Informations | The blog of Stardustcolors paints

12 May 202315 May 2023 stardustcolors Informations|Products

Chameleon Interference effects in painting

There is a unique collection of 38 references in the Stardust® range, leader and pioneer in Europe in the field of Chameleon colours.

“Chameleon” paints, formerly known as “Beetle” paints, “Flip Flop” paints, or even “Colorshift” paints are pearlescent colors that offer changing color reflections depending on the angle from which they are observed.

Among the chameleon colours, there are a certain number which consist of transparent pearls*.

These chameleon paints then take on the appearance of a whitish liquid, which is in truth almost transparent when applied with an airbrush / spray gun.

*The transparent mother-of-pearl is made of a modern synthetic material imitating natural mica. It is more transparent, more reflective, and less yellowing.

Try changing the background color

Usually applied on a black background, in order to reflect only the light of the mother-of-pearl that composes them*, transparent type chameleon paints can be applied on other background colors.

*the black color reflects little or no light.

We are not talking about a pearly or metallic background color here, because due to certain optical phenomena, a mother-of-pearl on another mother-of-pearl, or a mother-of-pearl on a metal pigment, see their effects cancel out.

We can therefore apply a transparent chameleon color on an opaque colored background, red, yellow, blue, gray… In truth, any color, white included.

The effects are quite interesting and surprising. These are innovative finishes in the field of bodywork or decoration, which are perfectly suitable for indoors or outdoors, thanks to the high resistance of chameleons to UV.

Multicolored interference mother-of-pearl

Interference is an optical phenomenon. In the field of painting, it designates the return of a single color, different from that of the background.

Example : a GREEN background + a RED interfering layer

Stardustcolors classic interference colors include red, green, blue, gold, and purple ; these effect products can be found either in powder form with Crystal interference pearlescent pearls, or in the form of clearcoats.

Transparent chameleons created richer effects in terms of reflections, with double, triple or quadruple colored reflections.

Depending on their purity and composition, they will modify the background color very slightly or not at all.

In truth, the darker the background color, the more the interfering chameleon reflection will dominate the visible appearance returned to the viewer of the painted piece.

Diamond-like interfering chameleons

Classic chameleons are composed of fairly fine particles, the size of which is in the average of the pigments used in the world of automotive paint. These transparent chameleon effects have been transposed onto the large diamond mother-of-pearl, which is made of glass, and which has much more iridescent and glittery properties.

Interference chameleon sequins from the COSMIC range

Here are flakes from the Metal Flakes family, made of polyester, which reproduce the same multicolored effects as chameleons. These COSMIC flakes are perfectly transparent and have an advantage over the large classic opaque Metal Flakes flakes : they are thinner and much easier to varnish.

There is yet another spangle, still polyester-based, and still 200µm in size, which is the transparent holographic spangle.

All these effects mentioned above belong to the family of “Interference effects”.

17 April 202317 April 2023 stardustcolors Informations|Products

Print a photoluminescent fire safety plan

In establishments open to the public, such as gymnasiums, museums, hotels, ships but also in certain factories, it is required to install a Photoluminescent PVC evacuation plan in order to guide the occupants towards the exits in case of emergency and especially in the event of lighting cuts.

It can also be safety instructions for the use of fire-fighting equipment, the use of a machine or emergency contact.

A photoluminescent security plan stores ambient light energy, whether natural or electrical, and permanently releases it in the form of photoluminescence : that is to say, it glows in the dark.

European standards govern phosphorescence levels : luminance (intensity of phosphorescence) and remanence (duration of phosphorescence) must be of a class C level. These performance indications must appear on the photoluminescent safety plan.

General sizes

The most frequently printed size is A4. It is possible to print larger plans, depending on the observation distance, and also depending on the complexity and importance of the evacuation plan.

It is possible to order free sizes and formats.

Contact ARCO IRIS SAS at info@phosphorescent.fr for prices and to obtain the printing of a photoluminescent safety and evacuation plan.

The different mediums

In general, evacuation plans are always made on PVC panels. It is a light and economical material, easy to print, and suitable for all interior areas. It is rare to place a security plan in an outdoor area, however, when it is necessary to have an evacuation plan resistant to heat or weather, then more materials such as aluminum are used. or stainless steel as a support.

