tinted resin

tinsleymua: This was one of my favorite pieces for Westworld the evolution of building Dolores (Evan Rachel Wood) by Dr.Ford (Anthony Hopkins) Hidden in the glass case of his office. Four stages. The intention was to make them feel like old Plastilina sculpts. I loved the finished arrangement so much that we made molds and cast each head in tinted resin. These are the finished resin heads. Sculptures by Hiroshi Yada for Tinsley Studio.

tinsleymua This was one of my favorite pieces for #westworld the evolution of building Dolores (#evanrachelwood ) by Dr.Ford (#anthonyhopkins ) Hidden in the glass case of his office. Four stages. The intention was to make them feel like old Plastilina sculpts. I loved the finished arrangement so much that we made molds and cast each head in tinted resin. These are the finished resin heads. Sculptures by Hiroshi Yada for Tinsley Studio. #tinsleystudio #makeup#makeupfx #fxmakeup #makeupeffects#makeupartist #makeupartistmagazine#forensics #evolution

A new video is complete for this month’s $5+ patreon supporters. How to mold, cast and attach a resin horn.

In the last video of this series, I take you through how to make a 2 part silicone mold, cast it with crystal clear, tinted resin, and securely attach it to your plush. Hope you will enjoy.

Videos are sent out on the 5th of next month after payments clear for this month.

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So I have decided that I definitely needed another hood ornament. My obsession with Pokemon Go of course being the impetus :) And of course i had to represent my team… Team Mystic!

As always, modeled in Rhino, printed on my Flashforge, and hand painted. Although this time I added the extra complication of creating a mold and blue tinting some resin to create the transparent gem!

Hope you all like it! Go Team Mystic!

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This Roman period glass bowl is made of translucent, light green glass. The bowl would have been formed by blowing a bubble of glass into a mold, creating the ribs on the vessel’s exterior and leaving the areas between the ribs extremely thin. Despite its age, this glass object is intact with the exception of one small, oblong loss in the thinnest part of the wall. Conservators do not always fill every loss in an object, especially when an object comes from an ancient and/or archaeological context, or when the loss is small; however, in the case of this bowl, the glass surrounding the area of loss is so thin that filling the loss actually improves the object’s stability by protecting the edges of the loss from further damage.

The loss in the bowl’s wall was filled with a thermoplastic acrylic resin called Paraloid® B-72. Paraloid® B-72 is a favorite material in conservation, used as an adhesive, a consolidant, a fill material, and a coating. B-72 is versatile as it is soluble in a variety of solvents in a range of concentrations, and particularly well suited to conservation as the resin is chemically stable, reversible and manipulable with solvents and heat, structurally strong, optically clear, and bonds well to many materials. Paraloid® B-72 finds use on a wide range of materials, but because the resin sets through solvent evaporation, tiny bubbles visually disrupt the resin film, making B-72 less aesthetically appropriate for glass. To help conservators use this excellent repair material in glass conservation, conservators at the Corning Museum of Glass developed a way to cast Paraloid® B-72 resin films without bubbles.

To make the fill for the bowl, B-72 resin was tinted with dyes and dry pigments, poured into silicone rubber molds, and cast into thin sheets. The molds were placed into polyethylene bags (left) to allow the solvent to evaporate slowly, reducing the formation of bubbles in the resin film. Once set (right), the film was cut to shape and adhered to the loss by applying a tiny bit of solvent to the edges of the fill; because B-72 is itself an adhesive, no additional adhesive is necessary.

Through exposure to its archaeological burial environment, the surface of the bowl has developed a layer of iridescence often referred to as “weathering products.” Unlike accretions that have become adhered to the surface of the glass, weathering products are actually the original surface of the glass that has delaminated, or split, into many layers. As light passes through these extremely thin layers of glass that are separated by small pockets of air, the light bends or refracts, the optical effect creating iridescent colors like oil on water or the colors of some butterfly wings.  

To make the Paraloid® B-72 fill resemble the weathered glass, a layer of goldbeater’s skin painted with acrylic iridescent paints was added. Traditionally used in the beating of gold sheet into gold leaf, goldbeater’s skin is thin, strong, translucent, and has a satiny sheen similar to the glass weathering products. This bowl will be part of the upcoming reinstallation of the Brooklyn Museum’s Asian and Islamic Galleries.

Posted by Victoria Schussler 

Don’t miss the moules! Marcel Broodthaers: A Retrospective closes Sunday. Broodthaers’s irreverent sense of humor and love of wordplay are visible in his use of mussel shells and eggshells, which he obtained from a local restaurant and which became his signature materials. In French, the word moule means both “mussel” and “mold”; in Broodthaers’s hands, the discarded shells gave form to artworks with multitudes of poetic meanings. 


[Marcel Broodthaers. Cercle de moules (Circle of mussels). 1966. Mussel shells with tinted resin on painted panel. 63 in. (160 cm) diam. Private Collection. Courtesy Hauser & Wirth. Photo: Gretchen Scott]

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 I decided to make this into an ongoing (well at least until i finish this set) mini set making tutorial.  For those of you who attended any of my set making workshops this is old stuff.

(pic 1) I start out with basic white foamboard, I cut it into the major set parts, floor, walls, door then i hot glue all these sections together. Once I’m done with the walls and floor i begin to cut out smaller strips for detailing, supports, door trim, access panels. I then glue all these smaller parts onto the base walls. 

(pic 2) I wanted to cover all the beams and panels with various sized rivets to give the set a nice cartoonish industrial look so i cast a bunch of different sized hemispheres in urethane resin. To give the rivets a nice metallic sheen right out of the mold I mixed grey tint into my resin and i dusted my silicone mold with silver mica powder before i poured my casts.

(pic 3) I then glued each rivet into place.

(pic 4) I airbrushed the set with various shades of warm and cool grey then on top of this with a paintbrush i stippled on various shades of silver and rust colors to make the set look worn and “lived in”

(pic 5) Steve looking “happy” to be on his new set,…. (well as happy as it got for Steve on that particular day)  :-)

 Note: this is a “quick and dirty” method to set building. This is a great way to build a set for a quick photoshoot, If you intend on making a set that’s going to used often and roughly the base would Ideally need to be built of plywood, the details built up in various layers of wood and plastic then the whole thing either primed and painted, or if you need something highly textured, coated in a thin layer of epoxy paste and sculpted/finished.  The difference being my set took a few hours to make and it cost me about $6 the other method would cost at LEAST 10x as much and take at least 3-4 days to a week to finish.

 I hope the above makes some sort of sense,.. anyway,… for those interested I’ll continue this with a how-to about the room furnishings soon as i finish all of them. ;-)