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Resin cast with plasticard: How to make customised scale model buildings

A model rail layout created by taking silicone moulds of customised sets built with plasticard which are then cast in resin

“When my children were young, I remember them playing with flat moulds which produced plaster casts of buildings. So I thought to myself, what if I used plasticard to create original components for scale model buildings, turned them into moulds and then cast them in resin?”

George Ridgway does a lot of casting and mould making, all of it as a hobby. 54mm British soldiers from the Napoleonic Wars? Check. 1/1200 waterline ships? Check. 1/72 military vehicles? Check.

He started out intrigued by the process and as time has passed, gradually became braver with what he attempts, leading to a pretty impressive portfolio of work.



Today, we are talking about his buildings. George is explaining how he came to combine plasticard and casting resin in the construction of scale model buildings in N gauge as part of a model railway layout.

“I had built many factories, houses and other buildings from plain plastic sheets, Slater’s Plastikard and similar embossed plasticard. What I really wanted to do though was produce original components to allow duplication and variations.”

Which is when George had his Paul on the road to Damascus moment, or in this case, George on the road to the SylCreate shop moment. If his children were able to use flat moulds to make plaster cast buildings, then he could use the same process with plasticard and resin for producing customised sets and copies.

“I start out by drawing designs of the buildings I want to create,” says George, explaining his method. “I then build the master components from plasticard and place these in shallow mould boxes made from further plasticard.”



“The boxes are as tight to the shape as possible, but with sufficient surround and depth so as not to waste moulding rubber and to retain a strong mould.”

George’s moulding rubber of choice is Sylmasta 380, our medium grade which offers good dimensional stability as well as a softness suitable for deep undercuts. His master moulds of his plasticard components are simple, flat, single moulds.

From these, George uses Polycast G26 to cast resin copies of the originals. “I keep the resin versions as shallow and fine as possible to avoid needing to trim flash, cut out windows or lose any detail.”



“The original components are designed with flanges and to the same dimension so that the walls of the buildings can be glued together using the products in the Sylmasta Superglue Kit. Designing quoins, buttresses and other supports helped.”

Once the structure of the buildings have been created, George adds details like drainpipes, window glass and chimney stacks from plastic rod, tubes or additional plasticard.

George is at pains to point out that he did not master the craft of creating scale model buildings from resin overnight. “The process took time and experimentation to get the original components accurate, the moulds to mature fully and the resin products to thoroughly harden.”



“Even now, sometimes my castings are too thick. I have learnt to be cautious when mixing the resin and filling the mould and that help creates well defined copies that require little trimming.”

“I am no great model painter and initially, I was concerned that the final finish may not have been as well defined as printed card buildings. That was not a problem though and the end products are less flimsy or vulnerable compared to plasticard.”

“Having more robust buildings is good, but the main benefit is of course that I can cast many different customised parts specifically designed for my layout. The mix and match of components allows a real range.”



Plasticard is not George’s only material for creating masters. He also hand builds from wood, plastic, metal and modelling clay. “I am getting braver about what I try now, thanks to finding Sylmasta moulding rubber and Polycast resin so easy to use.”

“I would say I am more of a modeller than a railway or military fan. No matter what the layout, I enjoy trying out my own methods – even when there are better proprietary products for sale.”

“With how many of us model makers there are and the fact that a lot of us like building our own layouts, I guess many of your SylCreate customers feel the same.”


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How to make and use a two-part silicone mould for resin casting

They say a picture is worth a thousand words, in which case how much is a video worth? Well, we are about to find out as we have dug deep into the SylCreate archives to find one of the first videos we made, explaining how to make a two-part silicone mould and use it for resin casting.

Our casting resins, moulding rubbers and all the accessories needed are some of the most popular sellers on SylCreate. Model makers use them to produce highly detailed copies of masters or modified parts.

Artists like our friends at The Pea Hive create jewellery, trinkets, ornaments and other items. Industrial users use the casting and moulding process to bypass the need to fabricate new machine parts, instead opting to copy existing ones.

It is actually an industrial application being carried out in the video we found, as one of our technicians creates a copy of a gear using Polycast G26 Polyurethane Casting Resin and Sylmasta 380 Silicone Moulding Rubber.

The process though remains the same, whether it is a piece of a machine being cast, a necklace, a statue of a dog, or a scale Roman amphitheatre. Watch the video below and read on to discover how easy making a two-part silicone mould and using it for resin casting can be…



Step One: The Mould Box

Firstly, you need to make a mould box which, unsurprisingly, is a box in which you will form your silicone rubber mould. No exciting titles here, I am afraid – it does exactly what it says on the tin.

In our video, the mould box is formed using plasticard, Sylmasta CAE1500 High Viscosity Superglue and plasticine. The item which the mould is to be taken of is measured to create a box of the perfect size. Create a box too large and you are wasting moulding rubber; create a box too small and, well, you can probably see the problem.

There are lots of ways to create a mould box other than with plasticard. Essentially, anything which can hold the liquid moulding rubber in place until it sets will do. When we have run out of plasticard stock before, we have even been known to recommend that customers use Lego to make their moulding box…

The item to be moulded is then pressed into the plasticine, with impressions made in the plasticine which will act as keys for the finished two-part mould.

Step Two: Making the Silicone Rubber Mould

To make the silicone mould, the moulding rubber is mixed with the catalyst and stirred until the liquid is streak free. Once mixing has been completed, the moulding rubber is poured into the mould box to create the first component of the two-part mould.

Each grade of Sylmasta Silicone Moulding Rubber has a different de-mould time. Once the specified time has passed, the plasticine is removed to reveal the other half of the item which now needs to have a mould taken.

To prevent the two parts of the mould sticking together as the second half is formed, the rubber inside the mould box is coated with release agent. Next comes one of the most important stages of making a two-part mould and one that a lot of people forget, believe it or not.

To get casting resin into a two-part mould, the rubber needs a couple of holes through which the resin can be injected. As our video shows, these can be made by using plasticine to attach a couple of bits of plastic to the item being moulded.

