Transcripts
1. Introduction to Resin Ocean Art: Resin, ocean or beach art has
been popular for a while. Now, the advantage
of creating your own is that you can choose
any size or shape you like, any color combination
you desire. And if you want, you can include a whole range of textural details or
healing crystals to add to the design. Along with glitter
and metal leaf, which are well-known to
improve your state of mind. I know it does mark. This course will take you
through everything you need to know to create a resin
beach or ocean artwork. I cover coasters, placemats,
and larger artworks. I go through preparing
different substrates, selecting and arranging
sand crystals are other mixed media
like shells and things. And choosing your color palette. I show you how to pull resin
so as to allow the mixing of colors or how to keep them
mostly separate if you wish. I go through adding the
foaming ocean waves and how to guarantee getting cells or how to create a more naturalistic looking wave if that is your preference. I explain the options of what to do with the edges and how to add texture to the beach or
land part of your image. Finally, I go through
the optimum number of pores and what this means
for the finished product. This course is not prescriptive. It gives a whole
range of methods and suggestions for
the sorts of things so that you can do to create different effects that you might want to include
in your artwork. But what I hope you will
gain from this course is the confidence to
get resin ought to go. It is easy to create something
fun you can be proud of. And with a little more
knowledge and study, I believe that anyone
can create something truly spectacular using resin. The way I describe
in this course, my name is Allison. I am a resident artist
based in Bristol in the UK, and I own the fuzzy
coma art brand. Resin is uniquely suitable as a medium for
creating ocean art. And I hope you will enjoy me
on this watery adventure.
2. Designing your Ocean Art: Designing your ocean artwork,
research and sketches. Of course, you can do
an Internet search on Pinterest or
Instagram, for example. But if you copy
someone else's design, you will be unlikely to create something exactly the same. Fluid art is notoriously
difficult to reproduce. So I suggest that you
look for inspiration, but that you put your
own twist on it. Some artists do a little sketch of their design
before they start, either in a journal
or on sketchpad, or actually onto the substrate. Having a record of your designs, It's actually really nice, but I like to take
photographs of my finished pieces and put
those in my artist's book. Substrate choice. Now
I'm creating resin art. I usually look the substrate
materials I have to hand. I hate waste. And I feel that
it is our duty to protect the planet
as much as possible. And so I reuse things
whenever possible. In this course, I
have used wooden and MDF boards and tiles. Any substrate that will not sag under the weight of resin is probably okay if it is sealed
against resin absorption. This does not really
include our campuses, or at least not the large ones, unless you can
prevent the sagging, porting them from
beneath in some way. And I really just can't
be bothered to do that. Of course, if you want to, you can do that if you like. Of course, if you have molds, you can make ocean art
without any substrate at all. I have made semi-transparent
or ocean artworks as well as note book covers and even fish and Gecko shaped ocean coasters. Once you have chosen
your substrate, it is time to select
a color palette. Here, you can use the
natural world to guide you, or you can choose to use colors that go with the interior
decor of your home. However, there is
no need to limit yourself to those
colors and some of the most astonishingly
beautiful designs are not in natural colors. I have found that selecting
dark or contrasting colors to the waves often
looks really excellent. Navy blue and deep sea green or black with white and
silver or golden waves. Oh, you can choose shades
mimicking a sunset, for example, with pinks
and oranges and purples. I love to use iridescent
Micah pigments mixed with translucent shades
that allows some of the seabed to show through. I love to use real
sand in my ocean, but this is not necessary. If your artwork is
going to be a coaster or a table mat and you use sand. The sand will need to be
saturated resin to retain the surface integrity and this leads to the sand looking wet. If your artwork is going
to be on the wall, then nearly dry surface of resin can be dusted to give
a dry sand look. Sometimes it's fun to add
extra stones or shells, et cetera, to the artwork. You might like to
add healing crystals or just like the look of a
particular sort of stone. When choosing your crystals, it is unnecessary to
get polished ones. When unpolished stones get wet, the colors in the stones
show up much more brightly. And if you pull resin
over unpolished stones, you get exactly one
same increase in intensity of color
and pattern stones. But the resin never dries, or at least it dries but
that the colors stay. So you don't
actually have to use a polished stones in OT works. There's nothing to stop you
from using other things too. In these videos, I also
use abalone shells, dried seaweed, or
adding silhouettes. Official turtles
are optimists, etc. You can use beads and
fabric for texture, concrete or texture
paste, crackled paste, and mirror pieces, all sorts
of different media are possibilities for the land
part of your ocean or picture.
