131882922 4 Resin Jewelry Projects

7/29/2019 131882922 4 Resin Jewelry Projects

1/18

How to MakeResin Jewelry:

4 Fr Projts plusBonus Guid to

Rsin Jwlry Supplis
http://www.jewelrymakingdaily.com/


2/18

www.JewelryMakingDaily.com 2

How to make resin jewelry: 4 Free Projects

plus Bonus Guide to Resin Jewelry Supplies

F+W Media, Inc. All rights reserved. F+W Media grants permission for any or all pages in this issue to be copied for personal use.

ANYTHING YOU PUT INJEWELRY needs to hold up underthe stress jewelry undergoes when

you wear it, but that doesnt mean

everything you put in jewelry has

to be bullet-proo. As long as your

design adequately protects delicate

items, they are durable enough.

Resins are a great way to protect

and preserve such ephemerals as

abric and paper that need to be

kept dry as well as sae rom scratching or chipping.

Borrowed rom resin casting developed primarily or light

industry, embedding ocal elements in resin opens up thepossibilities or ound object and personal memento jewelry

as never beore. Bits o old ribbons, a partly stained blouse,

hardware odds and ends, ticket stubs, vintage labels, ower

petals, autumn leaves, even candy or a piece o a wedding

invitation are all candidates or your handmade resin jewelry

experiments, potential centerpieces or pendants, earrings,

bracelets, and even rings. You can also create decorative ele-

ments using resins alone.

I youd like to dip into resin, this eBook is or you. How to

Make Resin Jewelry: 4 Free Projects plus Bonus Guide

to Resin Jewelry Supplies includes a resin jewelry tutorial

or our dierent kinds o resin jewelry. Tree use a premade

bezel or the embedded object, but i youre comortable do-

ing it, you can make your own bezels and other adaptations

as you please.

Another project shows you how to create aux enamel ear-

rings in the style known as plique--jour, rom the French

or letting in daylight, in which both sides o the work are

unbacked and open to the light! Youll also fnd great tips or

working with resin, and an easy-to-use comparison o resin

jewelry supplies and products that includes pros and cons or

several types o resin, including some specially developed or

jewelry use.

Learn how to make resin jewelry and expand your world o

jewelry making materials today. Its all waiting or you in How

to Make Resin Jewelry: 4 Free Projects plus Bonus Guide

to Resin Jewelry Supplies.

Mrl Whit

Editorial Director, Interweave Jewelry Group

RESIN & BRONZE WIRE CUFFBY HELEN I. DRIGGS

7

THE RIGHT RESINBY ELEANORE MACNISH

13

URBAN RELICBY LISA BLACKWELL

5

FLOWER-BURST RINGBY DANIELLE FOX

3

COLORFUL RESIN EARRINGSBY TOM & KAY BENHAM

10
http://www.jewelrymakingdaily.com/http://www.jewelrymakingdaily.com/


3/18


ORIGINALLy pUBLISHEd IN HANdCRAFTEd jEWELRy2010




Flowerburst RingBY Danielle Fox

W mbddd i wopar

poy rsi, a pair o blak

amld, rivlik owrs

adds dimsio ad pu o is oral

md rig.

T o o l s & M a T e r i a l s

3 crystal volcano 2mm crystal atbacks2 black 52mm vintage enamel owers1 silver-plated 20303mm bezel ring1 piece o decorative paper

2-part epoxy resinMultipurpose glueJewelry cementSmall clear disposable plastic measuring

cupSmall paintbrushCrat stickoothpickParchment paper

Liver o sulur (optional)Finished size: Adjustabletechniques: Collage; Gluing;Oxidizing; Resin

a

step 1 Oxidize the ring: Oxidize the bezel ring with liver o sulur i desired.

step 2 Cut and seal the paper: Careully cut out a piece o decorative paper to ft

inside the bezel (fg. a). Working on the piece o parchment paper, use the paint-

brush to coat both sides and the edges o the cutout paper with multipurpose

glue (fg. b) and let dry; repeat several times to ensure that the paper is completely

sealed. Place the sealed paper cutout in the ring bezel.

B


4/18





FLOWER-BURST RING By dANIELLE FOx

step 3 Embellish the paper: Use the toothpick to dab

the back o 1 atback crystal with jewelry cement, thenadhere it to the cutout paper (fg. c). Repeat twice with

the remaining atbacks, then twice more with the enamel

owers. Let dry.

step 4 Pour the frst layer o resin: Pour oz Part A resin

into the plastic measuring cup, then pour oz Part B resin

into the same cup. Use the crat stick to gently old the two

parts o resin into each other, mixing until smooth, about

2 minutes. Tis batch o resin will be useul or 30 minutes.

