Cleaning Up
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How do I clean up after painting?
All our paints are water based and must be cleaned up with water. Permanent paints must be cleaned off brushes and rollers with water before the paint dries. Body Paints wash off with water even after drying.
Storage of Paint
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How long can paint be stored?
Unopened paints have a shelf life of about 2 years. Some will last far longer. Store in a cool area, upright and properly sealed. Substantial mixing may be required after storing as some special effect paints contain heavy pigments that may tend to settle over time. If paint is used by placing brushes or rollers directly into the bucket then storage time may be reduced. This introduces bacteria from the equipment and the paints have also had time to pick up bacteria from the air.
Preparation, Priming and How To Paint Various Surfaces
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What surfaces can our products be applied onto?
Paints should only be applied to surfaces that they will adhere to permanently. From an adhesion point of view, we make two types of paints: Our normal paints are not labelled “Super Adhesion”. These can be applied over any existing water-based paint or varnish. In most cases new surfaces are first painted over with a primer that is suitable for the surface type and suitable to be painted over with water-based paints. Our normal paints can often be applied directly to cement, cement plaster, some fabrics and interior wood without priming but it is still often better to apply a primer in order to have less absorption of our more expensive special effect paints. Some of our paints are labelled “Super Adhesion”. Super Adhesion Paints can be applied direct onto masonry, plastics, melamine, resins, wall tiles, non-corroding metals, ridged rubbers, fabrics and interior wood. On these surfaces priming is not essential. Note that plastics and resin should be lightly sanded with a fine sandpaper before painting. The paints should not be used on very high gloss wall tiles. The paints should usually be thinned with one of our mediums before painting fabric.
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What general preparation is required before priming or painting?
Ensure all surfaces are clean and free of grease, salts an dust. Sand glossy paints down to a lower gloss finish (and apply Universal Undercoat if they are oil based paints or varnishes). Damp from beneath the paint will cause it to peel so make sure all sources of damp are fixed. Paint will not adhere to chalky or powdery surfaces so use a high pressure cleaner to remove all powder. If a slight powdery nature remains then apply a bonding liquid. Poor paint layers may be hidden many layers below the surface. All paint should be removed to below any existing poor paint layer
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How to paint over oil-based paints
Unfortunately there is no easy way to paint water based paints over existing oil paints or varnishes. High gloss oil paints or varnishes should be sanded down to a lower gloss finish. Always wear a dust mask when doing this as oil paints may contain lead. Clean the surface and then apply a coat of Universal Undercoat over that. Once that has dried for the stipulated time (usually 24 hours) apply our paints as normal.
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How to paint fabric
There are many different types of fabric but in general the following applies: Our Neon UV Fabric Paints can be painted onto plain white fabric as is. These get ironed over while they are still wet to melt them into the fabric. Our other paints can be used on many fabric types provided they are thinned first. They should be thinned with our Acrylic Original Flow Control Medium or our Acrylic Spray Medium to assist penetration and bonding onto fabric fibers. If the fabric has a plastic feel or nature then only use our Super Adhesion Paints thinned with our Acrylic Spray Medium.
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How to paint leather
Leather may be finished with a large variety of products. Degrease leather with isopropyl alcohol (also called rubbing alcohol and used in many hand sanitizers). If this does not remove all wax, oil, coatings etc then you need to lightly sand the leather. Thin the paint with our Airbrush Medium so that the paint is absorbed into the leather. Apply 2-4 coats as required. We cannot guarantee adhesion and flexibility on all types of leather in all applications.
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How to paint wood
Interior wood can often be painted over directly with good quality acrylic paints like ours. Exterior wood needs to have a Wood Primer applied and because this contains oils follow this with a coat of Universal Undercoat. Our paints can be painted over this, usually applying two coats.