The rubber will form around the bits of plastic, which can then be removed once moulding is completed to leave two holes in the finished mould. Without these holes, there is no obvious way to inject the resin into mould, which is obviously going to cause a bit of a problem down the line.

Once the plastic sticks have been attached, more of the rubber is mixed and poured into the box to create the second half of the mould. When this part has been left for the specified time, both parts are removed from the box and are now ready to use as a two-part mould.

Step Three: Resin Casting with the Silicone Mould

Moulds made using Sylmasta Silicone Rubber are reusable. Remember the Roman amphitheatre we mentioned a little earlier? All the arches for that were made from one mould, which shows just how durable and long-last a Sylmasta mould can be.

When it comes to using casting resin, Part A and Part B are mixed in the prescribed ratios and then injected into the mould through one of those very important holes that were created during the mould making stage. Enough resin is in the mould once it surfaces from the second hole, after which the mould gets a shake and a little more resin is injected.

After the recommended curing time has passed, the mould is opened up and sitting inside will be a highly accurate copy of the master made from resin.



As with most things in life, the more practice and experience that a person gains when resin casting and creating silicone moulds, the better their work becomes.

Most of our beginners kick off with the Sylmasta Casting Kit which contains enough G26 Resin and 380 Silicone Moulding Rubber to get started, alongside all the accessories needed.

The Sylmasta Casting Kit XL contains five times as much G26 Resin and twice as much 380 Silicone Moulding Rubber whilst individual resins and rubbers can also be purchased separately in larger quantities.

If you would like to share your casting and moulding creations made with our products, then please email photos of your work alongside the SylCreate materials used and a description to sales@sylmasta.com.

We love seeing them and would be particularly interested in seeing how any first-timers get on when following our newly-recovered instructional video. Happy mould making and happy casting!


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Epoxy modelling putty – Your guide to model making & sculpting putties

Selecting the right epoxy modelling putty from the large number available can be a difficult task with each model making putty having its own unique properties

Judging by our inbox, the world of epoxy modelling putty can be confusing. One of the most frequent enquiries we get is to explain the difference between the various model making and sculpting putties available and which one is most suitable for a specific application.

Green Stuff, Magic Sculp, Geomfix, Milliput… there are a lot of options. The rather unhelpful answer is that most of the time, choosing an epoxy modelling putty comes down to personal preference. Some will find the stickiness of Green Stuff easier to work with; others the smooth texture of Magic Sculp.

It is rather like pizza toppings. Everyone has their favourite and there really is no wrong or right answer…. even pineapple is acceptable. Before we end up talking too much about pizza and I end up going to Dominos for lunch, let us get back to the subject at hand – model making putty.

Whilst a lot depends on which putty you get along with best, there are some differences between epoxy modelling putties that you can take into consideration when deciding on your sculpting medium of choice.

Welcome to the SylCreate guide to selecting the right model making putty.

Green Stuff

Green Stuff is often the preferred epoxy putty of wargamers. It is flexible and gives a fine cut, making it ideal for adding intricate details to goblins, orcs, and other fantasy creatures.

For highly-detailed Warhammer, Dungeons & Dragons and other fantasy work, it is perfect. Some of the world’s leading model makers such as The Goblin Master Kevin Adams and Alan and Michael Perry of Perry Miniatures are Green Stuff devotees.



When working with Green Stuff, it is noticeable just how sticky the putty is. It can take some getting used to. This stickiness allows the cured putty to retain a degree of flexibility, enabling the user to bend it into shape without it breaking.

These elastic properties make Green Stuff popular with scale model enthusiasts and professionals as well as wargamers. Whilst scale model makers will use a firmer epoxy modelling putty like Magic Sculp for initial sculpting or conversions, more detailed items can be made with Green Stuff, bent and then glued onto the other cured putty.

Award-winning AFV modeller David Parker deploys this technique for adding detailed insignia and supporting accessories such as belts and hair to his tank crew.

Green Stuff comes in two formats; a reel and a stick. The reel is pre-formatted with the resin and the hardener combined. To use, you simply cut off the amount of putty required and mix it together until it turns green.

One downside of the reel format is it does not allow the user much control over the mixing ratio of Green Stuff. That is not the case with the stick, where the resin and the hardener are separate portions.

The recommended mix of Green Stuff is 50-50, but in more specialist applications there are advantages to be had from adjusting these quantities. Professional model makers will sometimes go as far as to use four or five parts yellow to one part of blue hardener.

Less hardener means a longer curing time than the standard of 90 minutes to 1 hour and a much lighter consistency of putty, allowing for more time to work with a material capable of holding even more detail.

For more guidance on using Green Stuff, then Kneadatite have written a handy guide on their website with everything you could ever want to know about using the putty.

Magic Sculp

Magic Sculp has a finer texture and a softer consistency than Green Stuff, making it easier to sculpt in larger projects.

It is much more clay-like and once cured, it can be sanded, carved, painted… you could even attack it with a grinding tool and it would not break or lose shape.



Whereas Green Stuff is used mainly by wargamers, Magic Sculp has multiple uses. It is popular in the scale model world for easily converting existing models, gap filling and sculpting new models and accessories.

Sculptors like it because of how easy it is to carve and the smooth finish it provides. They use it to repair and restore existing pieces as well as for creating new pieces.

In one of our favourite applications, it has even been combined with brick dust to create a coloured putty which seamlessly repaired a large hole in a brick wall.

Another reason Magic Sculp is popular for larger projects is its work time. At room temperature, it will not cure for two to three hours, offering much longer for model makers and sculptors to carve and shape the putty in larger projects.

Geomfix Original A+B Epoxy Modelling Putty

The best way to describe Geomfix Original A+B is as a cross between Green Stuff and Magic Sculp.

It can hold the finest of details like Green Stuff, allowing it to be used for intricate work. At the same time, it has a tough surface similar to Magic Sculp for building up bulk models and use in restoration work.



Geomfix’s secret is that it is ceramic filled. This allows it to set harder than most other epoxy modelling putties, giving it a ceramic feel which makes it perfect for restoring china and other materials.