Printing modes

Screen printing is the method that has been used the most since photoluminescent planes have existed. It is particularly economical and practical when printing a large number of identical plans. It turns out to be less interesting when it comes to printing one, or even 2 or 3 plans, because you have to make a “screen” for each drawing, and each colour.

Today we use more the laser printing method, which allows four-color prints to be made which is quite economical.

The fixing method

The safety boards measure approximately 1-1.5mm thick and are easy to attach to walls or doors, with double-sided adhesive tape. It is also possible to screw them, or even to install them with frames.

The costs

For a photoluminescent PVC evacuation plan, the price varies according to the size, quantity and type of materials.

Initially, as for all printing works, If a single photoluminescent plan is printed, the work of setting up and adjustments will be equivalent to that necessary for the printing of 50 photoluminescent plans.

There is therefore a sliding scale of tariffs.

In addition to the price, which logically varies according to the size of the plan, there are also different costs for the material of the support :

Rigid PVC plans are by far the most economical.

The price range then goes up with the aluminum tops, and goes up again with the stainless steel plates.

22 March 202322 March 2023 stardustcolors Informations|News

Make a phosphorescent outdoor floor with phosphorescent stones, pebbles and gravel

It’s very easy and the achievement is within everyone’s reach.

Above all, make sure that the area where you plan to embed these small phosphorescent stones is sufficiently dark during the night. If you live in a residential or urban area, with night lighting, then you can forget about this project, because the phosphorescence requires sufficient darkness to be clearly visible.

If, on the contrary, you have a house in the mountains or in the forest, then at night you will be able to see all these small luminous pebbles shining, until dawn.

It is only on a full night, when the luminosity is too high, that you will not be able to observe the phosphorescence.

On the contrary, on a dark night, you will have the impression of walking in the starry sky, when you walk on this floor encrusted with luminescent stones.

Glow-in-the-dark pebbles, how do they work ?

These small stones, gravel, fragments, pebbles contain synthetic and non-hazardous pigments, which are able to react and store ambient light. This energy is immediately converted into phosphorescence, which glows slowly and for a long time :

The release of the energy thus accumulated is done “drop by drop”, and can last up to more than 10 hours of time.

How to set up these phosphorescent stones

We advise you to embed them in concrete, mortar, plaster or cement when it is still fresh. The stone or gravel must be encrusted at least 2/3 of its thickness, in order to remain well fixed over time, and to resist trampling, or even bad weather, such as rain or frost.

When you want to incorporate these small phosphorescent gravels in an already existing construction, then there remains the solution of transparent or colored silicone glue.

It takes about 1 kg of these stones or its fragments to cover up to 3 m². Finally, it all depends on the concentration you want for your decor on the phosphorescent floor.

The different performance levels of luminescent gravels and pebbles

Stones and pebbles are often brighter and their phosphorescence lasts longer at night, compared to gravels.

You also have to take into account the color: by far, the green phosphorescent color is the most efficient, both in its luminous intensity and in the duration of its effect.

Often these materials are offered in 3 main emission colors: Green, Turquoise and Blue.

The company ARCO IRIS SAS, (site phosphorescentpaint.co.uk) offers up to 4 colors, with even purple phosphorescent stones.

The diurnal or nocturnal aspect

The materials have a slightly colorless, whitish, sometimes greenish appearance during the day.

We speak of “emitted color” to refer to the color of the light produced by the stone in the dark. It is indeed a luminous color which then emerges from this colorless stone during the day.

Resistance and composition

These stones and pebbles are relatively resistant, especially the gravels which are composed of glass (silica).

As for the stones, which are produced from plastics of the PS type, they can yellow slightly with the years, however the phosphorescence as for it, is almost eternal: that is to say that it does not drop in intensity with years.

Where to buy these stones here in England ?

The specialist in this field is ARCO IRIS, producer since 2010 : site phosphorescentpaint.co.uk

30 September 201924 September 2021 stardustcolors Informations

Advice and tips for painting flying models

Here are some answers to frequently asked questions by model-makers who try to practice painting on their aircraft models!

Which paint should I choose to keep a miniature airplane lightweight?

When talking about flying models (not the static plastic models), or even real fighter jets or airliners, one central point is the total weight of the various layers of paints. Here are several parameters to consider:

Water-based or solvent-based paints?

First of all, a paint is composed of evaporable material and solid matter (solid content/kg of liquid product) which, after application, become microns thick (weight in g/m²)

Water-based paints have a higher solids content compared to solvent-based paints. Therefore, it’s better to choose solvent-based paints, which form a thinner and lighter final layer, for the same coverage rate.