Use the crat stick to drizzle resin mixture into the bezel

until it reaches the top o the bezel. Place the bezel in a

warm, drat-ree area to dry or at least 6 hours.

step 5 Pour the doming layer o resin: Repeat Step 4,

drizzling resin into the bezel until it domes (fg. d). Let dryand cure completely; this will take 3 ull days . Do not touch

the resin until it is completely dry or youll risk leaving

fngerprints.

DANIELLE FOX

is the editor o Handcrated Jewelry and Stringing magazines,

the author o Simply Modern Jewelry (Interweave, 2008), and

the coauthor o Mixed Metals (Interweave, 2009). She lives

with her husband and Berner puppy near Boulder, Colorado.

c

D

resources

contact your local bead shop. Flatback

crystals: Fusionbeads.com. enamel Flowers:

isabellas collections. ring: amate studios

(wholesale only). letterpress i stinkgreeting card: hello!lucky. ice resin: www.

iceresin.com. mod podge multipurpose glue

and g-s hypo cement: michaels.

T i p s

A 12 oz plastic soda bottle flled partway with sand

works as a perect ring stand: Te rings shank fts inside

the bottles opening, while the ring top rests on top.

o help cut out a piece o paper that fts inside the

bezel, ink up the bezel part o the ring on an ink pad,

then use it to stamp your paper. Wash o the ring

immediately to remove the ink, then cut out the paper

just inside the stamped line. rim as necessary to ft the

paper snugly inside the bezel.


5/18


ORIGINALLy pUBLISHEd IN HANdCRAFTEd jEWELRy, 2009




Immorali a prsoal mmo by isrig i i a prmad bl sig ad ovrig i wi a

wopar rsi miur a dris ard ad lar. T uky bl usd i is kla is omplmd

by sraps o lar ad ai.

Urban Relic

BY LISA BLACKWELL

T e C H N i Q U e s

Jump ringsResin

Wire wrapping

M a T e r i a l s

1 bronze 14mm ring3 fne silver 624mm bone links1 recycled-metal 1224mm ree-orm

charm1 shibuichi 2335mm 2-hole bezelpendant1 natural brass 512mm lobster clasp

1 natural brass 7.3mm jump ring5 natural brass 10.3mm jump rings2-" (27 links) o natural brass 3.5mmsoldered rollo chain

5" (21 links) o natural brass 5.58mm

unsoldered oval chain16" o brass 20-gauge wire6" o dark brown 2mm leather lacedecorative paper

2-part epoxy resinmultipurpose glue

T o o l s

scissorsdisposable mixing cupPopsicle stick

handheld torch (optional)2 pairs o chain- or at-nose pliers

wire cutters

s o U r C e s

Contact your local bead shop. Bronzering, recycled-metal charm, bone links,

and bezel pendant: Zoa Art. Naturalbrass jump rings, chain, and clasp:Vintaj Natural Brass Co. (wholesaleonly). Leather: MB Imports. Brass wire:

Rio Grande. Enviroex Lite Pour-OnHigh Gloss Finish resin: Jo-Ann Fabricand Crat.

T i p

Items that look great in bezels: old photographs, small collages

pieces o paper torn rom an old book or letter, decorative pap

and small beads, buttons, or sequins.


6/18





URBAN RELIC By LISA BLACkWELL

step 1 Insert the decorative paper into

the bezel: Use the scissors to cut a piece o

decorative paper that will ft inside the bezel,

then insert it in the bezel (fg. 1).

step 2 Fill the bezel pendant with resin:

Prepare the resin by mixing equal parts o

Part A and Part B in a mixing cup. Use the

Popsicle stick to gently stir the mixture or a

smooth resin; a whipping motion will create

bubbles. Once mixed, let the resin stand

or 5 minutes. Pour the resin into the bezel

pendant, allowing it to dome slightly on top

(fg. 2). I you see bubbles in the resin, you canremove them at this point with a handheld

torch: simply sweep the torch quickly over the

surace o the resin, making sure not to get

the ame too close to the resin, or it could

burn. Let dry or 24 hours.

step 3 Attach the recycled-metal charm

to the pendant: Use the 7.3mm jump ring

to attach the recycled-metal charm to the

bottom hole o the bezel pendant (fg. 3).

