Create A Painting With Resin | Katie Krell | Skillshare
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8 Lessons (38m)
    • 1. Introduction

    • 2. Supplies

    • 3. Dirty Pour

    • 4. Triptych

    • 5. Create a Large Painting

    • 6. Damming the Edges

    • 7. Resin Skins

    • 8. Finishing and Displaying

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About This Class

Hi there! Welcome to my second skillshare class!

In this class i will teach you how to tackle resin and create a work of art.

Resin is a great medium to work with because you can resin almost anything! Take what you learn from my class and apply it to a variety of things, get creative! You can make a painting to hang in your living room, or resin the top of a coffee table to add interest to a room!


In my class i will be going over even the very basics of resin, all the way through unique applications. As long as you love to create, you will enjoy the class!

Happy resin painting! 

Meet Your Teacher

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Katie Krell

Artist, Designer, Animal Lover


Hey, it's me, Katie! I'm a designer and freelance artist in Rochester, Minnesota.

As a teacher on Skillshare, my goal is to share with others all the artist secrets I've learned working with various mediums and help those with a passion for creating... to create! It can be frustrating when you don't know where to start, or if you're going through an artistic slump and need some inspiration! Hopefully the classes I'm teaching offer just the help you need to get back at it, or try something new!

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1. Introduction: Hey, what's up? I'm Katie. Have an artist and designer living in Minnesota. I'm gonna teach you how to make one of these are resin painting. I have been really into resolutely because it's so fun and easy to experiment with. You don't need to be an artist to create something with resident. You just have to be creative. You also don't need any experience with present to take this class because I'll be going over all the materials and techniques that I use to create resin paintings from start to finish and even some ideas on how to take your resin or to the next level with different applications and materials to try. You leave this class feeling excited and inspired to start experimenting. So enroll in my class and discover how to give a coffee table makeover or create a dramatic statement piece to tie room together. I'm so stoked to show you all the things you can do with prison and can't wait to see what you create 2. Supplies: Okay, so let's go over the supplies that you'll see me using throughout this class, starting with resin. The brand that I like to use is called art Resin. It is a fairly non toxic resin. There's no docs, harmful fumes. It's not flammable. Um, it's safe to get it on your skin. It washes right off. Although it doesn't wash off easily, it does come off. It is non yellowing, which is a really big plus in my book because I don't want my art. Teoh lose quality over time and, you know, change color, so that's very important to me. This resin is available in a variety of different sizes, so if you just want toe, try resin out a little bit and see if you like it. You can order a smaller batch, uh, have a starter kit on their website. And if you are pretty interested in resin and figure that you'll be using it a lot in the long run, I recommend buying more in bulk because you can save a little bit of money that way. But if you don't want to buy a resin online and do you want to try and find something in your area. Uh, this brand is available at Walmart and also Michaels. I think I got mine at Michael's, and I use, like, a 50% off coupon with it, so it was pretty cheap. But again, this resin isn't, um isn't as safe as are present, so you will definitely need to use a respirator and just take more caution when using it. Um, also it I don't think it has a very a long open time. I think our reason is about 40 45 minutes to work with it before it's rotating. Tacky. And this one is a lot less than that. Some other supplies you'll need our cleanup material type supplies like paper towels. Always keep those handy. Um, plastic gloves definitely, definitely need plastic gloves are latex gloves, Um, just to keep your hands resin free and then also cups. So I use these cups to mix the resin also, to mix different colors of resin or put spray painting so it's good to have a variety of sizes, depending on you know what you're gonna need. I picked up some of these court sized plastic containers to mix larger batches of resident and these are kind of nice, because if you let the resin peer in them, you can actually peel it out and reuse. Um, and then also, I have some popsicles during sticks and larger paints during sticks. Some other important tools that you'll need in this class are a level. And also, um, either some sort of butane torch like this one or also a heat gun would work. You just need this to be able to pop the bubbles that form