I’d like to show you how to work with my Magic-Glos™ product. It comes in a one ounce and a six ounce bottle. This is the original UV resin for crafting and creating that I developed in order to use on polymer clay and other surfaces. This is a wonderful product because it dries in just a matter of a few minutes under the sun, direct sun light or outdoor sunlight, not your window sill; or with my UV cure lamp. This is a nine watt lamp that can be used anytime day or night, cloudy days, rainy days, windy days or just at night. Very convenient to have next to your work station.
Bake your clay first. It can be any type of clay; but here we’re taking a foil piece of clay and you want some type of small firm tray to use either to carry outside in the sun or to put inside of your cure lamp. Once you work with a product you have actually hours of working time as long as you’re not under UV light. That’s long-wave UV light not the type that tans your skin.
You always add Magic-Glos™ from the center of your piece. Pour on just a little to start. You don’t have to have a side wall to hold it in. It’s self-leveling and it will hold a bead. Notice that I put it on a piece of flattened scrap clay. This is an open-sided piece with nothing to contain the Magic-Glos. The reason I put it on a piece of scrap clay on my curing tray is because I don’t want it sliding off as I pick it up to move it out doors or under my light. And also in the case of putting the product on very flat pieces of clay or paper, you want to raise it away from the surface so that the product doesn’t touch the edge of your work tray and start to spread away from your project. Now occasionally you might add too much by mistake. I usually let it just continue to over flow and cure it anyway. It can easily be filed or sanded away and cleaned up from the bottom where it doesn’t cure. And then you’ve got a beautifully finished product. Of course it’s best if you don’t add too much. Now without picking it up you might be able to tell that I’ve got a nice raised dome surface all the way up to the edges.
This piece has beautiful texture on it so it will probably hold the Magic-Glos™ in place right up against my edges. On flat smooth clay or other surfaces it’s designed to dome so it may pull in away from the edges as it cures. That’s a normal occurrence. When that happens after curing add another layer or possibly even a third one, curing in between each application and then the product will reach the edges. Just try not to overflow it. It becomes very easy to tell how much is enough or how much is not enough. If you don’t get a nice smooth glass-like self-leveling finish it means you’re not using enough of the product. You can continue to add layers to get a nice rounded polish on effect. It usually doesn’t have problems with bubbles but if it does I use an inexpensive butane torch and I pass it over this quickly. 1-2-3. That will pop any surface bubbles. Deeper set projects may require a few more minutes to allow lower bubbles to rise to the surface. And then you would pop them again before curing.
It’s very simple to work with this product. You can also use it with all kinds of inclusions including glitters, Angelina Fibers, dried flowers and more. I’m just going to demonstrate how easy it is to mix in some glitter to create some special effects. This will thicken the product and as it dries the glitter will have a bit of a texture to it. If you desire a smooth glass-like finish, simply add another layer after the first curing. Adding inclusions into your Magic-Glos™ will make the curing time. So usually in about five to ten minutes, not hours or days like other products, is enough to cure most Magic-Glos™. It will feel very hard on the top but it could be jelly soft in the underlying layers for up to as much as an hour. So just be very careful with it after you cure it. It can be drilled, carved, sanded, matted, buffed and it can be brought back to crystal clear. So you can control if you want a lot of glitter or a little glitter by adding more or less Magic-Glos™.
Let’s take a look at a few finished samples. This is Magic-Glos™ applied to millefiori clay that has been baked; with a pendant and a pill box. Here’s an example of a slightly larger décor piece if you’re familiar with the Makumi Ghani technique for polymer clay. This is Magic-Glos applied to the top layer of a decorative tin.
This is one of my e-jet transfers. After it was baked a small amount of glitter, iridescent glitter, was mixed in the Magic-Glos™ and just placed right in these areas and cured. This left raised uneven surfaces that surrounded the angel in the picture. After curing more layers were added until I got a nice level smooth raised round surface.
Here’s some more examples with the glitter. This was done with the groovy stamp. I did a technique called the Sutton Slice. You can find that in many of my books and videos. I filled the raised areas with Magic-Glos; it was mixed with different colors of glitter. Just doing a few areas at a time curing until I filled the entire piece.
You can also use other things like the transfers and stickers. All types of inclusions found objects. In this very small bezel you might be able to tell that several layers of Magic-Glos™ were used to create a dimensional layered collage in this small setting.
You can even use Magic-Glos™ without clay to make pieces that are translucent. With dried botanicals you can stamp on it. You can color it with permanent marking pens. And this is just the very beginning of how to use this exciting product.