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How to paint metals
Before applying our paints, metals that will corrode must always have all rust removed and then be painted with a metal primer that will prevent rust and can be painted over with water-based paints. Galvanized steel must first be cleaned with Galvanized Iron Cleaner then rinsed with clean water. Galvanized steel comes with an oily coating that must first be removed otherwise all paints and primers will peel off. After cleaning, a water-break free surface should be achieved i.e. water on the surface should form a continuous film and not pull into droplets. Our paints that are labelled "Super Adhesion" can be applied directly onto clean, unpainted non-corroding metals. Non-corroding metals include aluminium, galvanised steel, stainless steel, copper and brass. If you want to paint any unpainted metals with paints that are not specifically Super Adhesion Paints, then prime them with a suitable metal primer that can be paint over with water-based paints. If metals have previously been painted with an oil paint then always apply a Universal Undercoat first.
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Using our Primer and Sealer on art substrates
Our product called Primer and Sealer is perfect for priming a wide variety of art substrates that will be painted with acrylic paints. Apply two coats to prime and seal wood such as MDF board and cut pine. Apply a single coat for adhesion to most plastics and wall tiles. It can also be used to prime epoxy resins. This allows artists to easily prime surfaces such as vinyl and melamine. Sand plastics with a fine grit sandpaper first. This should be followed by a soapy wash and good rinse. Do not use on high gloss tiles or floor tiles. Our Primer and Sealer is a clear product.
Application of Metallic Paints
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Are our Metallic Paints suitable for spraying?
Yes they are. Our metallic paints have been optimised for spraying with air spray systems in numerous ways. Excellent filtration of our paint during manufacture ensures spray gun nozzles don’t block due to lumps. You will not get air bubble problems in the sprayed paint film as fast acting air removal chemicals have been optimised in the paint formulation. The thixotropic rheology of the paint ensures it atomises well when leaving the nozzle even if it arrives at the nozzle a little thick. Finally, the rheology is such that when the paint slams into the surface being painted, it is not very runny so runs should not be problem. Due to the large particle size of some of the metallic pigments that we use, you may need to remove the in-line filter of your spray equipment
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Application of Metallic Paints with brush and roller
When painting with Metallic Paints always keep a wet edge. You cannot go over paint that has started to dry as you will re-align the pigments and will need a full extra coat to hide the defects. See separate FAQ on how to keep a wet edge. Brush and roller motion is very important. Move the brush or roller up and down (or left and right only). Do not use haphazard motion. This is because the metallic particles are aligned by the brush or roller movement so haphazard roller movements will lead to the appearance of shade variation in the dry paint. On a wall start on the left edge and only roll up and down in reasonably straight lines. Once a roller width has been painted always roll the roller fairly lightly from top to bottom to finish off. When one roller width has been completed move to the right and go up and down again with a sufficient overlap of the previously painted area. Again, finish off by rolling from top to bottom. This should be done for every section so that the pigments always align in the same direction. Work quite quickly and complete the wall in the same way. You cannot stop for a tea break until the full coat has been finished. Wait until the paint is completely dry to touch (at least 2 hours but more in slow drying conditions) and apply the next coat in the same way. Apply a 3rd coat if necessary.
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Application of Metallic Paints by air spraying
Using an HPLV Spray Guns (High Pressure Low Volume): These spray guns connect to a compressor and operate at high pressure (5 bar for example). The air volume used is low hence the term HPLV. Thinning the paint with 55% Air Spray Medium (450ml paint mixed with 550ml Air Spray Medium) can give excellent spray results and the adhesion is improved as opposed to being reduced when you dilute with water. It is advisable to use a nozzle with diameter of around 1.8mm. Smaller nozzles used for automotive type finishes (0.6 - 1.2mm) may not work. Using an HVLP Spray Guns (High Volume Low Pressure): These spray guns may connect to a compressor but often have their own air pressure generating system. They operate at low air pressure (0.1 - 0.2 bar for example) and use a high volume of air. Thinning the paint with 55% Air Spray Medium (450ml paint mixed with 550ml Air Spray Medium) may be sufficient if you use a nozzle around 2.3mm. In addition, you may still need to thin the paint further with a little water. If you have problems, they will probably related to insufficient pressure to feed the gun rather than the behaviour of the paint in the nozzle. Rather than over diluting the paint with excess water, you can use our Acrylic Spray Medium to thin the paint. We got good results with a 2.5mm nozzle. Our paints may not work well with these HVLP spray guns.