Vigna resin and also to help create some different effects that I'll be going over to. Now let's get into what I used to call her my resin. So I use a ton of different things. Um, and these are by no means the only things that you could use. But here's just some examples of what abusing in the class. I like to use this liquid text basics brand of acrylic paint. It's pretty inexpensive. I like to use acrylic inks. The brand doesn't really matter again. It's just whatever you confined. This is India. Ink works really well, too, and I also like to use fluid acrylics, which are a little bit thinner than regular acrylics. I really like this white pigment paste that I got online. I think, um, this is an epoxy paste. It's made for epoxy resin. I also like to use thes little craft paints because you can get him pretty much anywhere, and they come in so many different colors. And this is a gold metallic powder that I think I got on Amazon, and it's like one of my favorite goals to use. It's like, really, really metallic. This is optional, but you could use dangerous alcohol or isopropyl alcohol to get some lacing effects and you resin work. But it does affect the bond of the resin, so only use a little bit. And another thing. I use a lot of our spray paints again. Brand doesn't matter, but they just have so many different colors and lots of metallics that I just love to use decanted spray paint so I'll just spray a little of this into a cup, and then we'll add that into the resin, and lastly, you'll need some sort of drop cloth. I recommend plastic because the president doesn't stick to plastic, so you could just easily peel it up and index for um, easy cleanup and then also some sort of substrate to put your resin work on. So I like to use wood because it's sturdy and, um, sometimes canvases larger. You get they kind of like the resin kind of pulls up in the middle of them just cause they're not supported as well as what is so I definitely recommend a rigid surface like wood or tile. Um, so in these examples, you'll see me using a lot of wood. 3. Dirty Pour: Elrod, right, Let's get started. So first I want to show you guys what a dirty poor is. But before I get into that, I'm gonna quickly go over how I get my pigments situated to be mixed with resin. So here I'm just decanting some spray paint and twosome cups that Alban add into present and mix up. And here I'm just adding all of my colors that I plan to use for this project into these little cups and actually adding a little bit too much pigment here on these. I'm used to making larger batches of residents, so this is a little bit too much pigment, but, um, I think I would recommend to pick a more limited color palette if you're starting out. So it's less daunting if you have less color options to go with. Okay, So when mixing your resin, um, my reason that I'm using is a simple 1 to 1 ratio. So it's very crucial that you mix is equal parts as you can. Um, using a scale here would probably be a little bit more effective than just eyeballing it. But I do a good enough job. So, like I said, just mixed even equal parts of resin, and then combine that into a larger mixing bowl. You want to make sure that you're getting as much of the resin mixed together as possible, so here aren't resins. Instructions are to mix for at least three minutes, and you definitely want to make sure that everything is homogenized. Scraped the side, scraped the bottom, scrape your stirring stick. Um, just keep mixing until everything looks like it's pretty well mixed. It shouldn't be cloudy. Um, you might see a lot of bubbles, but that's OK. And now I'm just going to pour all of that resin into my cups and stir up the pigments. All right, so here's the dirty poor, which is basically just pouring all of your colors in together just in different layers. You can go through and do a slight stir after you're done or not. I don't think I do it in this one, but it's just basically layering your pigments and then pouring them all on at once. Um, sometimes I like to also add in just strips of, um, flat color just to break it up a little bit and add some dimension. But you don't have to do that if you don't want to. It's completely up to you. And then you just kind of poor it all on and watch the magic happen. It looks amazing. I love the ribbons that it forms is just so cool looking. Give it a little tilt, but all the campus it's covered in kind of start to see patterns emerging, and by tilting it, you're really encouraging the lacing to start happening, as you can see here and then by torching it, you're also promoting moral lacing toe happen. Not really sure why, but the heat really brings out lacing and resin, and also the dirty poor helps to kind of. It's just the densities of pigments. Mingling together creates lacing patterns. So you saw me go over that with the torch. That was just to get the bubbles out and these air so thin that you really need to be quick with your torches. Burn the wood underneath, and now I'm just doing another example of a dirty poor with different colors