step 4 Prepare the chain: Disassemble the

5.58mm chain into the ollowing pieces by

opening and closing the unsoldered chain

links as you would jump rings: 2 single-link

(") pieces, one 3-link (") piece, one 7-link

(1-") piece, and one 9-link (2-") piece.

step 5 Make the center o the necklace:

Attach one 10.3mm jump ring to one end

o the rollo chain (fg. 4). Use the other end

o the rollo chain to string the pendants

loop. Attach one end o the 3-link piece o

5.58mm chain to the ree end o the rollo

chain (fg. 5). Attach one 10.3mm jump ring to

the other end o the 3-link piece o 5.58mm

chain.

step 6 Add the short segments o leather:

Use one end o one 1-" piece o leather to

string the 10.3mm jump ring attached to one

end o the rollo chain (fg. 6). Fold the end

o the leather over the jump ring and to the

center o the leather; secure the resulting loop

with multipurpose glue (fg. 7); let dry. Use

the other end o the same piece o leather

to string the bronze ring. Fold the end o the

leather over the bronze ring and to the center

o the leather so that it overlaps the leather

end that is already glued down by about";

secure the resulting loop with multipurpose

glue. Repeat entire step starting with the

10.3mm jump ring attached to the end o the

3-link piece o 5.58mm chain and attaching

it to another 10.3mm jump ring.

step 7 Add the long segment o leather: Use

one end o one 3" piece o leather to string

the bronze ring, opposite to where the short

piece o leather was attached in Step 6. Fold

the last" o the leather over the bronze ringand secure the resulting loop with multi-

purpose glue; let dry. Repeat entire step using

the other end o the same piece o leather

and one 10.3mm jump ring.

step 8 Secure the short-leather loops with

wire wraps: Use one 4" piece o brass wire to

string one o the leather loops ormed in Step

6, leaving a" tail (fg. 8). Wrap the wire our

or fve times around the center o the short-

leather segment (fg. 9); trim excess wire rom

both ends, leaving just enough wire to tuck

into the leather. Repeat entire step using the

other short-leather segment.

step 9 Secure the long-leather loops with

wire wraps: Use one end o one 4" piece o

brass wire to string one o the leather loops

ormed in Step 7. Wrap the wire our or fve

times around the base o the leather loop.

Repeat entire step using the other loop

ormed in Step 7.

step 10 Attach the bone links: Use one

10.3mm jump ring to attach the ree 10.3mm

jump ring on one short-leather segment to

one end o 1 bone link. Use 1 single link o

5.58mm chain to attach the other end o

the previous link to one end o another link

(fg. 10). Use 1 single link o 5.58mm chain to

attach the other end o the previous link to

one end o another link. Finish this hal o the

necklace by attaching one end o the 9-link

piece o 5.58mm chain to the other end o

the previous link.

step 11 Attach the clasp: Attach one end

o the 7-link piece o 5.5x8mm chain to the

clasp. Attach the other end o the chain to the

ree 10.3mm jump ring on the long-leather

segment.

lisa blackwell is one hal o Zoa Art and a

PMC artist. She lives in Inman, South Carolina,

and can be reached at www.zoaart.com.

1 52

6

3

7 9

4

8 10


7/18


ORIGINALLy pUBLISHEd IN LApIdARy jOURNAL jEWELRy ARTIST, jUNE 2009




step 1 Soak bezels in strong, resh, warm

pickle. Scrub components with brass brush

and dish detergent. Give components a good

rinse and let dry or several hours in warm

place on wad o paper towels.

I stock a wide variety o preabbed brass

components, most o which are suitable or

resin containment. It is cheaper to buy themthan to abricate them, but i you are a purist,

you can abricate actual bezels youve soldered

yoursel. It is important to clean them well so

as not to interere with the resin chemistry.

step 2 Seal abric strips with abric stiener.

Tis step makes cutting them out easier, and

will encase any errant abric dye in polymer.

You can use printed paper, too, but seal that

with polymer based decoupage medium and

let it dry completely.

Resin & BronzeWire CuffA trendy cu and an ancient metal

BY Helen i. Driggs

s k i l l s

SawingRivetingHammer orming

M a T e r i a l s

Resin or other drillable ocal elementin a bezel

8-gauge round bronze wire20-gauge bronze or brass sheet12-gauge copper wireJax patina or brass and bronze

Masking tape

T o o l s

Hand tools: orging hammer, rivetinghammer, jewelers saw and blades, oval

bracelet mandrel, fles, B+S gauge, 1/2"diameter dowel, mandrel or rodOther tools: torch and pickle pot orannealing, resin measuring and pouringsupplies, scissors, abric or paper, abric

stiener, ex shat and #45 drill bit,ball bur, brass brush, dish detergent,Sharpie

s o U r C e s

Most o the tools and materials or

this project will be available rom wellstocked jewelry supply vendors.