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Why is keeping a wet edge important with Metallic Paints and how is it achieved?
Painting while keeping a wet edge is an essential technique when using any fairly glossy paint as well as when using Metallic Paints. It is most important with Metallic Paints as rolling or brushing over a partly dried area damages the surface which gives it a distinctly different appearance. This can only be hidden by a full extra coat. To assist here are some things to remember: • Do not paint in direct sunlight or in windy conditions or onto surfaces that are hot as the paint will dry too quickly. Do not attempt to speed up paint drying. • Do not paint directly onto porous surfaces as absorption of the paint will make it dry too quickly. Apply a primer or undercoat to porous surfaces first. • Start at one corner or edge so that you only move in one direction. This results in you only having one edge to keep wet which is far simpler than having multiple edges. • For large surfaces such as feature walls you require two people to paint. One does the cutting-in on top and bottom and keeps just ahead of the painter using the roller. This means the painter with the roller can make continual progress and the roller can overlap the cut-in areas when they are still wet. There is very little chance that the edge will dry out too much. Carefully roll over as much of the cut-in area as possible to avoid “framing”. Proper taping off before painting makes cutting-in faster and allows the roller to get closer to the edges.
Topcoats
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What top coat can be applied over art?
Our Clear top Coat is a highly protective pure acrylic product that lots of artists use over acrylic art. It is available in matt and gloss. It needs thin coat application and cannot be poured on. Most artists apply it with a foam roller or using a technique with a sponge. They pop the small air bubbles that develop by blowing. It dries very quickly and 2-3 coats are usually applied depending on the gloss requirement. There are lots of products you can apply to give a glossy finish but not many that offer a high degree of protection like our Clear Top Coat product.
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How does one apply Clear Top Coat over art?
Bastion Paint's Clear Top Coat needs thin coat application and cannot be poured on. Most artists apply it over acrylic art with a foam roller or using a technique with a sponge. They pop the small air bubbles that develop by blowing. It dries very quickly and 2-3 coats are usually applied depending on the gloss requirement.
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Crystal Sparkle Topcoat
We have three Crystal Sparkle Topcoats that are suitable for both interior and exterior applications. They are clear, glossy products that can be applied over any acrylic paint. As they are Super Adhesion products they can also be applied directly over most plastics, wall tiles, non-corroding metals, interior wood and masonry surfaces. The clear paints contain fine sparkling pigments that give an elegant, subtle sparkle. The sparkle pigments are all invisible when not sparkling so they never give the “dirt-spec” problem that glitter paints can give. Remember that to achieve a sparkle of any sort, light should shine directly onto the surface.
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Coating art with Countertop and Art Coating Epoxy Resin
Acrylic Pouring Art needs to dry for at least 2 months before coating with resin. If an oily cell forming chemical has been used, we usually don’t recommend coating with resin. If you do want to coat artwork with an oily cell former, then the oil must first be properly cleaned off (mop up with a porous powder like starch, wipe with rubbing alcohol then wash with soap and water). You will need to make a small lip around the artwork by sticking tape to the side. This must retain a depth of at least 1mm. If you pour resin thinner than 1mm, it will tend to leave holes. Make sure the artwork is perfectly level. Mix the resin as per instructions and pour it over the painting. Once it has started to thicken, you can remove the side tape so that the resin slowly flows over the edge. Getting this exact point may take some experience and you do not want a lot of resin to flow off. If you don’t pull the tape off, it may be very hard to remove later, and the sides will tend to have a matt finish.
Glow-in-the-dark Paint
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How to paint with Glow-in-the-dark Paint?
Paint only onto white coloured surfaces as the paint glows much less if applied over dark colours. Prepare and prime surfaces as per normal acrylic paint (there is a document called "Preparation and Priming" in the Technical section of our website. Apply 3 coats of paint with a brush or roller waiting 2-4 hours between coats.
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Why is Glow-in-the-dark Paint not glowing brightly enough?