3. Adding the Beach: Adding the beach. You can put your sand anywhere
in the design you like. You can even choose to
have no sound at all. You might just want the beach
to be along one edge as a series of sandbars
or as a Coral Island. Anyway, you think is
aesthetically pleasing. Possible special
features include real sand arranged in ripples. I often emphasize the ribbed
structure with glitter. More special features
might include using texture paste with
real gravel or rocks. Naked would resin mixed
with so much sand or mica or other filler that becomes a way
of adding texture. I like to use a few
focused stones in a design like this one with red jasper and
colorless courts. The stones don't
have to be polished. Once coated in resin, the stone will keep its deep
color and shine permanently. Or you could choose not to resin over the
top of the stones. And just use resin to
secure the stones in place. Allowing your sand to
continue over the edges of your picture is an
effective design feature. If so, you will need to
secure the sand with some appropriate glue
until the resin for, but it is not
necessary for sand or any other part of the design
to leak over the edges. You may prefer to keep
your edges clean. In which case, I suggest you
take them before you start. I like to use frog
tape for this. I find it sticks very well
and gives a nice clean edges. When I use a heat gun to help
release it from the resin. You don't have to
stick to sand either. I'm using abalone shell here. But lots of different
materials are possible, like mirror pieces or beads, Micah flakes or crackle paste. I like to use these Polish chips of real semi-precious
stones as they are really good value and come in many different colors to add interest and a bit
of authenticity. To the black tile coasters. I have added black hollow
glitter over the top of the black volcanic resin beach
to add a bit of bleeding.
4. Adding the Water: Adding the water to hold your sand or stones
or shells in place, you will need to pull
resin over them. If you have rock crystals, you might want to
make sure they're completely wetted with resin. I suggest that the clear
resin over the beach is often the way to go
for a naturalistic look. Fingers are often a good way to make sure that
every crystal is coated and any resin runoff can be re-used if it's
completely clear. I like to use shades of
resin that get progressively darker from the beach output, indicating increasing depth. But there is no need
for your artwork to follow this guideline
if you don't want to. The cell type waves often looked best against
a dark background, but please go for pastel
colors if that is your vision. Some methods of coloring resin
result in opaque colors. Some in transparent. You need to choose the property
that suits your purpose. If you have a silhouette of a hammer head sharks
like this one, you will want to use
transparent colors. If you want to completely
cover the underlying painting, then an opaque color
is the way to go. You can choose realistic shapes. The UK C is pretty
gray in real life. Or you can go for
Caribbean levels of blue or sunset shades or any abstract colors
you might prefer. Once you have poured
some touching colors, you can promote
controlled mixing using a heat gun like this, or a mixing stage. Although there is
nothing to stop you from combining these techniques. I recommend that you do this to your satisfaction before
adding any point ways. The resin layer nearest or on the beach needs to
be colorless though, for the classic
resin beach design. Once the ocean colors for the resin or as you desire them, then the waves can be added.
