Ocean Beach Resin Art; Step by step methods to achieving beautiful waves | Alison Camacho | Skillshare

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Ocean Beach Resin Art; Step by step methods to achieving beautiful waves

teacher avatar Alison Camacho, Resin Artist and owner of fuzzycomma

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (51m)
    • 1. Introduction to Resin Ocean Art

    • 2. Designing your Ocean Art

    • 3. Adding the Beach

    • 4. Adding the Water

    • 5. Adding the Waves

    • 6. Complete Large Ocean Process

    • 7. Complete Small Ocean Process

    • 8. Complete Sunset Ocean Process

    • 9. Gallery and Final Words

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About This Class






Do you love the ocean? Have you ever had an amazing sea-side holiday? Would you love to be reminded of the sparkling water and the lapping waves just before you go to sleep? Do you have a space on the wall in your bedroom? 

In this class you will learn how to create your own bespoke ocean beach art. You will learn multiple different methods of creating the beach, the water and, most importantly the waves.

You will learn how to guarantee getting cells in your foaming waves, but also how to make naturalistic looking waves if you prefer.

This course does not just take you through how to make one artwork - it shows you how to master the skills necessary to create your own unique and stunning ocean art. You will know everything you need to know to make successful ocean art by the end of this course!

I have assumed that you can mix resin and add pigments, but if resin is new to you as a medium, I recommend you take my "Wow factor - Resin coating for beginners" course to get the basics down first. It's not hard - I promise! Having said that, the complete process videos here (there are 3 of them) are worth watching just because seeing the speeded up creation of artwork is always a joy! And no previous knowledge is required just to watch :)

There are separate, speeded up but complete sequences, showing the creation of 3 different ocean artworks. The hints and tips, given throughout these sequences, are text-on-screen for two of them, and in a voiceover for all three, including the final sunset beach design. So there is a course delivery method to suit everyone.

The resources provided with this course include a list of equipment, a list of materials, and where you might find them, and finally a discount code to use with your first Craft Resin purchase (although you can choose whichever resin you like).

Here's your Craft Resin 10% discount link: http://craftresin.refr.cc/alisoncamachofuzzyco

Meet Your Teacher

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Alison Camacho

Resin Artist and owner of fuzzycomma


Hello, I'm Alison.

I'm a resin artist based in Bristol UK. I own the fuzzycomma art brand and fuzzycomma.com website. I specialise in geode and astronomy resin art although I am often tempted into creating art which attempts to help save the planet. I am passionate about preserving our world for future generations and so I like to reuse resources that would otherwise get thrown away, and I hate waste. In line with this philosophy, I also upcycle furniture - particularly small tables, often using a geode or astronomy theme (sometimes all at once) and, of course, resin! A defining feature of my art, and of my life, is my love of colour.

I am constantly refining my art and learning new techniques which I aim to pass onto my students. I have nearly 20 years experienc... See full profile

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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.