Resin technique, how is this effect being done?

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Deca's picture
Joined: 06/08/2008

Any ideas on the technique being used on these type of laminations?  Have been seeing a lot of these the last year.
 

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McDing's picture
Joined: 05/22/2004

Done the same way Hunter does it .  With a straw.  Only difference is you blow.  You don't snort.  Foam stain.

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Deca's picture
Joined: 06/08/2008

Pretty sure it's in the lamination.  The darker colors finding the outer edge of the "bubbles" makes me think some sort of additive is being used...first color to hit the foam doesn't seem to be happening.  I could be wrong, but check out the weave in this closeup...

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Deca's picture
Joined: 06/08/2008

Pretty sure it's in the lamination.  The darker colors finding the outer edge of the "bubbles" makes me think some sort of additive is being used...first color to hit the foam doesn't seem to be happening.  I could be wrong, but check out the weave in this closeup...

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stoneburner's picture
Joined: 12/30/2007

I have no idea.  But it reminds me of alcohol ink on paper.  Maybe ink directly on foam, thrn flooded with small volumes of untinted alcohol before the ink dries.

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McDing's picture
Joined: 05/22/2004

Maybe? Just a Maybe?  It is art that is printed on Fiberglass Cloth.  Boardlams??

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GregTate's picture
Joined: 03/18/2004

Cleanlines used to spray a rattle can paint on the sanded hot coat then shake a paint brush with lacquer thinner on it and it would do something like what the pics show. It would look boiling and bubbly. 
 

all the best

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Personally I'm always ready to learn, although I do not always like being taught. - Winston Churchill

everysurfer's picture
Joined: 09/20/2008

I think McDing is right.  In the close up, the dye is in the grid of the fabric.

There is a dye technique called ice dye, where you cover the fabric with ice, then sprinkle dye powder over it.

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gdaddy's picture
Joined: 10/31/2008

If it was a resin tint abstract lamination you'd see a double saturation at the rails, laps and any deck or tail patches.  The patterns wouldn't line up at all between deck and bottom.   That leads me to think this is a foam stain.   

Another possibility is that the lam might include a pale barely-there single color tint which might even out the contrasts of an underlying foam stain.

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Deca's picture
Joined: 06/08/2008

Here is another and definitely has the color in lamination also, but the laps on the bottom aren't showing and top does look to have continued patterns past the lap.  

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McDing's picture
Joined: 05/22/2004

Gdaddy--Very True.  Hadn't put enough thought into it.  But you are absolutely right.  My thinking is one layer of Printed 4 oz. cloth, with a second layer of clear 4 oz over that.  Top and bottom.  I did a printed cloth layup last year and that's the way I did it.  Don't have pics anymore, but it was an Octopus art job. When I did that one I had to cut the print perfectly at the apex and then lapped the clear over that.  If I were doing a deck and bottom I would line the deck up with the bottom pattern wise.  So that it appeared continuous. I'm gonna stick with "Classic".  I guess I'm what Yater described himself as being;  A "Traditionalist".  I don't care what color a board is as long as I get plenty of waves and the board is shaped well enough to ride them.

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BigKahunaMan's picture
Joined: 07/12/2021

The all knowing ding is NEVER wrong!!! 
 

Flex your head. 
 

Acetone with pigment tie dye cloth. 
 

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McDing's picture
Joined: 05/22/2004

Get your head together Kachunka.  Acetone ??

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gdaddy's picture
Joined: 10/31/2008

When I've done multi-tone resin tints I'd pick one color (like a blue or green or tangerine) and go heavy with the pigment in a small amount (like 1/4 oz), another 1/4oz in clear, 2oz in a medium saturation and the rest in a pale tint.   Apply the clear first (using a straw to blow or even a fingerpainting technique) and then the medium in whatever pattern or abstract, use the dark to accentuate, and then use the light as a wash over everything else.   The wash tints the "clear" less than any exposed foam, so you end up with 4 shades of the same color.   

I've also drawn in chalk and then done a single tint over that.   The chalk is inert so it doesn't screw up your adhesion.  It comes in so many shades that the hard part is picking the shade that will compliment your resin tint.   

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The_Pretzel's picture
Joined: 07/19/2017

Complete guess incoming:

Tint some acetone (or use leftover acetone from cleaning previous color work) and saturate cloth with tinted acetone (in a big rubbermaid box or something).  Let the cloth dry (tint stays, acetone leaves), then laminate with clear (or light tint).  Not positive this is how it's done, and it sounds messy, but that's how I'd try to recreate it.  

Just a 20 board kook

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petec's picture
Joined: 03/18/2004

Greg is correct, a solvent is involved with another clear lam over the graphic. Lots of glassers have done clear 4oz lams over a hotcoat to give the original colored lam more depth, quite common on high-end LB's.   This thread from the archives shows the board that Roger "Cleanlines" Brucker did and explains step-by-step the technique https://www.swaylocks.com/groups/marble-abstract-decoration-cleanlines.   IMO, the artwork shown in the photos is rather primitive compared to his. The streaked examples are just the way they brushed it and could also be a pigment + acetone technique instead of paint.    Roger says even a chimpanzee can do it, and you'll get better results if you give him a banana and cigar.  I don't know which one first but it may make a difference.

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McDing's picture
Joined: 05/22/2004

Whoops.  Makes sense and I see how acetone plays into it.  The Cleanlines technique is most likely the method.  I commented on that thread so it bumped up.