Here is an example of solvent-based paints for modeling with the Graphic range.

The paint system:

Consider using versatile and efficient products to limit the number of paint steps and passes (primers, paints, topcoats): some products are two-in-one, or even three-in-one systems, as they provide adhesion, and can be used as paint and protective finish.

The thickness:

The wet thickness (from 50 to 150μm) is distinguished from the dry thickness (generally from 10 to 50μm). Apply as little paint as possible. To obtain a thin and well stretched coat, increase the thinning.

For multi layer decoration with masking and colours:

Reduce the thickness to a minimum. Dry paint areas can be sanded gently with water to reduce “stairs” effect.

When painting on masked areas, it is recommended not to “load” paint on the edges around the adhesives.

Material and paint compatibility

Models made from wood, composites, polystyrene-type foam or other materials such as EPP or EPO are more resistant to solvents.

In case of doubt, there are two solutions:

Isolate the surface with a polyurethane acrylic water-based topcoat
Spray 2-3 ultra-thin “flash” layers of solvent-based paint or clear coat on the surface, then wet the surface with the paint without the risk of reaction.

Generally avoid the paints sold for the general public in supermarkets because they create reactions when they are coated with solvent-based paints.

Which tool to use? Spray gun, airbrush or aerosol?

Unquestionably, the mini (0.8 mm) or standard (1.4 mm) spray gun is recommended It allows to apply clear coat, prime or paint accurately.

Airbrush use is restricted for fluid products or thinned products, and for painting masked areas. It is not intended for painting or applying topcoat on an entire model!

As for the spray can, although practical and fast, it poses certain challenges: it doesn’t allow to control the spray or the pressure, and above all, it is not very productive, as it contains mainly gas, and little product!

Should we always apply a primer? If so, what type?

No. A primer should only be applied if necessary, in the following cases:

adhesion required on bare material difficult to adhere to > adhesion primer
need to fill, smooth, repair the surface > “filler” primer

These are the various types of primers that exist, and they have different functions.

When you have a wooden model already primed, it is quite useless to apply a primer. The same applies for the backgrounds with old sanded paints.

What is the resistance of paints and topcoats to fuels?

Experience shows that commercial and supermarket paints are completely contraindicated because they melt immediately.

As for polyurethane acrylic topcoats, although they are water-based products, they provide a good resistance if they come into contact, accidentally or occasionally, with gasoline, but not more!

For maximum resistance to fuels, a lacquer or solvent-based polyurethane topcoat must be applied.

Read more by checking this discussion on model making and model airplanes.

23 September 201924 September 2021 stardustcolors Informations

How to repaint your 2CV bodywork?

In 1948, when the type A 2CV was released during the post-war period, these cars displayed a unique metallic paint colour : Gray 109.

With the success growth in the post-war years, during the 50s and 60s, 75 new shades, specific to the vintage 2CV cars, have emerged until the end of the 1980s, such as the Monte Carlo Blue, the Palm Grove Green or the Cormorant Gray.

Find the original car paint

For this, it is necessary to find its original colour code (specified on the engine board, the doors, the hood, etc.). All colour codes start with AC.

For 2CV cars, we choose a paint called “2K paint” (two-component gloss paint). After mixing with a hardener, you have 30 minutes to apply it. It’s a finish that does not require topcoat application.

Let’s move now to the 4 steps to redo your car paint and the advice of a professional for a long-lasting and quality work :

1. Prepare the substrate

Scrape and remove oxidized areas and those where paint does not adhere. Sand with 220 grit paper.

2. Applying the primer

Apply an anti-corrosion primer on the bare areas of body or metal to ensure good body protection

Then apply a filler primer on the entire body. Sand with 320 grit paper to achieve a smooth surface.

3. Last checks

To succeed your painting project, moisten the floor well to fix dust, clean your spray gun, purge your air compressor and accumulated moisture filter.

Degrease with a degreaser (don’t use white spirit or acetone!)

With a blow gun, blow the dust on the body and on your coveralls.

4. The car paint

It all takes just a few minutes to succeed several hours of preparation:

A successful car paint must have gloss: This is a delicate task. Watch out for drops! If you load too much, the paint will drip, and on the contrary, if you do not apply enough paint, it will lack gloss.

