Advanced Projects

A self-contained underwater scene built in 5 transparent layers from seafloor to surface. Each layer contributes one element of the scene and must cure before the next is added. The project requires a pressure pot for optical clarity in the deeper layers.

1. 1
   Layer 1 — Seafloor. Mix 30ml with a tiny amount of warm sandy ochre (0.3%). Pour into mold as base. While wet, sprinkle fine sand or shell across the surface. Place the pressure pot for 2 hours, then allow to cure fully (24–48hrs for deep clear casting resins).
2. 2
   Layer 2 — Lower water, inclusions. Mix 40ml of near-clear resin with very faint teal (0.3%). Pour over cured base. Place any bottom-dwelling inclusions now — shells, small stone, dried coral. Pressure pot. Cure.
3. 3
   Layer 3 — Mid water. Mix 40ml with slightly deeper teal (0.6%). This layer should be visibly more saturated than layer 2 but still transparent. Place any mid-water inclusions (suspended miniatures, bubbles made from clear acrylic spheres). Pressure pot. Cure.
4. 4
   Layer 4 — Upper water. Mix 40ml with aquamarine (0.5%) — slightly different hue to the teal below, shifting toward blue. The colour progression from ochre → teal → aquamarine creates the depth illusion. Pressure pot. Cure.
5. 5
   Layer 5 — Surface. Mix 30ml of completely clear resin. Pour as the final layer. A very small amount of white mica (0.2%) optional for surface light scattering effect. Final pressure pot cure. After full demold, sand and polish all six faces through 400–2000-grit, finish with plastic polish.

A deliberately controlled cracking effect — terracotta earth tones with golden veining running through the cracks. The crack pattern is created by applying a thick layer of opaque resin paste, allowing it to crack as it cures under controlled dehydration, then filling the cracks with metallic resin.

1. 1
   Session 1 — Apply crackle ground. Mix terracotta and raw umber acrylic paint with crackle medium (follow product ratio). Apply in a thick, even layer across the sealed tray with a palette knife. The layer must be uniform — thin spots crack less, thick spots crack more. Leave overnight to dry and crack fully.
2. 2
   Session 2 — Seal the cracked surface. The crackle layer is fragile. Seal it with a thin coat of clear resin to lock all the cracks in place before the fill pour. Work the resin gently into the cracks with a soft brush. Cure 24 hours.
3. 3
   Session 3 — Fill cracks with gold resin. Mix a small batch of resin (10–15ml) with gold mica at 2.5–3%. Using a fine brush or syringe, work this metallic resin into the crack lines across the surface. Wipe excess off the flat areas before it cures, leaving gold only in the cracks.
4. 4
   Topcoat and finish. After gold fill has cured, pour a clear protective coat over the entire surface to seal and unify the piece. This coat also fills any remaining small cracks and gives the finished surface a consistent sheen.

A functional wall clock with a resin face — the clock mechanism mounts through a centre hole drilled after curing. The design challenge is creating a pour that is interesting at the centre (where the hands pivot) without obscuring the face readability around the perimeter.

1. 1
   Plan the design before mixing. Sketch your colour layout. The centre 4cm will be hidden by the clock hands — the design should radiate outward from a neutral centre zone. Consider where the 12 position is — the design should have a clear top.
2. 2
   Pour base layer with colour design. Mix separate small batches in each colour. Pour your chosen design into the mold — sector fills, gradient washes, or swirls all work. Keep the very centre (2cm radius) as lightly coloured as possible so the drill point can be located clearly. Cure fully.
3. 3
   Add hour markers in second layer. After first cure, pour a thin clear topcoat (5–8mm). Before it gels, press 12 small gold mica dots (or tiny metallic objects) at the hour positions around the face perimeter. Work from a printed clock face template placed beneath the transparent mold to locate positions accurately. Cure.
4. 4
   Drill centre hole and fit mechanism. Mark the exact centre from the back. Drill at low speed with a sharp bit — fast drilling generates heat that can crack resin. Use a backing board and light pressure. Fit the clock mechanism shaft through the hole, attach hands, hang and set time.

Large-scale alcohol ink cells using silicone oil as a cell-forming agent. The silicone causes the resin to repel at the point of contact, creating large organic circular cells. The skill is in understanding how much silicone to use — too little, no cells; too much, the surface never fully cures properly.

1. 1
   Pour a clear resin base. Mix resin and pour a 2mm base coat over the entire surface. Torch and let settle for 5 minutes without adding any pigment — the base coat needs to be level and bubble-free before the colour work begins.
2. 2
   Mix inks with silicone. Separately prepare each alcohol ink colour: add 1–2 drops of silicone oil per 5ml of ink and stir. The silicone must be dispersed through the ink, not sitting on top. This ratio produces medium-sized cells — adjust in future pieces based on your preferred scale.
3. 3
   Apply inks across the wet surface. Pour or drizzle your prepared inks across the base resin in sections. Tilt the piece slightly to encourage spreading. The inks will begin forming cells spontaneously as the silicone interacts with the resin.
4. 4
   Develop cells with torch. Using a torch, pass slowly 20–25cm above the surface. The heat accelerates the silicone reaction and dramatically develops the cell edges. You will see cells appear and grow as you work. Multiple passes can be made — cell formation continues as long as the resin is liquid.
5. 5
   Cover and do not disturb. Once satisfied with the cell development, cover immediately. The cells continue to evolve for the first 2–3 hours of curing — any tilting or vibration during this period will ruin the pattern.

A vintage or printed map fully encapsulated in clear casting resin with artificial depth added — contour lines appear to float at different heights above the map surface, creating a topographic 3D effect. The most technically demanding project on this page: requires careful sealing of the paper, a custom mold, and precise layer work.

1. 1
   Seal the map thoroughly. Apply 3 coats of Mod Podge or PVA to both sides of the printed map, allowing each coat to dry fully. Unsealed paper releases moisture into resin and causes permanent cloudiness. This step cannot be rushed — allow 24 hours minimum for the final coat to cure before proceeding.
2. 2
   Build the mold. Use a shallow picture frame or construct a frame from foam board. Seal all internal joints with silicone caulk and let cure. The mold should be 15–18mm deep — enough for a base layer under the map and a substantial clear layer above it.
3. 3
   Pour base layer and set map. Pour 8mm of clear casting resin into the mold. Let cure to a firm gel (not liquid). Place the sealed map face-down on the gel surface, pressing flat. The gel holds it in position. Pour a thin coat over the map back to bond it. Cure fully.
4. 4
   Build elevation layers. Cut foam or card into shapes representing geographic regions or zones of the map. Stack these at different heights on top of the bonded map layer, adhering with a small amount of fresh resin. These are the elements that will appear to float at different depths.
5. 5
   Encapsulate with final clear layers. Pour clear casting resin in 8–10mm stages to fill the mold, allowing each layer to cure fully before adding the next. The map and elevation elements should be fully encapsulated with at least 5mm of clear resin above the highest point. Demold, sand edges, and polish top surface.