Tis is a rlaivly asy proj a a b

oqurd ovr a wkd. I rommd

a you mak your rsi oal r o a

Friday ig, so i will av ply o im o ur

bor you riv i o u lar i wkd.

Wil your a i, mak abou a do oals, baus

is asir o masur ad mi abou a ou o

2par rsi a a im, ad you mig as wll us i up

isad o wasig i. I you ar rally lvr, you aoos abri a mas your Moday morig

work ouf.

I ammrd ik bro wir aroud a sl madrl

o mak u wirs. Agai, r ar may

dirios you ould ak wi is osruio

mod, bu I lik la lis rad by

ik, ammrd wirs agais ompliy o

aiqu kimoo abri I mbddd i rsi.

Bro sis ily w you ammr i, so

bral will old is sap, ad oola brow

paia looks pry spiy, oo!

1

2


8/18





RESIN & BRONZE WIRE CUFF By HELEN I. dRIGGS

step 3 Working on a wax-paper background

(resin wont adhere to it), cut out abric

patches and insert into cells o brass bezels .

I you create circular ocals, a circle template

makes it easy to get a perect ft.step 4 Follow manuacturers directions or

mixing resin and hardener. Use a wax-lined

paper cup to create a pouring spout and

careully fll bezels.

step 5 Cure or 24+ hours in a protected

place.

Ive got potential dust and cat hair issues in

my studio. I position my resin ocals under the

lid o a Riker mount so I can check on them

or bubbles as they cure, which also prevents

airborne cat hairs rom settling on the surace.

step 6 race edges o bezel and draw outline

or mounting plate. Make a pattern on paper,

adhere to brass sheet. Cut out with saw.

Hammer texture i desired, keeping metal at.

Clean fnish edges.

step 7 Cut two 6" lengths o 8ga bronze wire.

Clean fnish cut ends. Anneal, quench, and

pickle. Rinse and dry.

step 8 Make Sharpie mark at 3" on both

wires.

step 9 Wrap wires around mandrel, rod, or

dowel at center mark to orm long U shape.

step 10 Hammer cut wire ends completely

at, to about 20ga thickness. Anneal. Quench,

pickle, and rinse. Dry wires completely.

step 11 Drill hole at 1, 5, 7, and 11-oclock

positions o ocal with #45 drill bit.

step 12 Countersink hole in resin slightly with

a ball bur. Set ocal aside.

step 13 Drill holes into edges and center obacking plate with #45 bit.

10 11 12

9

13

8

5 6

7

3 4

4 T i p s f o r r e s i N s U C C e s s

Use a drinking straw to blow on the suro poured resin to pop the inevitable

bubbles that rise to the surace as it cureTake care not to touch the resin suracewith the straw.

Tere are lots o molds on the marketnow or resin i you cant fnd the bezelstyle components.

Use wax paper to protect your worktoprom spills; resin wont adhere to thewax paper.

Seal paper and abric with the appro-priate sealant to prevent the resin romsaturating the paper, or causing the abdye to leach out into the plastic.


9/18





RESIN & BRONZE WIRE CUFF By HELEN I. dRIGGS

16

15

14

17

18

19

200

step 14 Measure wrist. Position backplate at

appropriate area o bracelet mandrel based

on wrist measurement. Indicate outline o

backplate with masking tape and Sharpie on

mandrel. Mark hole locations.

step 15 Form annealed wires into cu shape

at marks on mandrel. Ensure hammered

sections overlap drilled hole positions at edge

and center.

step 16 Cut 3" length o 12ga copper wire.

Hammer a mushroom head on one end o

wire with rivet hammer.

step 17 Rivet cu wire to backplate one

hole at a time. Make sure wire ends overlap at

center holes, but do not extend too ar past

rivet.

