree doesn't read so well but
you get the idea of what you can do. You can knock down these sharp edges.I would
probably dome up some more resident in here, if I thought this was something
worth saving, which I'm not sure I do. And now this one we want to add our
transparency to, so let's get this trimmed. One more layer of resin, now this
bird is a bead which may be problematic as far as bubbles go and there's also a
loop here where this birdhouse would hang, it's a charm, and of course there's
all these beads, although I think those won't be such a big deal because it'll
be like a field of green and bubbles, if there are any. So I hope that you find my
video tutorials helpful, beneficial, inspiring and encouraging, and if you like
what I do and my teaching and all that and you'd like even more you might
consider checking out my Patreon page because my patrons have the opportunity
to get up to two more video tutorials every month. So just something to
consider if you...oop, be sure I put that the right way... if you enjoy my teaching you might
want to consider it. Now the way they recommend putting in pieces like this is to
kind of slide them, but I've got all these lumpy things in the way so I'll
slide it as much as I can.
Not very much, and I'm just going to tap this way, and I think I should have put a little
more resin under there. Okay, it's probably isn't the ideal way of
doing it but let's see if we can make it work.
So you can see, you can follow that line as it goes down and push out any air
bubbles.There we go, that looks good. So just go from the
center out and try to tap out any air bubbles and then we'll do another coat
on the back and let this cure and this will be done. Now the question I get most
often from all of you is where can i buy this supply or that supply. Honestly, the
craft stores in my area are closing down, a lot of them have reduced stock, like
the Michaels in my area has drastically cut back on their selection of polymer
clay and so I'm finding I have to buy more and more of my stuff online. There's a
couple of places I buy it. Most often honestly, from Amazon. I know
Amazon is going to rule the world one day if they don't already and we just
don't already know it, but but they are certainly convenient and you can find
all sorts of things there. So I buy a lot on Amazon. In fact I have an Amazon
storefront that has all the things that I use like magic glos resin and
different things that I use in my everyday crafting. Isn't that fun? I don't
know if you can see it on camera but that's okay, you try it at home and
you'll be like "Wheee. popping bubbles with a lighter is cool!" So there, I think that's
all set and that's how you do one front to back and that way you have this nice
finished inside surface as the front of your pendant. So that's that, I'll put up
on the screen a picture of all of these when they are finished. I hope that you
find it helpful and that maybe it's something you'll do to create your own
custom memory jewelry. Thanks so much for watching, happy
creating, bye-bye.
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