Tip: practice on plates before you start the paint job. Keep the spray gun always straight facing the substrate, at a constant distance and steady speed. Apply 2 passes (allow 5-10 min between each coat). Then let dry in a warm and dry atmosphere.

If you have trouble finding your bodywork tint, here is the page that lists all the 2CV car paint colours with their years of release.

21 December 201816 September 2021 stardustcolors Informations|News|Products

How to create a car body paint with matt or satin areas?

How to create a car body paint with matt or satin areas?

When creating a custom paint, for example on a car bodywork, a motorcycle fairing, or on a bike frame, there’s a very interesting effect which is the association of a matte surface with a glossy surface.

Juxtaposing a beautiful matte topcoat with a gloss clear coat gives a fantastic aspect, but it raises technical difficulties related to implementation and some questions:

– What to do first? The gloss topcoat, or the matt clear coat?
– How do you hide and sand certain areas?
– How not to leave any white marks caused by sanding

StardustColors, with the help of Bryan la tinta for the application, teaches you the trick to create a matt and gloss topcoat:

1 – First, it is necessary to apply the topcoat in the classic way, with a gloss bodywork clearcoat, to the entire painted work. This will form the glossy areas, which will be masked off thanks to the masking tape

2 – Apply then the masking tape to hide the areas that must remain glossy.
For fine lines, especially for very tight curves, we can use a lighter to soften the line.

3 – You can now use the matt clear coat. How to achieve a good adhesion?
Do not sand. If it’s done with an abrasive sponge or paper, it will leave white marks under the adhesives, and this will produce a very poor appearance once the masking tapes are removed.

4 – Make a quick and superficial flaming to obtain good adhesion on the substrate.
After flaming, apply a very fine pass of matt topcoat within 60 seconds.

5 – Matt clear coat: it is important to apply only a very thin coat, to avoid a “stair” effect, and also to obtain a good adhesion.
Also, it is recommended not to load the edges of the adhesives with product but instead, simply apply a thin pass around the masking adhesives. This will create a smooth and seamless finish.

6 – Remove the masking tapes, then let the matt topcoat dry completely.
Using a sticky pad, clean and scrub to soften the low edges

17 December 20184 September 2021 stardustcolors Informations|Products

Metallisation by spraying

Different “chrome effect” metallization techniques:

Silvering (silver), galvanisation (decorative chrome or hard chrome) and vacuum metallisation (aluminum) are different techniques that consist of depositing a metal layer on materials for decorative or technical uses.

Among these techniques, apart from galvanic chrome plating which is a constraining, toxic and polluting process that is increasingly regulated, silver metallisation is the most efficient technique.

Discover the handheld metallisation equipment:
and chemicals with base and topcoat

The traditional silvering process of reducing a silver salt, to create a “silver mirror”, was used for years in the mirror industry specifically, and has been remarkably improved and developed by a French company which now proposes this innovative and patented technology to small and large businesses in 47 countries, to easily achieve a chrome effect on all substrates!

The 5 advantages of this original metallisation technology:
– application on almost all types of substrates
– non toxic products
– easy and quick technique
– chrome surface that can range from a few centimetres to a few meters
– efficient and economical, with prices ranging from 15 to 20€ per m²

This innovative technique has many varied applications in different areas:
luxury, automotive, bottles…

The chrome finish is of high quality: it is almost indistinguishable from a real chrome and produces a real mirror effect.

Metallisation using silver nitrate solutions is sprayed with a double nozzle gun
The silver layer is provided in a thickness of 0.1 microns

Pure chrome effect:
Metallization with silver nitrate is currently the technique that gives the best results and the least toxic method.
The quality of the chrome effect finish is far superior to that of sputtering for example.
Non-hazardous:
the products do not contain any CMR substances or toxic products (except R2S version that contains formaldehyde)
Economic performance:
from an economic perspective, it is by far the most profitable at a cost of less than 20€ per m²
Flexible application:
application using traditional methods (small workshop) or industrial application in automated serial production

2h: minimum time needed for metallisation of a part.
Applying the colourless gloss base (fast baking: 30min)
Spraying the silver nitrate solution, rinsing and drying (5min)
Applying topcoat then drying (30min)

The metallisation process allows you to create coloured Chrome effects using coloured clear coats

Contact info@stardustcolors.com

to receive free documentation

18 October 201829 November 2022 stardustcolors Informations|News|Products

What painting for an airbrush?