layered differently, and I didn't add any alcohol to these at all. It's just straight pigment mixed with prison, a mix of spray paints and acrylic paints, Um, in that white pigment taste and then that powdered pigment metallic powder in all of these different densities that mix together, Um, that's really what gives you the lacing. So it's kind of Ah, an effect that a lot of people try to get and they, you know, scour the Internet trying to find ways to, you know, people to tell them how to do it. And it's really simple. I have to do is just layer different mediums, like spray paint in acrylic paint and paste, and different densities are going to really give you the laziness you want. 4. Triptych: Hey, welcome back. So in this video, I want to show you another way that you can create a painting without do minority poor. So I've got my resin mixed up already. And these are just some of the pigments that I'm going to be using or some of the paint's. Um in hindsight, these two blues air, like, really similar, so probably should respect one. So now I'm just going Teoh, add a little bit of my paint into each cup of present and stir thoroughly like you can see here. I don't use much pigment. I'm mainly using it just to add a tint to it so you don't need a lot. All right, so now that my campuses are level, I'm just gonna start spreading some resin on. This is meant to be pretty abstract, so don't feel like there's, like, a certain way have to do it. I just like to lay down some base colors and then just kind of tilted around and see what kind of patterns I can get out of it. What's looking good and what isn't. And if something doesn't look good, I can always change it or add more Resident or scrape it off, or just kind of do what I think should be done. I really like this white resin because as soon as you torch it and had heat to it, it really laces up. I think that's because it's such a thick, heavy, dense pigment. Um, but here I just got some fire. So here just added spray paint. So I decanted that gold spray paint. And then I just used a pipette to get that onto the resin piece. And it creates this really interesting kind of like, I don't know, speckled like fractured Look, I don't know. I can't explain. It's super cool. And when you tortured, it kind of forces things to spread out a little bit more like, but you can see it does catch on fire exit of spray paint. Um, if you wanted to add, um, alcohol to this, you could spray that on top of the spray paint, and that would disperse it even more than that creates another cool look. Um, so when I am torching these small round disks, I tend to do it in short little bursts just because the wood that I'm using it so thin that I could just burn it. If I hold the fire on too long, you can see here that beautiful lacing at that white gives. I just love it and here some bubbles because I think I torched that area a little bit too much in the kind of damage to the wood underneath a little bit. But that's OK. A quick torch and on to the next. So these air meant to be sort of like a serious like a trip Tik. So I kind of, you know, I want to make sure that I'm doing them similar, but not the same. So I could display them all together and they look like a cohesive, um, piece of art. So doing the same kind of techniques. But I'm just kind of varying how I apply the resin and where I put the gold. So unlike that powdered pigment paste, this gold you can really see, it behaves a lot differently. Um, it really spreads out a lot more than the other gold. You really have to work with the other bolt to get it to move. But the spray paint gold catches fire, but it gets a different look so and then on to the last one. I love these little round disks. I get them at Michael's. Um, they're just super thin, and I like them for creating, like a multiple piece like trip Tik kind of thing because they're so tiny that when you put a bunch of them together, it kind of looks really cool. And I just prime them with white acrylic paint. I usually paint my wood pieces. Just the wood grain is showing through because of the pigments that I use are transparent, so you'd be able to see that background go to it and there are some more beautiful lacing. And again that's just from that pigment. Pace tends to lace really well, So that's why I like using that, and also just by the movement, tilting your pieces back and forth. Um, kind of helps to disperse the pigments a little bit and get them to kind of create interesting patterns, a delicate gold there. I hope you enjoyed washing me, create this trip. Tik joined me in the next video, and I'll show you how to do a large scale paintings 5. Create a Large Painting: away, right? Let's phone in our skills. We've learned so far with creating resident works. And let's create a large statement piece. So here are again what I'll be using in this in this large piece. But there is one more they didn't show there, which is a different color spray paint. Um, it was like a pinkish spray paint anyway, so let's get on with it here. I'm just again