5. Adding the Waves: Adding waves. This is where the magic happens. The next few sequences
show you several examples of how to pour the waves
in the ocean designs. This first example is
black and white tiles. I've used black so that you
get a good contrast with the white cell producing waves so you can see
what's going on. The important thing is to add silicon oil to the white acrylic
paint and resin mixture. The amount of pigment
needs to be quite high. You want them to
be fairly opaque. You pour in a thin line, thicker for wider waves. If you desire wider waves along the edge that you want
the waves to start out. You start at the beach and you work your way out to the C. I like to swipe the white pigment over the
top of the ocean resin. The idea is to pull the white resin actually
physically over the top. The silicon oil then
acts as a bit that won't wet the surface very
well and you end up with the cell
structure coming through. You must resist the urge to blast it with a
heat gun or a torch. Do not keep messing with it. Just let it develop cells
by not touching it. These gold and black tiles all made in
exactly the same way. You add silicon to the gold pigment mixed
in with the resin. The gold pigment I happen to use here was a gold spray paint. The technique is
exactly the same, but you can see that the gold
spreads out even more as spray paint has a lower density than the white acrylic pigment. The white acrylic pigment
is notorious for being high density and of course you actually wanted on the surface. So make sure that you
pull the pigment, the wave pigment, over the
top of your ocean resin. This next example shows ocean waves on a
large ocean picture. This piece had waves added in four or five different pools. The piece was not level
for the first pole. In fact, it was bowed, which led to the
striations of foam going back into the ocean,
which I didn't like. And so I added more layers
with more waves over the top. Resin artwork is incredibly
forgiving like this. You can see I still
wasn't happy. I thought it needed to have more contrast between the
waves and the ocean color. I added yet another layer using a white wave over
a deep sea green. This multiple
layers method gives a surface which is not
totally flat afterwards, which you might like I do. But if you want a completely smooth mirror
finished at the end, you say you're making a tray
or a tabletop, for example. You can flood coat with a clear resin afterwards
to get rid of the slight steps in
the resin caused by incomplete multiple
polls this way. In this example, I'm using a heat gun to below the
waves over the surface. It's very easy to overwork
the resonance way, which is why so many people
have problems with making the beautiful cells
that everybody likes using this technique. Use a light hand
and try to create a cushion of resin
underneath the white fur. The white resin to spread out onto it does help if
you make the resin more mobile by heating it a
little bit before you try to blow it over the
top of the ocean resin. The end result is more organic
than the swipe method, but it's also much, much more difficult to control. In this last example of
how to make ocean waves, I've gone for a much more
naturalistic ocean wave. Everyone seems to go really
like those cells in waves. And although you do get them to some extent, real ocean waves, that they don't have that
same cellular structure or at least it not
to the same extent. So if you want to make
naturalistic ocean waves, this is where having
the heat gun to create the waves
is the way to go. You get fuel cells
produced and the white is mixed more
thoroughly into the water. The effect is better if I find any way if a
pearlescent Micah powder is added rather than just or instead of the
acrylic white pigment. When making naturalistic
resin waves, I recommend that you
create them one at a time. You start using the
one on the beach. Wait for it to cure. Then add a second one
further out to sea. Wait for that to kill. Add a third one further out to see if your present piece is
big enough to require three. And then you can use
just clear resin on your second third waves over the top of your previously
cured ocean blue resins.