The list of users of Geomfix Original is pretty extensive. Scale model makers, wargamers, arts and crafts enthusiasts, china restorers, doll repairers and jewellery designers all use it.

Away from our world of creativity, a super-strength, industrial version of the epoxy putty known as Sylmasta AB is used in maintenance and repair tasks.

If you are unsure whether Green Stuff or Magic Sculp are the epoxy modelling putty for you, then Geomfix is a versatile, happy-medium between the two.

It has a two hour work time which can be accelerated using heat, is available in bulk quantities for the biggest projects and comes in three colours – standard white, jet black and silver grey.

Geomfix Coloured Epoxy Modelling Putty

The colour options do not end there. Geomfix is also available in a further 25 colours which match Swarovski crystals.

Originally, Geomfix Coloured was manufactured as a jewellery epoxy putty but the concept quickly grew into other areas including antique restoration, large design projects, and creating seasonal items sich as Christmas crafts and decorations.



Geomfix Coloured is made-to-order on-site by SylCreate. As well as the standard 25 colours, our technicians can customise an epoxy modelling putty to a specific colour.

When Donald Trump was in the White House, we were even asked by one customer to produce a Trump-coloured epoxy putty. The result was surprisingly accurate – although we never did ask what the putty was for…

Milliput

Millliput have been manufacturing epoxy modelling putties from their base in Wales since 1968, earning a deserved reputation as one of the best in the business.

All Milliput putties follow the same format – they come in two parts, 56.7gm of resin and 56.7gm of hardener. Mix the two together and off you go, whether your application is repairing a cracked toilet, fixing a leaking radiator, woodturning, or sculpting coal for a model railway.

There are six colours of Milliput available. Standard sets to a yellow-grey with the others doing exactly what they say on the tin: Silver-Grey, Superfine White, Black, Terracotta and Turquoise Blue.

Because Milliput is as much of a repair putty as it is a model making epoxy, it is not great at holding the finer details which most scale model or wargamers require when sculpting.

Where Milliput is good is in price – it is by far the cheapest epoxy putty around, making it a popular choice when it comes to packing out the body of large-scale models.

Surprisingly few model makers seem to know this, but you can mix modelling putties together to combine their properties. It is here where Milliput shows its worth.

For larger model making projects in which greater quantities of putty are required, Milliput can provide bulk in a more cost-effective manner.

Mix it with Green Stuff and you create a putty which can be used to build up a model and offers a degree of Green Stuff’s flexibility and ability to hold intricate details.

You can find out more about the benefits of mixing modelling putties in this article we wrote on the subject.

Superfast Wood Stick

Last but by no means least on our list is Superfast Wood Stick, an epoxy putty specially formulated for wood repair and restoration.

The putty is wood-filled and cures to the colour of wood, allowing it to be used as a damage filler. It repairs fences, furniture and wooden sculptures and the cured putty even floats.

Since bringing it into the SylCreate range, we have seen customers start to use it to carve brand new wood-like ornaments and creations.

Superfast Epoxy Putties do not stop with wood, either. There are specialist putties for the repair of other materials including concrete, which we have recommended to several customers carrying out restoration on stone materials.

If you have any projects completed using our modelling putties which you would like to share with us, then please email photos and a write-up to sales@sylmasta.com.

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Scratch-building and resin casting with scale model master Dr Alex Clark

Alex Clark is one of the best 1/72 scale model makers around thanks to his talent for scratch-building parts from Magic Sculp and using casting resin to produce high-quality reproductions

Dr Alex Clark built his first scale model as a young boy in the 1970s and since then, he has become a master of the art of resin casting, mould making and scratch-building – with the awards to prove it.

He was conquered national competitions within the United Kingdom and international shows in the United States and Spain, including Euromilitaire, AMT Torrent, and the IPMS USA Nationals.

He has had three books published on the casting and scratch-building process and written articles for many magazines, including the first ever issue of the popular AFV Modeller, edited by another star of our Showcase Section, David Parker.

All model makers go through a journey, discovering what they enjoy and what they are good at after having a go at the many different spheres which make up the pastime.

Dr Clark is no different. He went from putting scale model kits together to scratch-building and resin casting his own parts and accessories to becoming one of the best at 1/72 scale AFV models there is. Oh, and he has a chemistry PHD too, hence the doctor.

“Back in the 1970s, I would build all sorts,” Dr Clark explains as he takes up his story. “Aircraft, armoured vehicles, ships, cars and more. Over the years, I gradually settled around armoured vehicles, mostly in smaller scales such as 1/72nd.”



As Dr Clark discovered his calling for 1/72 in his early twenties, he began to read up on the vehicles he was now recreating. What he discovered was a lot of the kits he was building were nothing like the full-size machines they reputed to be.

“As I delved more into research and the details of the real things, I became increasingly dissatisfied with the quality and accuracy of some of the available kits.”

“To this end, I started scratch-building my own details. Inevitably, I reached a point where I needed multiple copies of some parts, which is when I took my first step into the world of mould making and resin casting. Since then, I have never looked back.”

We often find when resin casting that the simpler you can keep the process, the better the result. Dr Clark’s ridiculously detailed work is evidence of that. “To this day I don’t have any specialist casting equipment, I make everything with simple one-part, open moulds,” he proudly says.



Dr Clark uses the most basic of resin casting and mould making materials and tools to recreate his scratch-built parts – and it was his mission to show other scale model makers that you do not need any expertise to start casting that led to him writing his three books for Osprey Publishing.

“My first two books dealt with building specific vehicles – Modelling the Tiger Tank in 1/72 Scale and Modelling the Panzer IV in 1/72 Scale. The third book, Small Scale Modelling Masterclass, has chapters devoted to scratch-building.”

“This also covered basic mould making and resin casting for beginners. Being an enthusiastic amateur, I wanted to show that any modeller can start casting themselves, just as I did.”

Small Scale Modelling Masterclass is a bible for beginners when it comes to everything to do with scale model building, taking readers through construction, painting, finishing and presentation.

In it, Dr Clark explains how he scratch-builds parts and then uses casting resin and moulding rubber to produce highly-detailed recreations which are good enough to wow at competitions across the globe.