Tis measurement will depend on the size

o the wrist, the size o the backplate, and

the length o the at hammered sections

o the bronze wires. Compare the wrist

measurement marked on the mandrel, and

fle away any excess attened wire. Hammer

the center rivets ush with the surace o the

backplate to ensure the ocal sits at on thesurace and does not rock. Veriy ft o bracelet

beore riveting on the ocal.

step 18 Position drilled ocal on backplate.

ranser position o frst drilled hole o ocal to

backplate.

step 19 Insert rivet wire into drilled holes,

mark length and cut. Complete rivet,hammering until ush on both sides. Veriy

positions o ocal and backplate. Repeat

riveting process or remaining 3 holes.

step 20 Patina bronze to deep chocolate

brown. Hand polish to high sheen and seal

patina with dab o wax.

helen i. driggs is Senior Editor oLapidary

Journal Jewelry Artistand an experienced

metalsmith. A BFA graduate o Moore College

o Art, she has worked as an inormation

graphics artist, art director, writer, and editor.

She is a member o the Pennsylvania Society o

Goldsmiths and the Society o North American

Goldsmiths.

6 d e s i g n o p t i o n s

Drill parallel holes down the cu wires andattach beads down the length o thebracelet with 20ga wire.

Instead o open curves on the cu,hammer the U shapes together tightly.

Rivet 1 big and 2 smaller side ocals to the cu

Embed other stu in the resin just remember to keep the areas you haveto drill clear o glass, stone, or otherundrillable materials.

Fill the bezels with fred polymer clay insteado resin.

Make a metal clay ocal instead o a resin one,

but make sure the holes you create will fredown to a size compatible with the12ga rivet wire.


10/18


ORIGINALLy pUBLISHEd IN LApIdARy jOURNAL jEWELRy ARTIST, OCTOBER, 2009




Arids w pda immdialy aug our y. A frs gla w oug i was a

pi o aml bu s plaid a s ad rly rad i i a rsi

worksop. S ad addd som glir o rsi o ra aml . W

wr so irigud a w ad o giv i a ry.

Workig wi rsi was as asy as wd iiially oug. W primd wi

svral rsi sysms ad oloras bor didig o is proj, a pair o arrigs a

giv imprssio o pliqujour aml (op o bo sids), usig raspar rsi i

pla o aml. T rsi olds wir dsig i pla o i urs. T addiio o fglir ras a said glass wi op bak lig lig si roug. Bs

o all, o kils ssary!

Color Resin EarringsPretend plique--jour enamel

BY TOM & KAY BENHAMs k i l l s

FabricationSolderingResin

M a T e r i a l s

24-gauge sterling silver strip: .020 x.12528-gauge fne silver bezel wire: .013

x .125Sterling silver seamless tubing: .188OD x .156 ID18-gauge sterling silver round wireDouble-sided carpet tape

Five-minute, two-part epoxyICE Resin and Hardener (we chosethis product because o its ability toproduce a glistening dome fnish)

Assorted colors o fne glitterRenaissance Wax

T o o l s

Hand tools: assorted pliers; assortedfles, jewelers gram scale, tube cuttingjig; jewelers saw and blades, ush

cutter, cup burLayout tools: pencil, paperFinishing tools: beeswax, vibratorytumbler

Other tools: disposable mixing cups,spatula, micro-spatula, eye dropper,wooden toothpicks, acetoneSoldering tools: torch and tips , striker,

ux, easy solder, soldering block,quench and pickle

s o U r C e s :

ools & Materials: Most o the toolsand materials or this project will beavailable rom well stocked jewelry

supply vendors.ICE Resin: www.iceresin.com

OPenInG PhOtO: JIM LAWSOn

PROJect PhOtOS: tOM & KAY BenhAM


11/18





COLORFUL RESIN EARRINGS By TOm & kAy BENHAm

Once we agreed on our design, we used

tracing paper to create our pattern.

{photo 1} Use pattern as a guide. With

fngers and assortment o orming pliers,

create rames o earrings rom lengths o

sterling silver strip, similar to orming a bezel.

Mark and cut strips, then fle ends square.

{photo 2} Solder outer rames using easy

solder. Quench, pickle, rinse. File and sand

solder joint smooth.

{photo 3} Again using fngers and

assortment o orming pliers, this time with

5 6 7 8

1 2 3 4

9

lengths o fne silver bezel wire, orm each

partition piece to ft pattern. ake time

to adjust and readjust each partition until

satisfed that it fts pattern snugly.

{photo 4} Use tube cutting jig to cut our .125"

lengths o sterling silver tubing.

wo tubing lengths will create the openings

or the ear wires; the second set to create 2

teardrop shapes which we ormed with our

small needle-nose pliers.

{photo 5} Mix up small batch o fve-

minute, two-part epoxy to secure each

intersection with outer rame. Apply epoxy

to each joint with tip o wooden toothpick,

then place assemblies under work lamp to

allow a proper cure.