For brightest glow ensure the following: • Paint has been mixed before use. You can check this by subjecting the open paint container to sunlight for a few seconds and then viewing it in the dark. The top of the paint should glow otherwise some pigment settling has taken place and stirring is required. • Paint is applied onto white coloured surfaces. • 3 coats should be applied. • The paint needs to be activated by light each time before it will glow. • The environment in which you want to see the glow must be dark. Please don’t expect this paint to glow like a light, it can only glow in dark conditions after charging.
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How long does Glow-in-the-dark Paint last?
Glow-in-the-dark paint is highly durable with a life expectancy of 20 years indoors an 12 years outdoors. During this time the paint can be charged as many times as required and after each charge it will glow for 12 hours in the dark.
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Can Glow-in-the-dark Paints be used outdoors on plant pots, paving stones, pathways etc?
Our glow-in-the-dark paints (GID Green & GID Aqua-blue) are highly durable and will last 12 years or more outside provided they are painted onto good quality surfaces. They work best when painted onto white coloured surfaces. Apply at least 2 thick coats. Yellow/Green is an interior only glow-in-the-dark paint as the neon yellow colour will fade outdoors. These paints glow in the dark and will not give a good effect if there is house light, street light or moon light shining on them. There are many pictures of spectacularly bright glowing pathways, plant pots, benches etc on the internet. In all cases these pictures are misleading because they are either taken with UV light shining onto the painted or are computer enhanced pictures or are of structures (pots, paving stones etc) with LED lights below the surface. If some of these pictures were real then glow in the dark paints would have replaced electricity in many applications. Remember the glow from glow-in-the-dark paint is visible in the dark and not in the light. Outdoors it should only be used in areas that are dark at night.
Glow-in-the-dark Pigments
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Which is the brightest glowing Glow-in-the-dark powder?
Green glow-in-the-dark pigment powders have the brightest glow followed by Sky Blue. Other colours do not glow brightly which is why we do not sell them. Our brightest glowing pigment is "XL Green for Resin". Larger size particles glow brighter than finer pigments. Our pigment called "Green (Universal)" is often the product of choice as it glows brightly and can be added to most clear mediums.
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How long does glow-in-the-dark pigment powder last?
Our Glow-in-the-dark Powders are very stable and loose less than 10% of their glow strength over 20 years. They can be recharged an unlimited number of times. When added to clear liquid mediums such as paints, resins, glues etc. the stability depends on the type of wet medium. Once the medium is dry or cured the pigment remains very stable.
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Using our Glow-in-the-dark Pigments in silk screen inks to print t-shirts.
Our paints cannot be used for Silk Screening. Our Glow-in-the-dark Pigments can be used if added to a clear Silk Screen Ink. In order to get a better glow effect of the printed patterns use a fairly coarse mesh screen. We know that a 60 mesh screen works well with our normal Green and Sky Blue Universal Pigments. The reason is that the layer of the printing ink will be thicker and will obtain a better luminous effect by using a screen with a lower mesh number. Add our luminescent pigment to a clear silk screen printing ink and mix well. We do not sell silk screen inks but clear inks can be obtained from silk screen ink manufacturers. 1. To achieve a good glow strength place an undercoat of white ink first and then print the glow-in-the-dark ink over that or print directly onto the white fabric. 2. To get the ideal glow strength, the minimum thickness of the layer of printing ink should not be less than 100µm. When the thickness ranges between 130 to 150µm, the glow strength will be the greatest. (To achieve this you may print the ink twice with 60-mesh silk screen.) 3. Adding additional layers of ink will give a brighter glow.