A scale model T-54 tank engine made from separate parts cast in resin and assembled together
The two photos above show parts for a T-54 tank engine scratch-built by Dr Clark. He then cast the parts in resin and assembled them

“My favourite tools for scratch-building are Magic Sculp and a Swann-Morton scalpel with 10A blades,” Dr Clark says – without giving too much away from the book, obviously!

“Magic Sculp is the best type of modelling putty for making stowage, like tarps and rolled blankets. It rolls very easily into thin sheets without tearing and gives realistic and natural folds and creases.”

“A scalpel has been my preferred cutting tool for nearly 35 years. Swann-Morton with a number 10A blade is perfect for the small, intricate parts I create.”



When it comes to casting and mould making, Dr Clark has been using SylCreate’s resin casting kits for 15 years now in his scale model work. “Grade 380 Silicone Moulding Rubber has just the right degree of strength and flexibility for the small, detailed parts I make.”

“To partner this, Polycast G27 Resin cures in an ideal time. It is enough time to work it into the moulds, but then not too long as to hold up projects. I also like the sharp and crisp results it gives, they are perfect!”

“A humble cocktail stick is enough to work the resin carefully into the details and remove any air bubbles. Much can be achieved with this approach and I believe it is within the scope for any modeller to do the same if they wish.”


Transmissions for a 1/72 scale Tiger II tank made using casting resin
The transmission of a Tiger II tank. Dr Clark scratch-built the parts, test assembled them and cast them using G27 resin

Dr Clark’s attention to bubbles is clear throughout the casting process. Rather than dispense the Silicone Moulding Rubber straight into the mould box, Dr Clark coats each part in a layer of the liquid rubber first before slowly pouring the rest of the rubber in. This helps to eliminate air bubbles which can otherwise form.

It is the same story when it comes to the resin. Dr Clark describes getting the resin completely into the mould without any bubbles as “the biggest challenge of the whole process.” Again, he turns to a brush, painting the resin into the most detailed parts of the mould and jabbing it gently so that air bubbles rise to the surface.

The results are award-winning models and a loyal following. Dr Clark’s public Facebook profile is followed by thousands of people who like, love and share his regular updates of projects he has been working on.

If you like scale models, resin casting or are looking for inspiration for your next project, then give him a follow. It is always a thrill to see a master at work.

Dr Alex Clark’s three books on scale models are available to buy from Osprey Publishing.


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Hxtal NYL-1: How to use the world’s best glass and ceramic repair epoxy

Hxtal NYL-1 is one of the world's best glass and ceramic epoxy repair and restoration products

When it comes to the repair and restoration of glass and ceramic, there is one product that stands out above any other – Hxtal NYL-1.

The reason Hxtal NYL-1 is so good is because of its exceptional non-yellowing qualities. Over time, most adhesives will start to yellow when exposed to light, which is not much use if you are trying to carry out a long-lasting, permanent repair to a priceless artefact.

Take the Portland Vase for example. In 1845, a rather drunk Irishman by the name of William Lloyd wandered into the British Museum and smashed the 1,800 year old Vase into 189 different pieces.

It took over 144 years and three different repair attempts to completely restore the Portland Vase to its ancient Roman glory. The first of those repairs was completed by the British Museum’s restorer John Doubleday. Mr Doubleday could find no way to replace 37 of the smallest fragments as the adhesive technology to do so did not exist at the time, but otherwise the repair was a success.

By 1948 however, the adhesive used in the repair was starting to yellow. Conservator J.W.R Axtell dismantled and rebuilt the Vase, fitting three of the 37 missing pieces into his own restoration. Fast forward to the late 1980s and the second repair was yellowing and the Vase so fragile that it could not leave the museum.

Nigel Williams and Sandra Smith were put in charge of the third rebuilding of the Portland Vase and by using Hxtal NYL-1, they were able to complete a super-strength repair which fitted all of the missing pieces back in place and which meant that the Vase would not yellow when put back on public display.

Hxtal NYL-1 is so stable because it is so pure. During its manufacture, any traces of the metal ions found in adhesives which are responsible for yellowing are removed, ensuring that it remains crystal clear even after many years in the harsh glare of direct sunlight. Hxtal NYL-1 is the most sophisticated, high-tech adhesive in the world.

It is relatively straightforward to use too, whether you work as a professional curator in the British Museum or you dabble the odd bit of restoration in a shed at the end of the your garden.

Hxtal NYL-1 comes in two parts. You mix one part by weight of Part B to three parts by weight of Part A, transferring those parts from their containers into a clean mixing glass. Hxtal NYL-1 can then be mixed using a glass rod. What happens next is dependent on the type of glass or ceramic restoration you are intending to carry out.

Freshly mixed Hxtal NYL-1 is extremely thin, making it ideal for penetrating cracks before disappearing from view. For the best results when using this method, you should slightly warm the area requiring repair to around 50°C using a UV lamp or a hairdryer.

When you then drop a small amount of Hxtal NYL-1 into the crack, the crack will vanish before your eyes as the epoxy fills it. Wipe away any excess adhesive with a clean cloth or paper towel and then leave it to set.

For bonding glass and broken parts together, most people find it easier to work with Hxtal NYL-1 once it is has started to thicken. Leaving it to stand after mixing gives the epoxy time to gain thickness, making it more straightforward to apply to edges which are to be bonded.

There is also less chance of excess adhesive being squeezed out when two parts are pushed together. Hxtal NYL-1 has such a long cure time that you do not lose any bond strength by allowing it to settle for hours after the initial mixing.

When bonding pieces together, it is important that you are absolutely certain that the parts in question are in the correct position and that they cannot shift at all during the curing process.

Hxtal NYL-1’s super-strength makes parting joints an absolute nightmare once you pass a few days of curing; you are best off checking the position of the repair on a regular basis, rather than realising five or six days in that pieces have slipped out of place.

Yes, you did read that last paragraph correctly with regards to curing time. Many customers balk at the idea of a seven day set time, but you cannot rush perfection and when used correctly, that is what you get with Hxtal NYL-1. At 23°C, it takes one week to reach 90 percent bond strength.