6. Complete Large Ocean Process: Here is a complete
construction sequence for my large ocean picture. There are two reasons
for doing this. One is actually really nice to see the whole process
from beginning to end. But two, it actually allows you to put things
together so that you can see actually
how the different parts that I've already
talked about fit together. So I have a pre painted
wooden board and I'm spray painting it with the colors approximately
in the right places. The ocean picture that
I want to produce. Then in addition to that, I'm adding sand and some pebbles and some
seashells over the top. I'm laying mouse approximately
where I want them to go. I would try not to make
this too symmetrical. I've added some glass
crystals and some fluoride semi-precious
stones, just little chips. And then one or
two focus stones. Quotes or jasper in
red and then yellow, and then adding glitter to emphasize the ripples
you've caught. You don't have to
have ripples in the sand if you don't want to. I cover mixing resin in my wow factor resin
for beginners course. Um, so it's really
important that resin is mixed
properly, thoroughly. You don't need to worry too much about bubbles when you're pouring resin onto
a flat picture because the bubbles
come out really easily. You can blast them with a heat gun to get rid of them once you've
already pulled them. So here I am mixing the pigments and you can
mix the powder pigments. This is mica. Along with this is resin die the time using
various shades of blue. My aim is to try to get
some darker shades of blue. Going to lighter shades
of blue to indicate deeper water going
to less deep water. And you can see that you
need to be careful with liquid pigments because if you add too much liquid
to the resonate can upset the chemical balance
and the resin won't set. But if you're adding solids, you can add up to 200 per cent of the resin volume
is really you can. And that's because
it doesn't upset the chemical balance
in the resin. You can pour your clear resin
directly onto the beach. And I do suggest clear
resin unless you want to change the color
of the stones in the sand, in the black sand. Pictures that I've
already talked about, some coasters and placements. Obviously, I was using black pigment mixed
in with the sand, but here, clear resin over the sand and helps
keep it sand colored. And you can use your fingers to manipulate a few upward logs. Obviously. Here I am putting the colored resin
starting with a deeper, but it doesn't really matter
which order you put them in. If you want them
to mix properly, you can promote that either with the steak or with your hand. You can see I like
using my hands. Again. Make sure
you're wearing gloves. And a much lighter shade
nearer to the beach. You can see this pale blue
that I added a white pigment. And that makes this
pale blue very opaque and much less sparkly
than the other blues, which are basically
Micah pigments which have that
lovely iridescence. Filling in the gaps where the resin hadn't wetted
the sun properly. And also, I'm using clear resin to join the beach to my
colored blue resins. And I'm going around
the edges to make sure that all of the
stones are wetted. All of the sand is wetted. All of my edges are
weighted with the resin, so that picture is
continuous and it hasn't got any gaps and none
of the sand falls off. If you warm the resin
with a heat gun, you can make it more liquid. So if your resin isn't sliding over the tops
of your stones adequately, then this is a good way to go. And you can promote mixing of your different colors by warming the resin because
it becomes much more liquid when it does that. So here I am doing
my final checks of the clear resin and then I
add white acrylic paint, which is mixed with
silicone and resin on promoting flow with
the heat gun here it's not really
designed to spread the white reading over the top of the clear resin,
not with a heat gun. I'm using a spatula to do that. You can see that
the heat gun hasn't got a very narrow nozzle. And you can also see that my white resin is kinda
drifting into the sea. And that one patch
in particular, which I didn't like and I end up at trying to arrange that. So here I am just promoting little bit
of mixing after I've swiped white over the
top of the darker blue. If you spray silicon
oil over the top, that will promote cells. So I do a quick check. And then once the first
layer or second layer, depending on how
many you've taken to create to that point is cured. You can add more
layers over the top. You can see I'm adding a
slightly turquoise layer here in order to give just a different
hear a different texture, a little bit of different color. And again, white resin
mixed with silicon. And I'm swiping over
the top and you can see those cells form immediately
in the speeded up version, it's amazing how quickly
they fall naturally. You don't want your waves
to be too straight. There will be a bit boring. It depends on how
you like your waves. You might want to reinforce the front of the wave
so that you end up with white there and the cells thinning