There are many brands of paintings, different types of paintings, but also different qualities.

There are also different professions using the airbrush. So let’s take a look at all this, and see how to choose and what paint to use for an airbrush.

In truth the choice of airbrush painting is very simple:

First, how do you use the airbrush?

Each application has a type of airbrush paint :

Artistic or decorative airbrush paint :

Essentially paints and water-based inks, very fluid with a range of graphic colors exclusively, from the classic palette of Fine Arts.

These are paintings made for drawing on paper (min 250g / m²), art board, on interior painted wall … They are ideal to realize portraits, landscapes, animals, frescoes, trompe l’oeil, … and not suitable for other applications. The fluidity, the smoothness and the destination of these products necessarily implies products that are not very resistant once dry, very thin, and sometimes not resistant to UV.

They are often available in very small bottles.

« artwork from Alina Tarasenko »

Custom paint, miniature, radio controlled and hobby:

These are waterborne acrylic paints for car bodies or fairings, necessarily more resistant because they can be exposed to the sun (resistant colors), abrasion, fuels, solvents of the primaries and body polishes.

They are a little less liquid, and once dry, they form a thicker film. They have the main advantage of being odorless and solvent-free, perfect for protecting the environment and the applicator.

These are ranges of paints with a wide range of colors but also effects, such as metallic, fluorescent, pearlescent, candy and all their related products (varnish, thinner, degreaser, …) They are found in bottles of 17ml to 125ml

Warning! There is a great difference in quality from one brand to another, and between the “low-end” paintings usually offered for miniatures, hobby or radio-controlled gear on one side, and the high quality paintings presented “Custom Airbrush”, for the customization of bodies or helmets.

All the famous brands of airbrush paint have embarked on the creation of a bodywork range, after the arrival of the first waterborne car paint. The problem is that the first body water paints represent a good progress of course, but they were not very developed (difficult to sand, slow drying, bad wear over time, fouling of airbrushes, ..), and some big brands have not renewed their products …

Over the last two years, this field has benefited from major innovations directly from the world of professional automotive painting, with the arrival of new-generation body-water paints, as effective as the traditional solvent-based paints and even sometimes better!

This is well illustrated with the new Stardust airbrush paints, acrylic / polyurethane hybrids.

which combine all the following qualities: ultra-fast drying, grips all substrates, extreme finesse, very high strength even without varnishing, total compatibility, high pigment concentration, without solvents, great flexibility, very affordable prices …

Bodypainting, tanning (tanning), temporary tatoo

These are products classified cosmetics, intended to be applied to the skin. They are therefore free of all dangerous substances or allergens, they contain mainly natural or food dyes, and can be removed with water and soap even after drying.

This is the case of the excellent paintings for Bodypainting Senjo® brand

Paintings on T-Shirt and leathers

These are paints that must be both flexible, resistant to friction and also washing (detergents, water, temperature). It is therefore necessary to obtain good adhesion and excellent resistance.

This is the case for artistic Stardust acrylic paints that are ultra-resistant to leaching, even at high temperatures, and are indestructible on a variety of substrates, such as natural or synthetic fibers.

Pastry

These are edible and therefore food products, derived from natural dyes (caramel, beets, etc.) or synthetic.

What are the quality criteria for a good airbrush paint?

– do not contain solvents (allows you to work without a mask, without constraints or installations)

– For the drawing, the range must decline hues both opaque and / or transparent.

– low prices and small packages proposed, for drawing or custom
– fast drying on the support (allows to work and cover quickly with the different layers)
– ready-to-use product without the need for further dilution

– allow spraying with the smallest nozzles and the production of ultra-fine lines.
– High concentration of pigment and high tinting power (can be used to cover in one pass or one stroke without the need to go through several layers)
– low water content / high solids content (no excessive wetting of the paper)
– do not dry too quickly on the needle or dirty the nozzle
– to form a dry film not thick, for the bodywork and the work multi-layers, and easy to sand
– compatibility with other solvent products for bodywork (primers, varnish, degreaser)

Airbrush custom: Compatibility with other products

The following questions must be asked:

What other products will I use below and above my painting?
Are they compatible, is there a risk of reaction?

On many medium quality acrylic airbrush paints, and sold as products for bodywork and model making, if we risk applying a real quality varnish with solvents (polyurethane type) is the disaster, with the paint who faints, blisters, or whatever.