The temptation might be to try and speed this cure time up, but to do so is a risky business. If you heat freshly mixed Hxtal NYL-1 to a high temperature, it will cure unevenly and possibly catch fire.

It is possible to accelerate the curing time later in the process by placing the item that has undergone repair in a warm area between 26°C and 37°C. Only do this 36 hours after the application of Hxtal NYL-1 was completed and do not expose the item to these warmer temperatures for more than a day or two.

36 hours is also the magic number when it comes to cleaning up. Any excess resin should be removed 24 to 36 hours after application with a single edge razor blade or razor knife. Never use solvents to clean up Hxtal NYL-1 as they can interfere with the bond, impacting on the strength and the non-yellowing qualities of the adhesive.

If you require any further guidance or information about the suitability of Hxtal NYL-1 in your application or how to use it, then please contact SylCreate and one of our technicians will be happy to help.


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Christmas Resin Ideas: Festive Handmade Epoxy Decorations & Gifts

Casting resins and epoxy modelling putty can be used to make handmade Christms gifts and decorations

It’s beginning to look a lot like Christmas, everywhere you go! And if that is making you think about Christmas gifts and decorations for the festive season, then we have got one word for you – handmade.

Christmas is a great time for crafting and there is something special about making and then giving the gift of handmade to friends and family. When it comes to decorating the tree and all the other little trinkets that turn your home into a winter wonderland, that too is made all the more magical when it features the personal touch.

Which is why we asked our resident resin artist Loz from The Pea Hive what she would be getting up to for Christmas and whether she had quick and easy craft ideas that we could try out? Rather than simply tell us, Loz decided to show us.

So without further ado, here are The Pea Hive’s quick and easy decorations and gifts ideas for a handmade Christmas.


Handmade resin cast Christmas tree decorations

Decorating the tree is one of the most eagerly anticipated rituals of the entire Christmas period. Many families have decorations that have been passed down through the ages, heirlooms that provide a connection stretching back generations.

Imagine then putting your own stamp on the family Christmas tree for years to come by creating handmade decorations from casting resin. You could cast a decoration whilst sipping on a glass of mulled wine in 2020 that is still used by your relatives to decorate a tree in 2090.

Resin Christmas decorations are easy to make. Simply take a mould of an existing decoration you like using 380 Silicone Moulding Rubber and then create a replica of it with a festive coloured casting resin like Polycast G26 Emerald Green or Polycast G26 Red.

Alternatively, you can turn other Christmas-related items like heart shaped jewellery or little toy reindeers into moulds, resin cast a new decoration, attach some ribbon and then hang the finished product from your tree.

Adding sparkles and glitter to the resin creates a truly Christmasy decoration which, because it is handmade, will be unique to your family. Then you just have to hope it is looked after for the next 70 years.


Create your own Christmas wine glasses using modelling putty

Wine glasses turned into handmade Christmas goblets with candy cane, holly and a Santa Claus hat made from coloured epoxy putty which would make a great gift

Christmas time, mistletoe and wine as Cliff Richard likes to sing. If you are planning on opening a few bottles of vino over the festive period, then get your drink vessel of choice ready by adding decoration to your wine glasses.

Geomfix modelling putty comes in a variety of colours including Red, Emerald Green, Crystal White and Jet Black. It can be used to create little Christmas trinkets such as candy canes, holly and Santa hats which can then be attached to wine glasses.

No superglue is needed – Geomfix offers a high-strength bond to all materials, including glass, china and ceramics. You can attach Geomfix to practically anything for creating handmade Christmas gifts to give away to friends and family.


Handmade Christmas cards with decorations

Handmade Christmas cards featuring tree decorations gifts made from casting resin

Remember those tree decorations made from casting resin that we mentioned earlier? How about taking one of those and giving it away as a cool little gift by attaching it to a handmade Christmas card?

All of a sudden, you are not just sending out cards this festive season – you are giving away quirky little presents too. Check out this video in which The Pea Hive show just how easy casting a festive snowflake and attaching it to a card can be:

Resin cast Christmas tree decorations are not the only seasonal sprucing you can add to a card. Anything made using Geomfix will also bond to paper, so you can attach those putty candy canes, holly branches and Santa hats which have already brightened up those wine glasses.


Watch… 3 Christmas gifts & decorations you can make in 15 minutes

Just in time for Christmas, SylCreate have joined YouTube. We will be using our channel to share with you model making, casting and other craft techniques as well as showing you how to make the most of the SylCreate range of products.

One of our first videos is a Christmas special as The Pea Hive make three handmade Christmas decorations in just over 15 minutes using Geomfix Red, Geomfix Crystal White and a dash of Sylmasta CAE1500 Superglue.


We are making Christmas crafting easier by combining all the products used by The Pea Hive into one Christmas Creator Kit.

It contains the four festive-coloured versions of Geomfix, Polycast Green and Polycast Red casting resins, moulding rubber and a whole host of accessories to help you have a home made Christmas

Priced at £59.99, the Christmas Creator Kit offers a £49.15 saving on buying products individually. If you require only single items, then you can browse the entire Sylmasta Christmas Collection here.

Merry Christmas and a Happy New Year from all of us at SylCreate and The Pea Hive.

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The real life snipers who fought ISIS immortalised in Magic Sculp

Legendary snipers who fought against ISIS in the Iraq-ISIL War have been sculpted in Magic Sculp by Red Zebra

At first glance, the two figures sculpted from Magic Sculp in 1/35th scale look like a couple of men casually standing on a street corner – you certainly would not have them marked out as two of the world’s most deadly snipers.

They have their hands in their pockets, as if they are doing nothing more than watching the world go by. It is only when you notice the sniper rifle that you realise these two are anything but civilians.

Abu Tashin al-Salhi and Musa Hardem were in fact feared snipers who fought against ISIS in the Iraq-ISIL War, which raged between 2013 and 2017.