We did not bond the teardrop shapes or

the ear wire openings at this time.

{photo 6} Place a strip o double-sided carpet

tape to a sheet o paper, then remove release

strip rom top side o carpet tape. Careully

press each assembly onto tape to seal bottom

o assembly so it wont leak when liquid resin

is poured into each cavity. Press small teardrop

shapes and pieces o tubing or ear wires ontocarpet tape according to the pattern.

{photo 7} Careully weigh equal amounts o

resin and hardener with jewelers gram scale.

{photo 8} Mix resin with spatula or two

minutes per manuacturers recommendation.

Because we wanted our earrings to match, we

mixed a batch large enough so that we could fll

comparable partitions in both earrings in one

application.

{photo 9} Add glitter in small amounts

using a micro-spatula. Add glitter in severalsmall batches, rather than adding too much

to avoid having to mix up another batch.

Mix glitter thoroughly into resin ater each

addition.


12/18





COLORFUL RESIN EARRINGS By TOm & kAy BENHAm

1210 11

{photo 10} Using dropper, add each batch

o resin in appropriate cavities. Fill cavities

only 3/4 ull to allow or fnal doming layer o

clear resin. Clean eye dropper with acetone

between each resin batch.{photo 11} Allow resin to cure at room

temperature or one hour according to direc-

tions. Place assemblies under work light or

24 hours. Ten turn light o and allow resin to

cool to room temperature beore proceeding.

{photo 12} Mix a large enough batch to

dome both earrings at same time. Again, with

eye dropper, add resin slowly and careully so

it domes up. Dont allow resin to ow over

sides. Allow resin to cure at room temperature

or one hour, and then place under work light

or 24 hours. Remove rom light and allow to

cool to room temperature beore removing tape

rom back. Avoid touching the resin surace as it can

acquire fngerprints or several days beore it is

ully cured.

Create ear wires with 20ga sterling silver

round wire. Round each end with the

cup burr lubricated with beeswax beore

shaping.

We placed the ear wires into a vibratory

tumbler or a couple o hours to work-harden

them.

Beore attaching earrings to wires, apply a coat

o Renaissance Wax to protect resin surace.

TOM & KAY BENHAM are teachers of

both metalsmithing and lapidary, are mem-

bers of The Florida Society of Goldsmiths

and The Central Florida Mineral & Gem So-

ciety.

SUBSCRIBE TODAYjewelryartistmagazine.com

or call (800) 676-4336

Let us inspirethe artist in you!LEARN TO MAKE EXCEPTIONAL earrings,

bracelets, rings, and pendants, plus we explain

what works, what doesn't, and why. Learn how

to create personal, unique jewelry faster and

easier using foolproof instructions.

In Every Issue:

Discover projects loaded with valuable

tips and design ideas

Get hands-on expertise from the pros

Find answers to all your technical

questions

Learn all about tools and techniques

for stone setting, riveting, texturing,

and much more.
http://www.jewelrymakingdaily.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelryartistmagazine.com/http://www.jewelrymakingdaily.com/


13/18



The Right Resinfnd the kind that works or you

BY ELEANORE MACNISH

Rsis av bom vry popular or jwlry us, as mid mdia is bomig mor widly usd ad apd i jwlry

appliaios. O, oly kid o rsi I kw abou was oi wopar poy rsi. now, os o alraivs is, may

o wi, ak goodss, ar ooi. Tis is a aou o my qus or pr rsi.

tWO-PARt ePOxY ReSInS

Until testing Ice Rsin by Susan Lenart Kazmer and colors Rsin

by Rio Grande, I only had experience using toxic two-part resins and

used them only when I absolutely had to. wo-part epoxy resins are

terribly messy to work with, tend to bubble and keep bubbling over

the course o several hours (meaning you have to babysit them and

check on them every ew minutes to check or new bubbles), and are

toxic. o be quite honest, I was not terribly excited about these two

particular resins being nontoxic because they were still in the class o

the dreaded two-part resin. But I was wrong. Incorrect. Blissully o

the mark.