The basic rules to avoid defects are:
– ensure a good drying of each layer (sufficient curing, and total evaporation of water or solvents)
– do not mix professional products and consumer products “cheap”
– When in doubt, when painting acrylic paints and solvent paints, always paint one or two thin veils “to see” and to fix.

On which support do I apply and the grip will be good?

Very few paints make it possible to paint directly on a raw support, such as metals or plastics.
If you want to get a good grip of the paint, and not see all his work come off after two weeks, then we must use primaries for airbrushes, or paintings that hang “really” on all media.

And what about solvent-based paints for airbrush?

They are called “solvent-based airbrush paints” because of their nature and composition, different from aqueous acrylics, although in truth water is also a solvent. Like water paints, they dry and harden by evaporation.

But many professionals prefer them for many reasons:
Solvents evaporate faster, whatever the temperature. They allow finer paints, highly dilutable, with an unmatched fine line for drawing freehand airbrush, and also a low fouling of the interior of airbrushes, they do not clog.
The dry layers are easy to hide, sand, work, with less unevenness when masking. The paints can be dissolved easily even after drying unlike water paints.

In return, they require a professional workshop or at least a sufficient air extraction and often the wearing of a mask.

Vallejo Acrylic airbrush paint

Graphic Solvent-based airbrush paint

Sparkle Solvent-based airbrush paint

Model paint – Hikari

Stardust pro airbrush paint

Schminke airbrush paint

27 September 20188 October 2019 stardustcolors Informations|News|Products

Bodywork Topcoat, Polishing and Buffing Techniques

Polishing and buffing are techniques that can perfect, increase, or restore the gloss from car or motorcycle topcoats.
These same techniques are applicable on topcoated surfaces in the furniture and interior design sectors.
It’s a gradual process that uses polishing from coarse polish to ultrafine polish, which corresponds to the terms of “sanding/polishing/buffing”

Usefulness:
– For fresh coats of clear coats, but perfectly through-dry, if you want to remove the defects.
– To eliminate defects such as “orange peel” or lack of shine.
– For old clear coats with micro-scratches on the superficial layer of the topcoat.

1 – Sanding/polishing

1500

When the clear coat is very damaged, or has orange peel, remove the clear coat top layer.

before
after

This is performed with sanding, manually or using a sanding machine, with a 1500 grit (we do not recommend going below 1200)

Topcoat application after 1500-grit sanding

You can use for this:
– our 1500-grit abrasive papers
– our 1500-grit abrasive discs with a flexible tray
dry, or wet

Never cross the topcoat layer, especially on the edges.

Between each stage, clean the sanding and polishing residues with a clean microfibre cloth!

3000

To remove the micro scratches from sanding with 1500-grit, sand then with 3000-grit, dry or wet.
several products for this:
– our 3000-grit abrasive papers
– our 3000-grit abrasive discs
– our Mirka 3000 and 4000-grit disks

Wet sanding

2 – Polishing

Then move to the polishing phase, which allows to further refine the surface condition at an extra level.
The polishing is performed in at least 2 steps.
Polishing can be done directly without going through step 1 if the clear coat is in good condition.
In this case, you should never polish without thorough cleaning and decontamination of the surface first!
> For this we use
– Degreasing Isopropyl Alcohol Solution
– Clay bar

Polishing machine

An electric polisher is usually used, by exerting a little pressure with the fingers on the rotary axis, and continuing until the polishing paste is dried.
Do not use too much polishing compound!

Hard foam pad and wool

Here are the equipment that will be installed on the polisher and used to rough the polishing
– all types of hard foam pads (white or orange)
– natural wool trays
These materials will “cut” the polishing scratches

A “compound” or a polishing paste must be used: apply 5 drops of product on the disc. Then pass over the disc for different uses of the bodywork to spread evenly the product

Apply the polishing compound, spread and polish

Work in 0.5m to 1m² section maximum, to allow the product to work properly.
You can wet slightly to lubricate with a sprayer, although it is not mandatory to do so.
Polish first slowly then increase the speed to 1000 – 1500 rpm
Work from left to right by drawing a grid, then from top to bottom.

Our Mirka® Polarshine 10 is a versatile high efficiency product ideal for all stages of polishing.