Their feats earned them legendary status in both their home country and across the globe – which is what led Red Zebra Models some 2,717 miles away in the United Kingdom to immortalise al-Salhi and Hardem in Magic Sculp before and polyurethane casting resin.

Regular readers of our Showcase page need no introduction to Red Zebra. They are the military modelling company who specialise in figures and accessories from Middle East conflicts and desert warfare.

It says much that even in a range as intriguing as Red Zebra’s, al-Salhi and Hardem stand out. Which is what made us want to find out more about the process and inspiration behind recreating al-Sali and Harden in Magic Sculp – as well as the incredible life stories of these two snipers.


Abu Tashin al-Salhi was a sniper who fought against ISIS in the Iraq-ISIL War

Abu Tashin al-Salhi

Abu Tahsin al-Salhi first came to the attention of Red Zebra when owner Paul Wade discovered a photo online whilst carrying out research into recent conflicts in Iraq and Syria.

“I came across a photo on the internet of what appeared to be an old man in a boiler suit holding a large rifle. I was curious to learn more about this man and after some research, discovered the incredible story behind the figure.”

For al-Salhi was more than an old man in a boiler suit. He was  one of the most feared snipers in the Middle East having taken part in conflicts in the region dating all the way back to the 1973 Yom Kippur War, earning the nicknames “The Sheikh of Snipers” and “Hawk Eye” over the course of his 44 year military career.

Much of al-Salhi’s story cannot be verified, not helped by his status as a mythical figure among Iraq’s Shiite community.

From what we know, al-Salhi was born in 1953 and travelled to Kuwait as a young man, where he worked as a shepherd of cows and camels. For protection, he carried a French rifle which he also used for hunting rabbits.

In the early 1970s, al-Salhi swapped shepherding for sniping. He was sent to a Russian sniper school in Belarus shortly before joining the Iraqi army.

After serving in the Golan Heights during the Yom Kippur war, he saw action in the 1974 Second Iraqi-Curdish War, the 1980-88 Iran-Iraq War, Saddam Hussein’s 1991 invasion of Iraq, the Gulf War, and the US invasion of Iraq in 2003.

Al-Salhi came out of retirement in 2014 to join the Popular Mobilization Forces militant group in the fight against Islamic State after the terrorist organisation seized vast swathes of Iraq.



It was during his time fighting ISIS that the photo of al-Salhi was taken, inspiring Paul to sculpt his first snipers model using Magic Sculp and a small amount of Green Stuff.

In it, al-Salhi can be seen with his trusty Austrian-made rifle. With this piece of weaponry, he killed 384 ISIS fighters according to the Popular Mobilization Forces, including four on the day he died as part of an advance to retake the town of Hawija in September 2017.

His rifle was given pride of place in a museum in Karbala following his death. Al-Salhi was celebrated across Basra and other Shiite areas as posters with his face adorned homes and shops, poems were written in his honour and a bakery even started selling cakes with his face on.

Thanks to Red Zebra, al-Salhi will live on through his own military figure. “Although I’ve sculpted a lot of figures over the years, they all tended to be more regular soldiers,” Paul said. “The look of this man certainly appealed as something completely different.”


Musa Herdem was a legendary sniper who fought against ISIS in the Iraq-ISIL War

Musa Herdem

It was whilst trying to get information on al-Salhi that Paul came across another photo from the fight against ISIS.

“It was a soldier stood on the parapet of a building, looking out over the ruins. He was stood there with his hands in his pocket and his rifle flung over his shoulder. Obviously, his job was complete.”

The soldier in question was Musa Herdem, an Iranian-Kurdish sniper who garnered worldwide recognition when it was revealed that he had successfully killed ISIS fighters from a distance of 400 metres using his Russian-made Dragunov rifle.

Herdem’s reputation was further enhanced when he became the subject of a profile carried out by an Iranian-Kurdish AFP photographer during the Battle of Kobane in Syria.

Pictures of Herdem were widely circulated among the international press, including the one that inspired Red Zebra to investigate his story.

Herdem was born in Rojhelat and grew up in Salmas, a city near Iran’s border with Turkey. Salmas is a melting pot of cultures, home to Azeris, Armenians, Assyrians, Kurds, Jews, and Persians.

He spent his childhood working as a kolbar, somebody who is paid to smuggle goods on their back across the border of Iran and Turkey. It is a dangerous way to make a living, with many kolbars shot dead by government forces when crossing the border or dying due to the treacherous journey over mountains in freezing conditions.

Herdem survived though and in 2012, he joined the Syrian Kurdish YPG at the age of 23. When ISIL captured 350 Kurdish villages and towns surrounding Kobani in September 2014, it was Herdem who helped lead the fightback, earning the nickname Musa the Sniper along the way.



He fought in Kobani from the first day of the siege until the last. From September 2014 until January 2015, he moved from ruined house to ruined house killing as many ISIL fighters as possible. Herdem is credited with hundreds of kills.

When he was not taking out targets, he was training other snipers to be just as effective as he was through his role as commander of the Kobani Sniper Group.

Herdem was killed in action in April 2015. Just a couple of months before his death, he gave an interview in which he talked through the Battle of Kobani while pointing at the bodies of nine ISIL fighters who he had dispatched.

This casual attitude to war appealed to Paul. “Just as with Abu, I liked the idea of the relaxed casual pose. Once I found out some history about Masu, I just had to sculpt this individual.”

The figure of Herdem features him in his signature pose, casually leaning up against a ruined wall with his Dragunov rifle strapped to his back. As with the model of al-Salhi, Magic Sculp and Green Stuff were used to sculpt Herdem, this most feared of snipers.

Masu the Sniper and Silver Sniper, Abu are both available to buy as part of the Red Zebra 1/35th Scale Range.


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The craft, hobby and model making products to get you through lockdown

Resin casting is one of the craft, hobby and model making activities which you could take up during lockdown

Britain is going back into lockdown. The United Kingdom government announced that lockdown restrictions are to be imposed from Thursday 5th November 2020 until at least Wednesday 2nd December – which means that the nation will suddenly find itself with a lot of time for craft, hobby and model making. Again.