I started by mixing the ICE Resin. Te viscosity is wonderully

smooth, and it was easy to mix, with ew bubbles. As I stirred, the

mixture went rom hazy to crystal clear and almost all the bubbles

dissipated! When I started mixing the Colores Resin, I used the

resin and the thick hardener and elt a sense o doom as I mixed. It

ORIGINALLy pUBLISHEd IN HANdCRAFTEd jEWELRy, 2009

F+W meia, Inc. All rights reserve. F+W meia grants erission for an or all ages in this issue to be coie for ersonal use. www.JewelryMakingDaily.com 13


14/18





THE RIGHT RESIN By ELEANORE mACNISH

Colores

PaPer andresinIn gnral, itis a good ida always to sal papr

(inluding t dgs) you plan to ovr wit

rsinvn toug my xprimnts rvald tat

Ice Rsin, colors Rsin, and Gl du Solil sm to

work wll wit unsald glossy poto papr. Inmost

ass, i you do not sal t papr, t rsin will

turn it translunt. I you miss a oupl ospots, t

papr will at lik a wik and pull rsin into itsfbrs.

Somtims, I lik t t o a littl bit orsin

blding into t imag bausit addsto t agd

look. howvr, i its important tat t imag b

onsistnt,you must sal it ompltly!

Wn I sal papr or rsin (xpt Amazing

Glaz), I sandwi it btwn two pis olar

paking tap, utt imag out o t tap and

spradglu around t dgs. I t imag is too

larg to b ovrdby t tap, I brus bot sids

wit wit ratglu, lt it dry, and tn ut out t

imag and sal t dgs wit glu. It is nssary to

sal any papr produt, vintag or ontmporary.

Here, the let side o the

sheet music was sealedand the right side was notsealed. It makes a gigantic

dierence!

IceResin

FYI

A savvy crafter reviews three types of resin!

was thick and milky and riddled with bubbles . . . and stayed

that way. Ugh! I reread the instructions and could not fnd

anything I had done wrong. I tried again, but with the thin

hardener and a one-to-one ratio (rather than the one-to-two

recommended). Presto, success! Te resin mixed beautiully,

went rom hazy to crystal clear, and almost all o the bubbles

dissipated just seconds ater mixing!

I poured a little o each resin over a glossy photo rom

an ink-jet printer that was in a brass bezel to see i it was

compatible with the ink and the photo paper and also to

check the resins doming abilities. I mixed the remaining

bit o each resin with pixie dust, a coating used or

lampworked glass beads, to color it. I then poured the resins

into bottle caps and brushed a little o each over some

paper just to cover all the bases. Te next morning, ater

everything had cured, I inspected my workeverything was

perect! Te only dierence was the colored ICE Resin was

a bit tacky while the Colores Resin was rock hard. Te ICE

Resin eventually hardened completely ater another twenty-

our hours. I did not color either resin with the manuac-

turers suggested products, but rather with what I had on

hand, and this could make a dierence. All in all, both o

these products are spectacular! >>


15/18






ice rby Susan Lenart

Kazmer

2-Part EPoxy

rEsin

cby Rio Grande

2-Part EPoxy

rEsin

mgG

by Lisa PavelkaUV rEsin

G d s

by JudiKinsUV rEsin

Dd Gz

by JudiKinsrEsin GlazE

azg Gz

by JudiKinsrEsin GlazE

nontoxic X X X X X X

Dries crystal

clearX X X X

Dries yellow Over time X

Dries rock HarD X X X X

Dries smootH X X X X X X

cures in 520

minutesX X X

cures in

12 Hours

Cures fullyin 36 hours

XTakes more

than 24 hours

can Be Heat cureD X X Cures only by heat

selF-levelinG X X X X X X

Dome eFFect easily

acHieveD on a Flat

Piece oF PaPerX X X

Domesin a

bezelX

Requires multiplelayers to dome

in a bezel; will notdome on paper.

comPatiBle

witH unsealeD

Glossy ink-jet

Print

X X X Sometimes

easy to use X X X X X X

sanDaBle X X X X X

waterProoF X X X X X

FlexiBle X X X X X

easily crackeD X

2009 Price $3 per oz $1.22 per oz $9.50 per oz $26.29 per oz $2.63 per oz $3.25 per oz

resinchart


16/18






ink-jet printer in Gel du Soleil, letting it cure, then topping it o with

Magic-Glos to achieve a high dome. It worked beautiully! Tese two

products seem to be compatible with one another.

Gel du Soleil would be my choice as the product to use if

the resin needs to flow into lots of intricate spaces (like tiny

watch parts) or if you want to use an ink-jet image without

having to seal it first. Magic-Glos has become my go-to

product for its amazing doming properties and rock-hard

finish. When price becomes a factor, Magic-Glos wins hands

down. Magic-Glos is about $9 per ounce and Gel du Soleil is

about $26 per ounce. Because Gel du Soleil can be applied to

ink-jet images and its compatible with Magic-Glos, Ill keep

them both in the studio!