Final polishing with black soft foam pad

For the final gloss, choose a soft foam pad, especially for black bodywork paints.
The softest foams are usually blue and black.
Still with Polarshine 10, apply 5 drops of products on the foam, spread on the surface and polish at 1500-2000rpm.
Clean with a microfiber cloth: your topcoat is great!

Polished-buffered gloss topcoat

Polishing wax

Wax application is not mandatory. A professional wax such as Mirka’s NanoWax can be used to create a protective layer.
This layer of wax will be removed after the first wash.

How to choose a buffing and polishing foam
What is the difference between hard and soft foam pads?
The hard foam pad will penetrate deeper into the topcoat and abrade the surface.
Manufacturers usually use the same colour codes: Yellow, white, orange, for hard foams and black for soft polishing foams.

What is the difference between a lambswool tray and a foam pad?
Only use lambswool for rough buffing and polishing. Wool has more abrasive properties than soft foams It is the equivalent of a hard foam.
Contrary to common perception, the heating power of a wool is much lower than that of a foam: the heat produced by a foam makes your topcoat shine.

What is the difference between a soft foam or waffle foam pad?
The waffle foam pad produces less heating. It’s designed for final polishing. Its use is rather special and it’s recommended only to experienced applicators.

12 September 20184 September 2021 stardustcolors Informations|News|Products

How to make a river table with epoxy resin?

How to make a river table with epoxy resin?

River tables are truly unique artistic creations, which resemble a river flowing between two sides of a canyon. These masterpieces were created by combining wood, a natural and raw material, and resin, an amazing technical material which transforms whenever you want.

“credit : photo courtesy of JeffMackDesign Canada”

We can find on the site stardustcolors.co.uk all the products necessary for the realization of its own personalized “river table”.

How to choose the right type of wood for your epoxy table project?

All wood species (oak, poplar, chestnut, pine, Douglas fir, etc.) do not show the same characteristics, and some are more recommended than others:
Indeed, some woods are more porous than others, and will tend to “absorb” the resin during casting and to release air bubbles.
Wood species such as maple, hazel and olive tree are preferably used
More porous woods, such as pine, are not recommended.

The wood is also selected according to its thickness, price, shape, patterns and colour, more or less light. You can of course tint the wood with a lasure to colour or darken it, and offer a better contrast with the coloured epoxy resin casting.
Most often wood coming from the base of the trunk and the roots is used on the transverse section.

Wood preparation:

Cutting and drying:

It is very important to have a completely dry wood. Wood drying can sometimes take 1 year after felling the tree.
The wooden boards must be perfectly flat. Therefore, it is necessary to contact a carpenter or a cabinetmaker to obtain good quality cuttings.

Once you have chosen the board, cut it lengthwise, in the middle: flip each half and place the flat edges on each side of the casting frame, to form the future table’s edges.

Cleaning:

prepare meticulously the wood, by removing the bark, and sanding the surface and the edges. To remove sanding residue and dust, blown out with compressed air.

Stabilize:

Wood is a porous material, which has cavities and cracks: when covered with an epoxy resin, it frequently releases air in the form of bubbles.
To prevent any bubble formation and trapping in the epoxy casting during curing, a primer is applied over the full surface of the wood. For this, we use either:
– our water-based clear coat (very fast drying)
– Resoltech 1010 waterborne multi-purpose epoxy resin

Soak the brush, and generously dab each crevice. This will also prevent leaks through cracks and crevices in the wood.
It is also at this stage that a tinted lasure can be applied, if one finds that the tone of the wood is too light.

Prepare your casting frame:

A structure is made to contain the epoxy resin casting. It’s the mold (or frame).
The frame must be perfectly sealed and tight using seal clamps, because of the fluidity of the resin which has a tendency to flow easily if the frame is not sealed. The walls of the melamine frames as well as the bottom board are covered with a gloss and resistant PVC adhesive, to facilitate subsequent removal.

Logs must be secured to prevent them from moving or “floating” after casting.

It is possible to apply a bit of silicone to help contain the potential pouring overflows, and remove the silicone later

Epoxy resin casting:

It is recommended to pour first a thin 5mm layer of resin into the frame before placing the wood in it and immobilizing it. This avoids the formation of air pockets, and also potential leaks during casting.
For this fine casting, use Resoltech 4000 epoxy resin, which allows quick drying and a thickness of 1 or 2cm.
Once it has partially hardened and you can run your fingernail over it, then you can pour the resin.