The previous shutdown saw millions of people across the country use their increased time at home to take up new craft skills, rediscover old pastimes and become creative in a way in which modern life pre-lockdown never really allowed. It was one of the few positives of those Spring months confined to our homes.

And here we go again. The prospect of a winter lockdown is even more bleak; cold weather, darkness and the prospect of a quite different Christmas which is rapidly approaching are set to make these latest restrictions more challenging than the first.

Which is why craft, hobby and model making is going to be important again. What better way to help pass the time and take your mind off the world than by getting creative and having something to show for your efforts when the country opens again?

Here are our top four SylCreate craft, hobby and model making products to get you through Lockdown 2.

Casting Kit

Resin casting is an extremely popular pastime – and it is not hard to see why. It involves taking a mould of an item and then recreating it multiple times using casting resin. There are so many directions that you can go when resin casting that it is hard to know where to begin.

Our friends at The Pea Hive create brilliant handmade jewellery. Design Director Loz produces colourful, kitsch, and sparkly items with resins which she sets with additional materials including Swarovski crystals and glitter.



Let us whisk you from earrings and necklaces to ancient Rome. Paul Hallett uses casting resins to recreate scale replicas of historic buildings including Tudor homes, Victorian pubs and his pièce de resistance, a stunning Roman amphitheatre which took two years to make. Fingers crossed Lockdown 2 does not go on for long enough for you to have a go at that…

To make the casting and mould making process simple, we sell all the products needed to get started in one easy-to-user kit. The SylCreate Casting Kit comes with silicone moulding rubber to create moulds, resin to pour into the moulds which create casts alongside all the accessories needed.

There are full instructions included with the kit which will guide you through the entire process. Who knows where a journey into the world of resin casting will take you? Homemade jewellery, newly cast versions of ornaments and trinkets you already own, maybe even a Colosseum or two – the possibilities are endless.

Modelling Putty Kit

You can use modelling putty to create almost anything. We have seen our products used to carve creations, create Funkos, take paw prints of animals, modify military figures, sculpt accessories and even repair a 19th century lantern.

Some of the most intricate model makers are found in the fantastic world of fantasy. Whole sections of the huge Warhammer Community and the table-top gaming sphere rely on modelling putties to bring their ideas to life.

The Goblin Master Kevin Adams is one of the world’s leading model makers when it comes to – surprise, surprise – goblins. Kevin has many other strings to his bow, including one of our favourite uses of modelling putty when he converts heads on existing models into anything in exchange for charity donations at the annual Bring Out Your Lead event hosted by Foundry Miniatures. Many people ask Kevin to sculpt the faces of their wife and children in putty.



For beginners who want to start using model making putty as part of their new lockdown craft hobby, it can often be difficult to know which putty to use – which is where the Modelling Putty Kit comes in. We have bundled up our three most popular putties – Green Stuff, Magic Sculp and Geomfix Original A+B – in one kit at a cheaper cost compared to buying separately.

Not only can you experiment with different putties to see which one works best for you, but you can also mix modelling putties together. Combining Green Stuff with Geomfix can create a new putty with unique properties for different tasks.

It is a brilliant way to get creative – although we would not recommend sculpting your wife’s face without some serious practice, unless you are actively trying for a divorce.

Sylmasta Superglue Kit

During the previous lockdown between March and September, Hornby enjoyed a 33% jump in sales. The company is most famous for its model railways, but it now also makes Scalextric racing sets and Airfix model plane kits amongst others.

Model railway enthusiasts are well catered for with our Slater’s Plastikard Purge. Every sheet of embossed Plastikard we have in stock has been cut to £1.50, a discount of 50% on the normal sale price.

Away from Plastikard, lots of the model making, craft and hobby tasks you might find yourself wanting to undertake during lockdown require a common material – glue. In which case, you will  want to get your hands on the Sylmasta Superglue Kit.

The Kit comes with three different viscosity superglues which bond to all materials. Also included are Ultra-Fine Nozzles which offer greater control over the application process. For those wanting to glue in a hurry, the Sylmasta Superglue & Activator Kit comes with additional activator which speeds up the curing process of the glue.

Superfast Wood Stick

It was not just craft, hobby and model making that received a boon from lockdown first time around – lots of people used their newfound spare time for carrying out DIY and restoration tasks.

If you have wood on your mind, then we have just the product for you. Superfast Wood Stick is an epoxy putty which is used for restoring and repairing all types of wood. Whether it is an ornament with chunks missing, furniture which requires restoring or a fence with holes that need filling, simply cut off the amount of putty required from the stick, knead it by hand and mould it into a repair.

Superfast Wood Stick is not the only epoxy putty we have for restoration. Over on Sylmasta.com you will find Superfast Concrete Stick which does the same job on stone and concrete whilst Milliput Terracotta is perfect for any terracotta coloured repairs you may suddenly find yourself with the time to carry out.

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Rome wasn’t built in a day – but it can be cast from resin in two years

A Roman amphitheatre created from casting resin is an example of the type of historical building which can be made from casting resin

Rome wasn’t built in a day. Parts of it can though be recreated inside two years if you happen to have the skills of Paul Hallett, a man who has used casting resin and silicone rubber moulds to create an extraordinary collection of resin cast Roman amphitheatres, Tudor buildings and rare tanks.

When Paul first got in contact with us, he described himself as an amateur who wanted to show what an average modeller can do with SylCreate products. Once Paul’s work on resin cast buildings began rolling in, it became clear that he was doing himself a disservice with that average modeller tag.

You do not need to look any further than his eight-section Roman amphitheatre to see that. Paul describes it as his biggest ever project which took two years to complete, using Polycast G27 Casting Resin and Sylmasta 370 Silicone Moulding Rubber. Who better to take us through how it was done than the man himself?

“Every external resin arch came from one 370 Mould and the columns were half reliefs and covered the joints. This illustrates just how durable and long-lasting a mould made from 370 Silicone Rubber can be,” explains Paul.

“Never mind the quality, look at the width, as they say! I took the amphitheatre to local shows and eventually sold it to a dealer who was unsurprisingly involved with gladiator figures. He got it from me at a bargain price, simply because it was becoming too difficult to store.”


