So, the latest test I did, using a more resin-friendly dye, making sure the containers, tools, my hands, everything were as surgically clean and dry as possible, cured beautifully with no bubbles or delamination.
Except. It made a big ol’ wrinkly fissure in the back which tells me that it was somehow too cold while curing in the oven for three hours. Really? Really?
Alumilite is supposed to be a pretty user-friendly resin. I don’t want to see one of the “difficult” ones!
This is the fifth or sixth time I’ve done this trial and I’m thoroughly sick of looking at these little pink squares. At least the silicone is working nicely so let’s do it. Let’s make mould for Clariel!
Research is annoying, boring, and absolutely necessary. I bet you’re tired of seeing these little squares aren’t you? I sure am. Silicone and resin are both notoriously finicky substances. Each brand and each type has their own particular formula and behaviour. Luckily, I knew to expect this and bought extra to test and fiddle with before casting a big beautiful sword.
Always. Buy. Extra.
So what can you do when your materials are not behaving themselves they way they should? Search online for the answers, do some more digging, ask other artists, watch videos, read tutorials, contact the manufacturer. If it turns out that there’s more than one possibility, you’ll find yourself in the unfortunate situation I’ve been in for the past few weeks.
You have to make the best guess you can as to what went wrong and do it again changing only one thing at a time. It’s tedious and frustrating and you’ll really, really want to make it go faster, but it’s necessary to isolate the problem so you can fix it. If you change more than one thing and suddenly it works, (or messes up even MORE) then you’ll never know where the mistake happened in the first place! The ultimate goal is learning more about how the materials work so you’ll waste less and be more sure of yourself later on.
You’ve all seen my first attempt with Alumilite.
What happened? The resin was too cold. My workshop is only about 17-18 degrees Celsius. (Yeah it’s not so comfy this time of year.) That’s too chilly for Alumilite waterclear to cure and not even a heat gun on the mould beforehand made a difference.
For the second attempt, I put the silicone mould in my mini oven that I use for clay baking and propped the door open. This kept the internal temperature of the oven at a toasty 50 degrees Celsius.
Well, it’s not sticky at least … It cured all the way through, nice and hard, but there were weird, flaky patches on the surface of the resin. What could possibly have caused…
Wait a second. Ah! The plaster “jacket” I made to keep the silicone mould flat and secure was made of gypsum. Why is that important? Gypsum doesn’t conduct heat very well at all. That can be really useful for some projects. For this one, though, it sucked. The plaster caused the temperature of the resin to be inconsistent.
Worse than that, the flaking of the resin actually scratched the silicone mould. That means anything I cast with that mould will have scratches all over it. Greaaaat. So I had to make another mould. I made it double the thickness of the original mould so it could stay flat and secure all by itself.
Ah yeaaaaah! That’s what I’m talking about! The resin stayed nice and toasty throughout its curing and hardened all the way through. No stickiness, no weird bubbles, no probl- Oh. Yeah there are some dark flecks in there. It’s not a uniform pink.
Yeah, the dropper I used to put the dye in the resin had a semi-dried “booger” in it. (I call bits of congealed paint, glue, whatever that gets stuck in the nozzle of something a “booger”. I don’t think that’s the technical term for it.) So the clump of dye came out in the resin and failed to dissolve into it.
But I’m still happy. “Use a clean dropper” is a really easy fix!
As I always say: “There’s no such thing as perfection; only beauty.” So how can we feel better at being forever imperfect? Just have a look at where we started and see how much we’ve grown!
Are you stoked? I’m stoked! Let’s get to the workshop and make cool stuff!
I wanted to have some more positive news for you before I posted again but it looks like that’s going to come a little later than I hoped. Remember the pink plastic coaster thingy I said I was making?
Yeaaah, it’s not supposed to look like that. The darned thing just didn’t cure properly. I’ve been doing more research and realised that my workshop is too cold for curing Alumilite in small quantities like this. (It’s only about 4-5mm thick.)
The plaster jacket I made to hold the silicone mould nice and flat is unfortunately sucking the heat out of the material because gypsum is a substance with very low thermal conductivity. What does that mumbo-jumbo mean? Well it’s cold. And it stays cold. (There’s more to it than that but the coldness is the important bit to this project.)
It ended up sticky and not fully hardened. You can probably see my fingerprints all over it. That’s not good.
So, yesterday I ran an experiment with my mini-oven at work, heating up the resin and holding it at 50 degrees Celsius while it cured. I couldn’t stay for the last hour of its curing because it was my wife’s birthday and I had to go spoil her properly. But before I left, I noticed a few tiny bubbles that should not have been there and it looked like it was separating from the mould in a few places. Not good! But I didn’t see any cloudiness that would indicate it didn’t cure all the way through. If there’s still no clouding when I get to the workshop today, that means we’ve made some progress!
So, why are small things harder to cast with Alumilite than large things? Well, when you mix part A and part B together, the resin has a chemical reaction that causes it to harden. This chemical reaction is exothermic (it gives off heat). If the piece I’m casting is large enough, I don’t have to worry about the mould being chilly. The resin will heat it up nicely for me.
While I’d love to simply go ahead and cast the Clariel patiently waiting for me in its box, and I think it will do fine with its own heat, a sword is a LOT bigger than a wee coffee coaster and will eat up more of the resin. If I should mess up on a sword casting, that would be a very expensive mistake! This is why I’m doing something small first so I can understand how this material works and get a feel for it before I tackle the seraph blade.