out towards the back. I still wasn't happy
with that bit where the white foam had
drifted into the sea. So I'm adding an
extra layer here, particularly at the front, in order to cover that up. So I'm going to be
adding extra white over the top of an existing
white foaming way. Residents. Really good like this. You can put layer
upon layer upon layer and it adds depth and
it adds interest. And it adds I'm complexity
and detail to your image. So lots of layers
actually is quite nice. It's expensive in resin, but it does produce the
most amazing pictures. You don't get the same sort of three-dimensional transparency of your water pictures
there any other way. And again, you can
see the cells forming absolutely immediately I swipe
this resin over the top. And you can see because
I've put the resin right at the very edge of where
the clear resin went. The front edge of
the wave doesn't spread because it's got
nothing to spread into. And so I've got a white
foaming frontage to my Wave. I still wasn't happy with it. I didn't like the fact
that there was so little contrast because the
pale blue underneath is, is really not a very dark color. And so where the cells
formed over the pale blue, you couldn't really
see from a distance. Adding contrast, that means putting in
some darker colors. So here I've used actually
it's a deep sea green. I'm mixing it with the
clear resin that I've put either side with my fingers. And I'm going to put
white resin over the top. And you'll see what
I mean in terms of contrast in just a second. When I add the white, I've actually put a
clear resin right up to the end of the
deepest blue in order that my C going
deeper seems to be level. You can of course level up
your picture if you don't like the steps and your resin off with why during a flood code. So here I am adding the white resin to the
front edge of the wave. I put another wave so
that I can swipe it over the sea green and I add some more white over the deep green so that I can
swipe that there and you can see the contrast immediately on
that deeper color. Use the remainder of
the resin that's in my pot in order to cover up any little gaps or
dimples in the resin. And here you can see the
multiple layer structure, the cells, different colors. It's so interesting and magnetic
and the movement in it, it's amazing. It's
absolutely glorious. And you get that lovely
mirror finish shine from resin that you don't
get from any other medium. I hope you liked this picture. If you would like to see more. I do a smaller one
in the next video.
7. Complete Small Ocean Process: If you want to start small, this is the video viewing. It's not as large as
the previous picture. It hasn't bought as many layers. I do think it's just
as beautiful them. So this first sequence is
mean measuring the area of each so that I can mix up
the correct amount of resin. There is a resin calculator in the resources attached
to this course. I'm going to add to
this resin sands, Michael flakes that you can
get from a builder's matches. And crushed glass
is a small glass. Crystals have been tumbled a
bit so they are not sharp. And some gold acrylic paints. And I'm going to mix this
up to make a text to paste, which I'm going to use to
construct my, my beach. A bit of copper wasn't
happy with the color. And that bit of
copper and a bit of extra Mica just to dry it off, it's easier to add mica in
order to make it less runny. And what I'm doing is I'm
arranging texts you paste, and I also put it
over the edges. The texture pace of course,
has got resin in it, which means that any stones and shells and seaweed and stuff
that I placed on top of it. They're going to be fixed
permanently in place. And I add a bit of dry sand to the edges just to change
the texture there. And some glitter. These are metal glitters
from advanced metallics, which I love because they're not microplastics and they're not
so bad for the environment. And a couple of
different colors, gold and a bright copper. And you can see that
the stones here and not shiny because I haven't
pulled reading over them yet. But most of them,
except for those few that are actually
in the water. I'm going to be held in place by the resin in
that texture paste. The next step is I'm pouring clear resin over the top
of a whole, whole thing. Partly to make those stones shiny and to make
the beach looks wet. And partly to hold
everything in place. You need to make sure that
anything that might rock like seaweed is completing
capsulated in resin. And what I'm doing in this
little sequence is putting some texture paste actually
on the edges of the picture. I often do not frame my
pictures when resin pictures. And so having the image leak over the edges just
means that you end up Lovely if it's finished here. Again, a little bit
of dry sand right at the front edge so that you
can see how the sand is leaking under the water and I'll be tipping off
any sound that's not connected before I put
the water in next. So here's some images from multiple sides
so you can see what it looks like from
the learning goals and where the Sun catches it. It's really lovely. So here's me removing