Acrylic Pouring
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Causes of Cracking in Acrylic Pouring
From a technical point of view we identify cracks as arising from three distinct physical mechanisms. Crazing, Shrinkage and Syneresis. Crazing: The surface seals too fast while paint under it is still fluid and able to move slightly. Firstly one must consider the drying rate: Never try to speed up the drying rate of a pour. Never dry a pour with a fan or draught blowing over it. Never dry a pour in direct sunlight. Secondly one must be aware that the paint surface seals more when there is more binder present. Crazing can thus often be reduced by reducing your pouring medium a little (replace it with a little water). Lower quality pouring mediums may already contain water so will tend to give less crazing. If using a high quality pouring medium make sure that you don’t use too much (rather use a little water if required). Shrinkage: All pours shrink in the z-direction (thickness direction) as they dry. When they shrink in the x and y directions they often crack. This shrinkage is mainly a function of too little binder (compared to pigment & fillers) and often happens when using cheaper matt paints, low quality pouring mediums and when only thinning with water. This shrinkage cracking is also called “mud cracking” and in pours is usually seen as a high number of thin cracks. Syneresis: This is liquid separation. Basically liquid water and liquid binder separate. Water is forced out of the paint and accumulates in “streams” as the pour dries. These streams of water have no pigment or binder so when they are dry only an open valley remains as a crack. In our view crazing and syneresis cracks look very similar in dry pours and usually appear as “wide open valleys”. By observing the pour as it dries you will see if syneresis is occurring. Artist must make sure that paint, pouring medium and water are mixed together well, especially water. Mix for at least 1 minute. Cracks can also run from defects such as a lump or an air bubble. Avoid these defects. How far these cracks run is largely a function of paint ingredients. We specifically add an ingredient to our paints that reduces the tendency of cracks to run. Identifying the type of cracking you have and understanding the basic theory above should usually enable you to solve the problem. Remember that thicker layers of paint always tend to crack more as all the mechanisms we discussed above get worse in thicker paint layers. It is thus important to thin your paint sufficiently and to tilt or blow sufficiently so as to avoid having a paint layer that is too thick.
Photochromic Paint
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How does Photochromic Paint work?
Photochromic Paint is basically invisible in the absence of UV light. When it is subject to UV light it immediately develops a bright colour. When the UV light source is removed it returns back to its colourless state. Normal sources of UV light include sunlight and UV light bulbs or tubes. Normally the paint will be colourless indoors and develop a colour immediately when taken outside during the day.
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How do I paint with Photochromic Paint?
Only paint Photochromic Paints onto white surfaces. The paint has super adhesion technology so can be applied directly to the following surfaces if they are white: masonry, plastics, melamine, resins, wall tiles, non-corroding metals, ridged rubbers, fabrics and interior wood. If the surfaces are not white then paint them with a suitable white primer followed by a coat of white acrylic paint and then the Photochromic Paint. Apply the paint with brush, roller or airless spray. For air-spraying first thin the paint with Acrylic Spray Medium. Lightly sand plastic before application and do not apply onto high gloss wall tiles.
Epoxy Resins
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Which Resin is best for Countertops?
Our resin called “Countertop & Art Coating Epoxy Resin” is an option for surfaces that will not have direct food contact. Like most resins it has not been approved for food contact. As such it should not be used for kitchen counter tops but is fine for bar counters, tables, desks etc. This resin should be applied in two layers of 1.0 to 1.5mm each. Retaining sides need to be created with tape and this tape must be removed at the right time as the resin starts to get thick. This also allows controlled flow of the resin over the edges. Our resin called “Countertop & Shallow Casting Epoxy Resin” is approved for food contact. It is also a very hard, more scratch resistant resin. It is normal to torch resin shortly after application to pop any air bubbles that may appear on the surface.
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Which resin is used for Kitchen Countertops?
Our resin called Counter Top and Shallow Casting Epoxy Resin is approved for food contact (for foods up to 50degC) and is very hard and thus scratch resistant (but not scratch proof). These properties allow it to be used on kitchen counters although it is not as hard or heat resistant as stone. It is a high flow resin so temporary sides are required to prevent it from flowing off. This resin can be applied to a maximum layer thickness of 5mm although for a countertop a 2mm layers should be fine. The minimum application thickness per layer of this resin is 1mm. Layers less than 1mm may give surface tension problems which will be seen as the resin not spreading properly. The resins cannot be subject to temperatures above 80degC.