mixing up my risen again. You want to be really sure that you're getting this very thoroughly mixed up, but we've never worked with Rosen before. It's very crucial that you mix it. Otherwise, it's not gonna cure, um, completely hard. So let's mix up our pigments. Um, back to the gold pigment paste and amusing couples pray pains here. And for this piece, you can go ahead and mix the techniques that I have showed you so far. You could do a portion of this as a dirty poor, or you could do all of it as a dirty poor you wanted. You could, you know, do what I'm doing in just two flat colors and mingling together with the heat gun or blow gun. Or he gonna um, blowtorch or I mean, you know, just whatever I have showed you so far, feel free to use here. Just using this Popsicle stick to kind of spread that out a little bit. Um, don't worry if it's not perfectly even because this is leveling self leveling resident. So it's it'll it'll shape up here pretty soon. No, I was gonna add some more colors to it and just have fun. This is all about having fun in putting something pretty in your house. So, um, just let loose and just let it flow. All of my pieces, I think, tend to look like crap when I first started out like they does Don't really look like much , especially right now. It just looks kind of black. But as soon as you start tilting your tells in your canvas or wood and really getting those pigments to mingle together, that's when it kind of starts to come alive. Um, and you can get all these interesting effects, like placing, and it's just a pretty cool. So resin. Obviously, it's kind of out of viscosity of like honey, but as soon as you add heat to it, it, um, thins it out a little, but it becomes a little bit more runny and more viscous. So sometimes like to use that to my advantage. If early on the piece, I want things to, like, move a little a little bit more. Um, I might tortured a little bit, but it gets a little bit run here. You can add alcohol. Um, but I went over in the beginning of this video isopropyl alcohol or denatured alcohol. I think you can also add to the residents a little splash and that also actually thins out your resin a little bit. But, um, that kind of messes with the chemical bonds of resin, so you're kind of taking a gamble with that, so I don't like using it a ton. But sometimes for certain effects on my add a splash just to get some different resonant effects like lacing and stuff, my favorite part is adding gold. I just law putting golden and getting that lacing. So this is my favorite gold to use because it's so thick. It just the spray paint. When I added his really more so sick from the top, and this stuff really gets in and mingles in with the rest of your colors, so I like that a lot. So now I'm gonna go in with a heat gun instead of a bullet torch like I have been using. This is just another way to pop the bubbles and disperse the pigment. So you want to keep it moving? Don't hover on one spot for too long, you're gonna burn their resin or, you know, we're water, whatever you're working on, so keep it moving, and eventually you'll start loosening up and heating up that resin so it gets to be a little bit more fluid, and then you can see here with that goal. It just creates such beautiful, extreme ations. And yeah, I just love to use this gun toe. Also, try and create some patterns just like I do with the bullet torch. But, um, first and foremost, it's mainly used to pop bubbles so that he draws the bubbles up to the surface and pops. Um, so that's very crucial in creating resin work. You want to make sure that you don't have any hairs or bubbles on the surface. It's like completely, you know, glass like surface. So just play around with what kind of patterns you can get out of it. Um, yeah. Sometimes I play too much in the night body, everything up, but yeah. So I thought this spot was looking a little bare and boring. So I'm adding just more interest into some of these areas. Just kind of breaking up the gold a little bit. Sometimes. Too much gold is about. I'm gonna kind of try and mix that thing with the gold a little bit more. I've noticed that usually when I have an idea of something that I want to do with my head. And as soon as I start working with resident, I just end up coming up with this completely different different piece. So don't be discouraged if you can't get what you're trying to get. It's more about having fun and loosening up and playing with resin. One of the upcoming videos. I'll be showing you how to get rid of these resin drips and kind of finish your pieces off and prepare them to hang up on display. All right, Well, that was fun. I'll see in the next video 6. Damming the Edges: eso this video is just showcasing another way to prepare your edges. In my previous videos, I go over just letting the resin flow off the edges and not damning them like this. And just by letting it flow off the edge, it does give it a nice look. Um, you know, your artwork just seems to kind of continue off the edge. It's like a gallery rap style flow of just