Hi everybody! Just a quick update to let you know that I haven’t vanished. Yes I am still making swords and shiny things. I was in the hospital for a bit and I’ve been recovering from surgery. There’s nothing to fret about. It was all planned for and not an emergency of any kind. I’m not sick with anything.
Just getting that out of the way. So, if you’ve sent me an email, I’m not ignoring you and I’ll reply as soon as I have some time. I plan on digging though my inbox tomorrow.
I have now completely finished chewing through my backlog of orders from last year when I had to go workshop hunting on short notice. Big thanks to all the Shadowhunters who waited so patiently for their swords! You guys are the best. ❤
So what’s next? Next is going to be a big research and development phase for me. I have some exciting new ideas about witchlights and I need to nail down exactly how I want to do the electronics. I’m also going to be doing some experiments with resin casting in hopes that I will be able to make more swords more quickly.
I hate only being able to make roughly 24 swords per year. It’s just not fair to all the people who want them. It’s also not fair to me because … well that’s just not enough sales to keep my business up and running. But because I literally cannot make them any faster carving them one at a time with my power tools, my strategy and techniques are going to have to change.
I have two choices: Carve them with a CNC router or cast them in resin. Both of these options have serious challenges and steep startup costs. CNC machines are rather high-tech. They’re also noisy and dusty. Resin, on the other hand can give off really stinky fumes and it’s hard to get the stuff to cure perfectly without any bubbles or blemishes.
First, I’m going to try the resin. I’ve got some experience with moulding and casting things so I’m slightly more confident in those skills than I am with my computer programming. I will be getting my hands on some Alumilite resin as I’ve heard it doesn’t smell like Satan’s personal urinal. If it cures nicely and the fumes aren’t intolerable, then AWESOME, we have our solution to the production problem. If it doesn’t work …
Then I’ll go ahead with my first plan of building a CNC machine and continue being the crazy, crazy weirdo who carves sculptures out of plastic.
Wish my luck with the rest of my recovery and explorations into new creative territory!
Hi folks! As promised, I wanted to give an update on things I have in the works and talk a bit about how I do research.
Here’s a peek at my desk where I’m testing new products I haven’t used before. This is a scrap piece of acrylic that I’ve milled a few grooves in the top and applied some different coatings to see how they behave.
I found while I was making Heosphoros that the engravings on the blade needed some more opacity to stand out from the rest of the blade. But I couldn’t just paint any old substance into the grooves without knowing if it would stay there or melt the acrylic or crack … You get the idea. As you can see, the different substances have different opacity, different thickness, and different texture.
The varnish didn’t work at all. It just rubbed off when I touched it. The faux snow was ridiculously hard to work with and ended up really chunky. The … Glitzershnee? Don’t ask me to pronounce that. I can’t speak German. Anyway #2 was pretty cool but dried kind of soft. #1 was a kind of lacquer for colouring stained glass but I accidentally picked up the crystal clear stuff instead of the white. (#5 is the white stuff which turned out to be too opaque)
So what ended up working the best? The liquid acrylic (which smells like the Devil’s personal port-a-potty) and a semi-sheer nail polish with mica particles in it for a very fine glitter. Gosh, it would have been great to know that before I spent 30 euros and several hours poking a piece of plastic with weird goo. Ha! But that’s just the way it goes. I still have to test stuff before it goes on the final product. Even the nail polish. Different companies use different chemicals to produce their stuff so you can never be sure if something will play nicely with the acrylic. There are SO MANY kinds of plastic guys. o_o So. Many. And by the end of my life I’m sure I will have smelled them all.
So I’m working on a witchlight… It’s more complicated than I thought it would be. It’s really hard to get the right stiffness so that it lights up when squeezed so I’ve been thinking of a completely different way of engaging the light switch. The one you see here is 100% silicone and there’s a big ol’ air pocket around the light inside so it’s a no-squeezy. I have to actually fish the light out of the thing to turn it on and off. Too inconvenient. Plus I hate that the light rattles around inside. It really takes away from the “magic” effect.
Plus … WHY THE H-E-DOUBLE HOCKEY STICKS DID THE SILICONE CURE TO THE ALUMINIUM FOIL?! Ugh. Maybe because some derpface forgot to give the foil a coating of petroleum jelly before plopping the silicone on it. Silicone is confusing guys. I’m just sayin’. Chemistry class did not prepare me for this.
Anywho I do like how the opening is pretty well hidden until the silicone is squeezed and then it opens up like one of those rubber froggy coin purse things. It’s progress toward a witchlight I’d actually be pleased to sell. It’s not there yet, but the experimentation taught me a lot about the way silicone behaves and what it’s capable of.
I went out and purchased some actual powdered mica to mix into the silicone/plastic/whatever I end up making these things out of because I found that when the light is off, it doesn’t look so much like a rock as I would like it to. In fact, my first attempt at the silicone witchlight ended up looking like a big white booger or maybe somebody’s pet slime. … actually I might put googly eyes on it and just keep it as my shop mascot. Ha!
As I’ve said before and I’m sure to say it a hundred times more: art is about 90% problem solving. You get an idea, and then you have to figure out how to make it real. The other 10% is kind of a mix between stubbornness and insanity.
That’s all from me for now folks. I’ve go to get my butt to the workshop and polish up a Jahoel. See ya later!