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VOC level of Epoxy Resin
Many manufacturers claim their epoxy resin to be “non-toxic” and have zero VOV. Both of these are incorrect. You cannot drink it therefore it cannot to non-toxic. The VOC level of epoxy resins is low but the hardener oxidises and does give off a low level of VOC’s. The resin (Part A) does not give off any VOC’s. If you open a hardener and smell it, it does have a slight odour and this odour is VOC’s. It is safe to say that the VOC level is low. The grams per litre of VOC given off depend on the curing temperature. While curing, it should be in a well-ventilated area and if you want to work directly over a large casting or pour you should wear a respirator. The VOC’s give off are particularly high if the resin over heats and sometimes you could even see smoke and fumes if this happens.
Epoxy Resin Effects
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How to create translucent and solid colour effects in resin
In general, more pigment or colourants of any kind added to resin creates more of a solid colour while less pigment creates more of a translucent colour effect. Usually when doing deeper casting one wants more of a translucent effect to allow the depth of resin to be visible. Some pigments have more of a translucent nature than others so the selection of pigment also has an impact but using low amounts of almost any pigment can give a translucent effect.
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Which Pigments can be used in Resin?
We sell many types of pigments an even water-soluble colourants. Not all of these are suitable for or easy to use in resin. In this website if you select the following "Resin Art > Resin Art Colours and Effects", then all the pigments that appear are suitable for use in epoxy resins. If we email you pigment information then there is a table that shows which pigments are suitable for use in resin.
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What resin types can our colourants be used in?
Our many different types of Pearlescent Pigment Powders can all be used in all clear resins (epoxy, polyester, polyurethane, acrylic etc). Our Allure Liquid Colourants can be used in Epoxy, Polyester and Acrylic Resins. Our Glow-in-the-dark Pigment Powders can be used in Epoxy and Polyester Resins. Photochromic, Thermochromic and Bright Aluminium Silver Pigment Powders have only been tested in Epoxy Resins.
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Coating art with Countertop and Art Coating Epoxy Resin
Acrylic Pouring Art needs to dry for at least 2 months before coating with resin. If an oily cell forming chemical has been used, we usually don’t recommend coating with resin. If you do want to coat artwork with an oily cell former, then the oil must first be properly cleaned off (mop up with a porous powder like starch, wipe with rubbing alcohol then wash with soap and water). You will need to make a small lip around the artwork by sticking tape to the side. This must retain a depth of at least 1mm. If you pour resin thinner than 1mm, it will tend to leave holes. Make sure the artwork is perfectly level. Mix the resin as per instructions and pour it over the painting. Once it has started to thicken, you can remove the side tape so that the resin slowly flows over the edge. Getting this exact point may take some experience and you do not want a lot of resin to flow off. If you don’t pull the tape off, it may be very hard to remove later, and the sides will tend to have a matt finish.
Acrylic Resin
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What is the difference between Epoxy Resin and Acrylic Resin
Epoxy Resins are clear, Acrylic Resins are white. Acrylic Resins cure much faster (usually hard in half an hour). Acrylic Resins are water-based and thus easier to handle and clean up. Acrylic Resins pose almost no potential health hazards while some people develop allergies to the hardener of Epoxy Resins. Acrylic Resins are porous and should be sealed. Epoxy resins are non-porous and can even be used under water. Acrylic Resins are significantly cheaper but require re-enforcement in various applications as they are quite brittle so can break more easily. Epoxy Resins are stronger.
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What colourants can be used in Acrylic Resin
As Acrylic Resin is opaque white (not transparent), there is no point adding glitter or expensive effect pigments into the bulk of the resin. In many cases it is simply better to paint the surface of the resin with one of our Special Effect Paints. Our Special Effect Paints can be used to create a metallic, neon or glow-in-the-dark effect. Our Allure Resin Colourants give excellent results when added into Acrylic Resin. They mix in very easily and economically colour the resins into lovely pastel to medium shades.
Pearlescent Pigments
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What is the difference between our Colour Pearlescent Pigments and our Interference Pearlescent Pigments?