any loose sand, checking my picture,
leveling it all up. And these are the pigments
that I'm intending to use for this next step, which is to add the water. So blues of various sorts
in this particular image. Starting with dark blue. So I'll put in a
blue mica and then add a black transparent die. And just keep adding
drops one at a time. You really don't need
much liquid in order to make it quite a lot darker. So be careful with,
with liquids, you need to be careful
about how much you add no more than ten per cent
of the resin volume, but with powders
like mica powder, you can add as much as you like. Having said that you don't need much Micah powder in order to make really quite intense
colors that have, can you see this
iridescence that captures the swirls
in the resin? I'm going for a lighter
colors nearer to the beach. I kept the very edge of my
beach with colors resin. And then I mix up a really
pale blue that's very dilute. And I mix it with
the light blue, which is the last layer
of water that I put in and the clear
which is already in the beach to give
a inconsistent and slightly asymmetric and
trapped fill of motion. Mixing of the water so you
can see the swirls and water. I've decided it's still
not quite blue enough. And consequently, I'm adding
a very tiny thin layer of a mica blue and right
at the edge of the beach. And this is really to cover
up where the sand ends and you wouldn't be able to
see the spray paint onto me, is a heat gun to
remove any bubbles. Make sure that you're happy with the say before you
add your white, white acrylic paint
mixed with resin. And of course, some silicon
oil added spray paint. Some lubricant oil is
the one that I use. And it's a spray,
so it makes it very easy to control how
much you're putting in. More, you put in the
more cells your gaps. I put my white foaming edge of my wave actually on my beach and I'm using the
narrow nozzle on my heat gun to push
it over the waves. You can see my
resin moving here, so I'm slightly leveling picture so that I don't lose too
much resin over the edges. You see the heat gun has an
effect and the spray has an effect on the micro pigments
in the big dark blue bit. So I am readjusting how the
swells go with my finger. You use the chefs torched
to pop any bubbles. Putting this last little
bit of white resin actually on the beach where I'm not happy about how this cupboard
the edges of the stones. You want to let the white
foaming resin go past the stone tool to let it
flow around your stones. And now I'm removing any
bits of dust with tweezers. You can spot these if you get your head where you can see
a reflection of a light. Here I'm spraying silicon oil actually onto the
surface of resin. And you can see immediately the effect
that sat on a deep blue. It's not so obvious
on the white, but I promise you it's
having an effect there too. You do need to be careful
with this because they go, Can you see the cells
appearing in white? If you put too much weight on, it can leave dimples. That's not a problem
for your first layer of water because you're going
to put extra layers on top, but it is a problem for
subsequent layers on these cells. Gorgeous. So at this point, we leave the resin to cure and we'll pull our second
layer onto killed resin. So here is just
colorless resin covering the whole picture
up to where you want the second wave edge to be. Making sure I'm covering
the edges as well. Move any bits of dust up, any bubbles with
the chefs torch. Need to be careful to keep
this moving so you don't burn the resin. It's really hot. It's quite fun to watch them. And then again with silicon oil and white
acrylic paint mixed with resin right
at the front edge. And I push it back with
my heat gun. Never know. So now I'm overworking this. I don't want to have
too many cells. I want this to look
quite naturalistic. And overworking it with
a heat gun will do that. Spraying it with silicon on afterward promotes
the small cells. And here is the finished image. The next bit here
is wild colors.
9. Gallery and Final Words: Here, Awesome ocean
artworks made using the techniques
shown in this course. If you'd like to get
started on your own. There's a discount code for craft resin in the resources
attached to this course. If you need more
basic information on how to work with resin, check out my wow
factor resin course for beginners also
on Skillshare. If you would like to see
how to mount and frame and finish your artwork
with techniques, for example, on how to deal with the edges of your picture. Please check out like glittering geocodes course on finishing. Also in the resources
or a resin calendar and a materials list
of suggestions of where you might get
sand and resin, mica and your substrates from. From these final images. I think you'll agree
that ocean art can be applied to many
different resin projects. My name is Allison Camacho
of fuzzy comma.com. Please check out my
website and follow me on Skillshare so as to be sure to catch my future courses.
Alison Camacho, Resin Artist and owner of fuzzycomma