To make a river table with a layer of casting several centimeters thick, WWA resin is recommended as it is a “slow” resin for its drying time. It permits a thickness of 16cm in one single casting, with a perfectly transparent result, and without shrinkage after hardening.

Successful epoxy casting:

The technique is easy, however two critical points should be respected:

1 – The mixture:
The resin-hardener mixing accuracy and quality will depend on the good curing of the resin:
Make a precise mixture, “in weight”, not “in volume”, using a precision balance.
In order for the polymerization chemical reaction to take place, each hardener particle must mix with each resin particle.
To do this, use a rounded pot and a ruler and stir vigorously scraping well the edges and corners of the pot.
The mixture can be re-poured into a second pot, to keep only the “mixed product” and remove the unmixed product remaining on the walls.

2 – Thickness and temperature:
The epoxy resin produces exothermicity during its hardening: the reaction releases an energy amount in the form of heat. The greater the thickness, the higher the heat emitted (above 250°C!). Beyond a thickness of 16cm, the heat is trapped.
The shape affects how heat is released:

A low ambient temperature slows the hardening, while a higher temperature accelerates the hardening and increases exothermicity.

Similarly, the greater the thickness, the faster the resin hardens. On the contrary, the more the casting is fine, the more the curing time is slowed down.

Avoid, at all costs, a too high temperature increase: pay close attention to the ambient temperature, the temperature of the product stored (the resin), the shape and depth of the casting, and even the material that constitutes the mold. For example, an ambient temperature that is just a few degrees high can result in defects in the cured resin: yellowing, shrinkage, cracks.

River table casting:

With the WWA epoxy resin and a 5cm thick casting of resin, it will be necessary to work in an air-conditioned room and an ambient temperature between 20 and 24°C
For a perfect very thick casting, choose a lower temperature, which will lengthen the curing time.
If the ambient temperature is too high, it will require several castings, in smaller thicknesses, and a sanding with an abrasive sponge between each layer, to create the grip.

Drying:

The WWA epoxy resin drying (polymerization) is achieved in 24h/48h. Optimum curing is achieved after 14 days.
To accelerate the curing, it is possible to steam the casting once dry, overnight at 40°C.

Customize your epoxy resin with dyes and pearls:

Inks:

Tinting the resin in the mass is possible thanks to Candy epoxy inks: They are extra translucent and ultra-concentrated dyes, which are added to the epoxy mixture in small quantities. There are about twenty colours, from turquoise to red, black, purple, lime green, or even cobalt blue. Other opaque colours are available.

Pearl powders:

These are ultra fine mica powders, used as a “load” to provide an iridescent effect.

About 25g of pearls per liter of mixture can be added to create a richly-coloured sparkling resin.
There are many different types of pearls, transparent, opaque and tinted
(see the colour chart detailing the 48 colours for Stardust® pearls)

Pearls and dyes can be combined to create extraordinary visual effects.

Finish:

The WWA resin provides an extra hard and gloss surface. One can apply topcoat of course, or polish using a polisher and a polishing paste, to increase the gloss and remove any defects.

Make a light table with a phosphorescent casting:

Phosphorescent (or photoluminescent) pigments store the light and release it gradually in the form of phosphorescence.
They are naturally whitish by day, or coloured and glow in the dark.
There is also a range of day-coloured phosphorescent pigments.
Find the complete range here, in many colours and sizes.

Successful implementation with an epoxy resin:

These pigments are compatible with epoxy resin and easy to mix.
About 50 to 100g per liter of resin are added.

These pigments are quite heavy, and we must absolutely prevent them from falling before the resin curing.
There are two ways to keep them in suspension in the resin:
– use the finest pigments (1-5µm or 5-15µm) as they are lighter
– choose a quick-setting resin, such as Resoltech 4000 resin, which allows a 2cm layer to cure in 30min.

How to effectively protect your epoxy resin against UVs?

Although having been considerably improved in their sensitivity to the sun,
epoxy resins must protect from the sun, to prevent yellowing.
Resin 4000 and very resistant to UVs, but the resin WWA and more sensitive.

There are relatively effective methods to protect these works with resins:

1 – Apply a UV varnish. Depending on the number of layers, this will block much of the ultraviolet light.
(application after sanding with 500 paper)

2 – Apply nano ceramic protection: this will not only protect against scratches, but also UV rays very effectively
(application directly on dry and glossy resin)