artwork, which can be really nice. And they can look really nice, too. But sometimes you want a clean, crisp edge that doesn't have and you have that runoff. So in that case, you would do what I'm doing here and just stand the edges. So I've just taken regular painter's tape and gone around all the edges. Take him down. Um, if you don't, if you absolutely don't want any reason to get on the edges, you know, obviously take the entire edge. You can see I have, like a little sliver that's like still, you can still see it. But for this purpose of this painting, I didn't really care about keeping it clean edge. I just wanted to contain the resin so that I had less runoff because sometimes again, without run off. If you're not damming the edges, the coolest parts of your painting could just slip right off, you know? And then and then you've got a lot of wasted resident, too. It's like so by David the edges. You can really contain everything. Enforce everything, just stay put. So that's kind of why I like today on my edges. Sometimes after you're done with your painting, um, let it sit in cure for at least I would say, two hours. At that point, you resins going to start to get pretty tacky and you can remove the tape. Um, you might still get a little bit of movement in. The resident might try and, like, roll down the edge a little bit. But you definitely don't want to wait until it's fully cured, because it's gonna be harder to get that tape off. It's gonna be, you know, here to the resin. So art resident typically cures hard to the touch by eight hours, so any time before that, I would say is, is good to peel that tape off. All right, so that's pretty much all I have to say about that? Um, yeah. Just enjoy watching the rest of this painting. - In this next video, I'm gonna show you how to utilize any extra resonant you may have from a project. And great what I like to call a resident skins. 7. Resin Skins: When you start working with resin, you will inevitably start collecting all of these little scraps of resin, these little present skins I like to call him, and it's just I mean, it's run off from your project. Okay, strip such a collected on your drop cloth, your piece of plastic here. Or, in my case, I have started to save my extra resin from projects that I just don't. I just made too much resin from I'll keep that and kind of do a dirty poor with it on a sheet of plastic, and I'll keep that as a skin. So in this video, I kind of want to show you how to utilize and get the most out of your residents. So if you end up mixing more than you need for a project, you can take that extra Rosen and still create something great with it. So here is an example of a typical work space of mind. It's pretty messy, but look at fat magic. The resin will just peel right off that plastic like it system stick, so it might not look like much on this particular project, but save it like you never know you could need. You could want to make a little mosaic thing full of like red and white little dots like And now you have it. You don't have to, like waste anymore, resident. So this is a trick I like to do. Plus, it just makes for easy clean up. Now you can reuse this plastic sheet for another project. So I kind of got this idea for creating residents skins when I was working on a project that just wasn't really turning out very well. But the runoff from the project so the resin drips were just like way better than the actual project Waas And I was like, How can I save this and, like, utilize? Because I waste so much residents like I gotta be ableto you know, do something with it. So I kind of created this this resin skin concept where I just kind of save all of my scraps and I can cut them up into smaller pieces to use in a mosaic. Or you can do anything with this, like, just cut out the best parts of your residence skin and frame it or, you know, like create little shapes and make a huge mosaic like the sky is the limit here. Just I'm begging savior resin. So besides saving your resin scraps, you can also just do like a regular work of resin. But on plastic, because since residents and stick to plastic, whatever you do, you could just peel off. And then I like to frame that. So in this example, I just did a dirty poor with my leftover resident, and then I kind of framed up the part that I thought looked the best. So I cut that out, and then I just stuck it in a frame, and it looks like amazing. So you can either do your resident works on substrate that it's going to adhere to, or you could do them on plastic, peel them up and then frame. Um, just like any other work of art. So this is what you'll need if you're going to do a large residence skin. So this is just a sheet of acrylic that I got at Menard's. Um, these were actually a little bit expensive. I was kind of surprised, but you reuse it, so it's That's all goods. You can use a thinner sheet of plastic like that drop off that I'm using. But it's It does have, like, wrinkles in it and stuff. So any of those wrinkles are going to show through in your resin, like