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reverb's picture
Joined: 03/20/2004

Hi PeteC; what Cleanlines did is on the Hot coat neither of these others are made on the hot coat. Is a mix of techniques done by an Aussie guy; that are killing it right now. He use pigments mixed with tints and solvents all onto the foam or directly in the lamination process or both then sometimes uses posca paints to touch or do small things onto the hot coat.

Then sometimes, as mentioned by others, a tint lamination one color, then clear then other layer of glass with "effects".

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petec's picture
Joined: 03/18/2004

Hi Reverb,  Thanks for confirming it's indeed color dilution in making those effects.  Solvent/acetone "melting" some paint/pigment/posca is what Cleanlines process was about.  Doesn't matter if on hotcoat, lam, foam, the same effect is produced with some subtle differences.

I really feel I need to make the following comment to those younger or new builders about board decoration, since this subject comes up all the time.  As a shaper/glasser/sander/whatever,  the primary objective is function; decoration is much further down the line.  Commercial boards (regardless of how they ride) MUST have decoration to set them apart from their competitors to get an edge in sales.  Buyers (mostly with low riding skills & money) very often want cutting edge decoration to assert their personalities in the line up, so they will buy the unique; suckers for corporate commercialism.  Among the board brands who have drank that kool aid, they believe that all boards today are the same due to machine shaping which is just as stupid as those buying them.  In fact some builders have decoration as a primary objective and then try and keep the process "secret" to insure their own sales to retailers.  Only about quick money; how long will a brand or technique last based on a secret?  This forum has always been apart and free from this crap.  Some of the very best in the world are here, and I can confirm they didn't get to that level for the money.   You have the freedom to be as unique and creative on board #1 or #1K without any commercialism.  So if you see something that interests you, just ask and we'll try and tell you how it's done or maybe how to do it better.  But please don't just copy, make it yours.  Otherwise you're just that chimpanzee that Cleanlines mentioned with a banana in one hand and cigar in the other.  A disturbing image to some, even worse is that some of us old guys at this very moment are holding at least one of those two things.

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GregTate's picture
Joined: 03/18/2004

@petec, well said. 
 

all the best 

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Personally I'm always ready to learn, although I do not always like being taught. - Winston Churchill

McDing's picture
Joined: 05/22/2004

Yeah Pete,  The doc told me to eat a banana a day.  Can't do cigars, but Bill Clinton was handy with those Cubans.

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reverb's picture
Joined: 03/20/2004

Hi PeteC; I understand your point however; I tried to specify to the O P about the technique involved. Strictly where the technique or a technique is applied, is not the same if is done on the foam, in the lamination or onto the Hot coat. Completely different results.

Yesterday this Aussie guy responded me a comment that a board that looks like where done in 2 stages (in the lamination) was done actually in 1 stage...still I do not know how he obtained such separation not only in the 2 colors swirl but with all the tint under and I make these types of color work in some weeks. That is to let it clear that all is not the same; not even similar in some cases.

Then you mention that here are the very best...¿? If you talk about glassers I do not see here the guys from the best glass shops of California (or France; or Aussie land; or Brazil; or Japan or the well known guys in Hawaii) At some points were Superwolf and Nainoa (the new breed) here but no more.

Regarding the techniques and big brands¿? is the other way around; the small guys are the ones that were pushing the resin color work and get artistry ideas on the surfboards. Factory machined boards are almost all clear with couple of carbon patches here and there; sanded gloss finish with removable fins all.

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petec's picture
Joined: 03/18/2004

Hi Reverb,  I guess that the surf business here in Southern Calif is very different than where you are.   Working at a "best" factory anywhere in the world doesn't make you a great glasser or even creative (you may get employee of the month though).  The "very best" glassers and shapers I mentioned who post here have nothing to prove to anyone.  Several have won events at previous Boardroom Shows among other qualifying things.  They do what they want, not what a factory or industry tells them.    If you have to do this to make a living then it's not an art, you are working as a machine.  And the surf manufacturing biz is pretty low on the list for predictable/decent income, just ask Burton why they sold CI (and the flush/selling price).  Most inquiries on this forum are people interested in this art but have other sustaining incomes.  We should help them explore where they can go by providing examples and techniques; who knows what they may come up with.  Having said all that high road stuff, they are also a lot of people here who are just cheap (not poor either) and think they will save a dollar by a DIY board, glass job, even wetsuits.  Fortunately most lose interest when they discover it's expensive / messy / noisey going down this road then they get in the Rover or Tesla and find something else.  

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reverb's picture
Joined: 03/20/2004

Hi PeteC; seems that you are not reading what I wrote. I am trying to response what you stated like "here we have the very best" I say that about the glassers and mentioned that in this forum we do not have the likes (that yes; they do not need to prove anything; in fact I am not need to prove anything however I try to help here since almost 2001--when still we have here couple of Industry glassers--) of the well known guys helping.

Why do you say that where I am is different? Never talked about that.

Talked about the right technique; and talked about the best glassers; that most known who they are. They are not in this forum (I mentioned that at some point Superwolf and Nainoa were here).

Regarding shapers; yes sometimes J Phillips appears here but we are talking glassing techniques.

Factories do the clear thing and sell that AS the real thing.

Smaller factories or small guys try to differentiate with the resin color work and sometimes they lack of the right shapes.

Fins guys send most production to China machines...

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