ReSIn GLAzeS

JudiKins Amazing Glaz is basically a nontoxic, granular embossing

powder, which seemed very promising and not scary at allaside

rom the thought o putting an entire pendant in the oven or a ewminutes. Ater playing with it, I discovered Amazing Glaze is great or

certain applicationsjust not or my applications. When you bake it, it

turns a aint yellowa very good thing in certain applications because

it adds an aged look, but not good or me since I use vintage materials

that are already yellow. It will dome, but only ater a ew visits to the

oven, adding a little more powder each time. Particularly troubling is

the inexibility o this material. When used in a thick-walled bezel/

charm, it is great. But when used on something larger, it will crack at

the slightest bending movement o the area in which it resides. Still, it

is easy to use (even or children), sandable, and orms very ew bubbles,

which you can get rid o by reheating.

JudiKins Diamond Glaz is also easy to work with. It has a great consis-

tency and works well as an adhesive or to protect stones in settings.

Keep in mind, though, a 1-millimeter-thick layer takes two to three

hours to dry. Diamond Glaze can yellow like Amazing Glaze and does

not dry crystal clear, but rather a bit cloudy. Also, it is not waterproo

(because it is water-soluble) and scratches airly easily.

Needless to say, Im elated about the inux o new resin products into

the market! Not only have manuacturers conquered the toxicity issue,

but theyve also come up with ormulas that no longer yellow, crack,

bleed into paper, or resist doming. Reerence the chart on page 15 or

more inormation about the properties o each resin mentioned in

this articleIm positive that you, like me, will fnd the right resin orwhatever project youre working on!

eleanore macnish is a glass beadmaker and silversmith living in

Albuquerque, New Mexico. She has been making glass beads or ten

years and doing silver work or two-and-a-hal years. Visit www.emacnish.

com to see more o her work.

UV ReSInS

In the category o ultraviolet (UV) resinsresins that will cure in direct

sunlight or under a UV lampI compared JudiKins Gl du Solil to

the resin I ell in love with a while ago, Magi-Glos rom Lisa Pavelka.

I applied both resins side by side to a variety o suraces: a rag-cotton

paper, a glassine envelope, and two small round cutouts rom a

postcard.

Gel du Soleil is thinner-bodied than the Magic-Glos and produced

almost no dome when I applied it to at pieces o paper. Tis is

because it spreads out instead o keeping a dome shape like the Magic-

Glos. I used in something like a bezel, the Gel du Soleil produced a

dome, but again not quite as rounded and high as the Magic-Glos.

Tink o it like this: the viscosity o Magic-Glos is like honey, and the

Gel du Soleil is like honey warmed in the microwave.

Another dierence: the Gel du Soleil is not as hard when ully cured as

the Magic-Glos. When ully cured, you can make a dent (temporary)

with your fngernail in the surace o the Gel du Soleil; the surace o

the Magic-Glos is too hard to make a dent.

I then applied both UV resins to two ink-jet printsone print on

normal copy paper and one print on glossy photo paperto see i

there was any dierence in the two products with regard to adhesion

and the eect o the resin seeping into unsealed paper. Guess what?

Tere is a gigantic dierence! Both worked fne on the normal copy

paper, but the Magic-Glos slid right o the glossy paper and let a

bunch o goopy, uncured resin on the surace o the print (I suspect

because o a chemical incompatibility with the ink). Te Gel du Soleil

cured ully and adhered to the glossy paper with no problemin act,

it adhered so well that when I tried to peel it o, most o the paper

came with it! With Gel du Soleil, making an ink-jet print on glossy

photo paper eliminated the need to seal the paper! I was so excited I

could hardly stand it.

I wondered i I could combine the best characteristics o both resins

by embedding a photo printed on glossy photo paper with an

Gel du Soleil

Amazing Glaze

DiamondGlaze

Magic-Glos


17/18





PROJECT NAME
http://www.jewelrymakingdaily.com/http://www.iceresin.com/http://www.iceresin.com/http://www.jewelrymakingdaily.com/


18/18



PROJECT NAME800.545.6566 riogrande.com

Sharing your passion for making jewelry.

Products. Service. Know-how.
http://www.riogrande.com/http://www.riogrande.com/http://www.riogrande.com/http://www.riogrande.com/http://www.riogrande.com/

131882922 4 Resin Jewelry Projects

Documents

Transcript of 131882922 4 Resin Jewelry Projects