on the back of it, which doesn't really matter. But if you're gonna frame it, I would recommend getting just a flat sheet of acrylic that you can completely level and there's gonna be no bumps or creases anywhere. Here is what I do to kind of prepare my acrylic sheet for the dirty poor. So I like to dan the edges like we went over earlier. Um, and I just do this easily by sliding a piece of tape underneath, and then I kind of pinch the edges to secure it. Love, come get I can't grip on. So now I've got all of my pigments mixed up in some cups of resin, and I'm just going Teoh, mix out a dirty pork. So I've noticed that if you're mixing and pouring fresh, freshly mixed resin, um, it behaves a little bit differently than if you were to, um, you know, wait like 20 minutes before pouring it because it's it stiffens up and hardens up a little bit longer. You let it sit, and this reason has an open time of, like, final 40 minutes. So if if you're resident is like mingling too much in your dirty poor and it's not like because sometimes these nice ribbons form and you kind of want to keep that. But that ends up kind of melding together as it kind of levels out. So sometimes I will kind of wait a little bit with my dirty pores and kind of poor them when they've when they're a little bit older, so that kind of keep their shape a bit more. That makes sense. So a good thing to do with your dirty pores with your extra resin is to experiment. So here I've just dropped some spray paint on and kind of dripping some alcohol over that just to see how that looks. It really looks cool to spray paint, but it kind of pushes the pigments out underneath it as well. I didn't really like that, so just pour over it. I mean, you could do whatever, and it's just experiment with your dirty pores. So Missile section I thought it was really cool. I actually just added straight spray paint into my dirty poor cup. So this wasn't mixed in with the reason it was just in the cup, so it kind of created a cool, cool effect. It's a good idea to kind of cover your resin while it cures that you can prevent dust and little hairs from falling in there. So I just kind of made this little half a box to set over the top of it volunteers. And now you can start peeling it off. So I usually wait between eight and like 15 hours before I peel it off. At that stage, it's still pretty malleable, like it's still pretty rubbery, like you can see here like it's it's got some some give to it. So just be careful when you're pulling, it's gonna seem like it's a little rubbery. But just be careful actually pulled too hard on this one, and I broke my acrylic sheet in half. So just be careful. But if you wait, like until it's fully cured, like think aren't residence time is 72 hours before it's like, completely cured. Um, it's going to be very, very stiff and really hard to get off of here, so I like to do it when it's still a little bit rubbery. And that way I could ensure that's not to like brittle, not brittle but like, you know, too stiff to pull off. And then you left with a skin that you can cut up and do whatever I will say. It's easier to peel off if you have a thinner sheet. So the thicker you go, the more hard it is to kind of peel off. All right, So in my last video, I'm gonna show you how to finish up your artworks and get them ready to be displayed on your wall or whatever me. 8. Finishing and Displaying: before we hang her artwork and display it, we're going to need to finish the edges. So in this case, I've got a lot of standing to dio Since I just let the resin run off the edges, it's created all these little dimples of little droplets of resin on the bottom of my piece . And I want this really flush against the wall. So I'm gonna need to stand this down. I'm gonna go ahead and stand these little ones to this from this trip tick that I made earlier. I'm gonna be using this orbital sander to sand mine. You can do it by hand, but I wouldn't recommend using sandpaper blocks. I would probably go for a metal file. If you're doing it by hand, it'll just take a bit of elbow grease, but you'll get there. Once you're done standing, these little droplets will just be super flush to your piece and it will be ready to hang The's smaller circles were so thin that instead of hanging them on the wall just on their own, I think they would look great in a frame. So I got this cheap frame at Michael's, and, um, I'm gonna kind of place the's in here in an arrangement that I think looks the best. And then I'll seal that up and it's ready to hang, even though these are pretty thin. It was still a pretty tight fit for this frame, so I might actually even recommend getting a shadow box that would look really good with used to. So if you're not framing your artwork, you could also attach saw tooth hooks to the back to hang it up or use a wire or just lean it against a wall. Thanks for taking this class. If you have any questions, I would be happy to answer them in the comment section. And don't forget to post your work. I'd love to see what you made by.