All pearlescent pigments get their colour and other visible effects by reflecting and refracting light. Reflection is light bouncing off the particle surface while refraction is light passing through the particle and being bent and changed as it does so. Light that passes through the particles changes wavelength and thus colour. In our “Colour Pearlescent Pigments” all the pigments have quite a strong colour and are not very transparent. They generate beautiful metallic colour effects primarily by reflection of light. In our “Interference Pearlescent Pigments” all the pigments have a subtle colour with a high level of transparency. They tend to "play with light" and generate colour mainly through refraction. They don’t contain any coloured material in their composition but manipulate light to give the perception of colour. A pile of powder of these pigments looks white but smearing these pigments out over a glossy black surface readily demonstrates the awesome effect they can create. We have seen on some website that these pigments are sold as 'colour shift pigments' (presumably because they look different when over white to when over black). Colour Shift Pigments (also called Chameleon Pigments) are actually very different an a lot more expensive.
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What is the effect of particle size of Pearlescent Pigments?
Finer pearlescent pigments generate more of a metallic colour effect and not a sparkle. As the particle size increases the solid colour effect reduces and the tendency to sparkle increases. Thus if you want a metallic colour (solid or translucent) then use fine pearlescent pigments. If you want more of a sparkle effect then use larger pearlescent pigments. We now have an XXL Pearlescent Pigment that has been manufactured to replace glitter. Glitter contains plastic whereas pearlescent pigments do not and are thus more environmentally friendly.
Automotive Pigments
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Which of our Pigments are suitable for automotive paints?
Some of our pigments are suitable for automotive paints. In order to be suitable for automotive applications a pigment should last 10 years outside without fading. Only a few of our Colour Pearlescent Pigments are suitable for 10 years of non-fading. These are Bright Gold, Silver Sparkle – Large and Natural. Other suitable pigments are Cosmetic Diamond Pigments (Silver and Gold), Mica Based Glitter and Holographic Glitter – Fine.
Body Paints
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Can our Body Paints be sprayed or air-brushed?
Our Special Effect Body Paints should be applied to skin with fingertips, paint brush or sponge. Even with dilution the Body Paints will not spray through fine spray nozzles. Our Body Paints that glow-in-the-dark are thicker and usually cannot be sprayed at all. Our Neon UV Body Paints can be sprayed through larger nozzles (such as a syringe or the hole of a sunlight dishwashing liquid bottle). People often want to spray the paint out of water guns. If the nozzle is fairly large this will probably work. You can also dilute the paint with an equal amount of water to thin it. Our Body Paints should not be used for air brushing.
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How safe are our Body Paints?
Our Body Paints are cosmetic quality and are safe for use on skin (FDA approved ingredients). Do not apply the paints onto lips or to the area immediately around the eyes. Keep out of reach of children and do not ingest the wet or dry paint. Avoid eye contact. As with normal cosmetic precautions we suggest that people with skin that is known to be sensitive test the paint on a small skin patch first. We have never had any reports of any skin irritation.
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How to arrange a Glow-in-the-dark Party
Normally a home or small venue Glow Party requires one or two UV lights (more for larger venues) and UV Body Paint. We have Neon UV Body Paints, Invisible UV Body Paint and Glow-in-the-dark Body Paints. The Body Paints that glow-in-the-dark are great if you have limited UV lighting but you should usually still have one UV light to charge them (charging with UV light only takes a few seconds). You can also ask everybody to wear a white t-shirt and they can paint the t-shirts with body paint too. Work on 20-30ml Body Paint per person.
Ultra Violet Lights
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What area does a UV light cover?
The 36 Watt UV tubes that we sell are 1.2m (or 4 foot). These give a good effect for 3m all around if they are placed at normal ceiling height (2.5m - 3.0m above floor level). A single UV tube thus gives good effect for an area of about 36m2. Often rooms are not square so another way to visualize this is that a single UV tube gives a good effect in the area the size of a single garage. Our 26 Watt UV Bulbs work well for a slightly smaller area than the tubes giving useful UV light for about 2.5m in all directions. A single bulb in the centre of a room the size of a single garage is also normally adequate. If the environment is really dark the effective distance and area of the UV lights is much larger than that stated above but the above apply to normal party dim light conditions. Bear in mind that you don’t need the entire area covered by UV light especially if you use some of our paints that glow-in-the-dark as these keep glowing even when they leave a UV light area. For this reason home size parties often just need a single UV light.