A Roman amphitheatre in which each column was individually cast from casting resin using a silicone rubber mould
Each external arch of Paul Hallet’s Roman amphitheatre was cast individually from one 370 Silicone Rubber Mould
A Roman amphitheatre cast from polyurethane casting resin and made using a silicone mould which took two years to create
Rome wasn’t built in a day – and the amphitheatre took two years to cast. The finished item ensured it was well worth the wait

Despite the problems that come with finding somewhere to keep a massive replica of a Roman amphitheatre, Paul still views it as one of his finest pieces of work. He has been a modeller for many years now and first became a SylCreate customer when meeting the team at the IMPS at Telford nearly 20 years ago.

“I use G27 Resin and 370 Moulding Rubber in all my casting and the quality of the resulting mould is always extraordinary,” says Paul, before going onto explain his mould making process. “I always make my moulding boxes out of good quality artists’ mounting board and will both stick and tape all the edges. It’s time consuming but worthwhile as you can make the mould to the size of the object to be cast, minimising all waste.”

“When you make your first resin cast, you can see where you have used superglue on the original master as it comes out as a slight sheen on the cast. The first coat of paint obliterates the sheen, but that gives you an idea of how good 370 Moulding Rubber is.”

Paul tries to avoid wasting any resin when he casts. “I always have a small mould ready to catch any resin; waste not one drop! And I always use a cocktail stick to work along the mould, eliminating any bubbles.”

“If there are imperfections, then these can be corrected fillers. I tend to use Green Stuff for this as you can shape it precisely to fill voids in the casting. Finally, you should always be aware of the huge difference which temperature can make to cure time. A hot summers day is really not a good time to cast.”

Grand Roman structures are not the only historic buildings which Paul will resin cast. He is a master of terraced houses and Victorian pubs for the after-market model railway market, and he has made his own kit of a Tudor building – which Paul says again highlights the benefits of 370 Moulding Rubber.

“I get around 20 complete buildings from a 370 Mould before the mould starts to break up. Making this as component parts means I can produce any set of variations. I particularly like the way that tiled roof sections come out with G27 resin – in my view, they are vastly superior to card roofs.”



“Any warping can be corrected by a few seconds in hot water and with delicate parts, I will always demould before the resin has fully cured as delicate items can break if you try to demould them once they have cured completely.”

“The resulting resin sections are normally glued together with superglue and a light touch with wet and dry will roughen the edges enough to improve the bond. I normally base using artists’ mounting board.”


A highly detailed bottle kiln cast from polyurethane casting resin using a silicone rubber mould
A bottle kiln cast from resin. You can see why Paul loves the detail that G27 brings to roof tiles

“The finished building is strong and durable. By the second cast, I have worked out exactly how much resin to use and I usually build in threes. The completed items end up at shows in the bring and buy.”

Away from buildings, Paul has also dabbled in military modelling. Some years ago, he had a commission from a wargamer to build rare Italian tanks and SP guns. “I did rare tanks for a while as resin casts; left and right track assembly, upper and lower hull and turret, this allows you to cast everything flat in single moulds and end up with a 3D item. It was a useful way of building my skills.”



In more recent times, Paul has turned his hand to sculpting, making a set of waggon loads for a wargames company to go with a series of laser cut waggon kits. It was his new-found love of Magic Sculp which initially prompted him to get in contact after reading our article about the benefits of mixing modelling putties.

“I have been working with Magic Sculp for about a year and have found it to be a revelation,” Paul explains. “I have used it to carve miniature wine bottles, goblets, plates and chalices to make the master for a waggon full of items hastily looted from a country house or religious building. These valuables have been chucked into wicker baskets made from Green Stuff and piled onto the back of the waggon.”

As well as the looted goods, Paul also decided to sculpt some tiny geese with their arms outstretched in alarm because of the ransacking. To do this, he made the body of the geese from Magic Sculp and the wings and the legs from Green Stuff. Paul then used a micro drill to pass a fine wire through the Magic Sculp, which anchored in place the parts made from Green Stuff.



“I am reasonably pleased with the overall effect. The geese look quite crude in the photos, but from 30cm away they are startlingly effective. I am particularly thrilled with how thin Magic Sculp allows you to make the necks of the geese.”

“As you can see, I have built my hobby around SylCreate products. I love creating things from scratch and moulding and casting with SylCreate’s rubbers and resins has allowed me to take on very large projects and multiple builds through the years at a very economical price.”

Paul signs off by saying: “Happy modelling from Paul the average modeller.” That word again – average. We do not think there is much average about a man who can cast detailed historical buildings and a great Roman amphitheatre from resin. Rome wasn’t built in a day, after all…


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How to turn modelling putty into a material for brick restoration

Brick restoration can be carried via the use of epoxy putty and is requried when brickwork becomes damaged through lime blow

Brick restoration. Not something we at SylCreate had tried much of before, but when a customer came along wondering whether our modelling putties could help repair damaged brickwork, we decided to give it a go.

It was a good thing we did as it showed us a whole new side to Magic Sculp. We already knew that it is great for model making and sculpting, and now we can add brick restoration to its list of applications. You really do learn something new every day.

The beauty of this restoration was in its simplicity. The customer was looking to repair several bricks which had been damaged through lime blow. They wanted to fill in the cracks, holes and missing chunks using a putty which would blend in seamlessly.

Lime blow occurs when clay bricks contain small amounts of lime. When the clay is fired, the lime is converted to calcium oxide – also known as quicklime or burnt line. When calcium oxide mixes with water, it begins to slake in a highly vigorous process.

So vigorous in fact that quicklime has been used as a weapon throughout the centuries. In 80 BC, the Roman general Setorius used choking clouds of caustic lime powder to defeat the Characitani of Hispania, who had barricaded themselves into inaccessible caves as a last act of defence.

258 years later in 178 AD, an armed revolt by peasants in China was supressed when chariots equipped with bellows rode into the crowd and blew lime powder at the rebels.

It was commonly used in medieval naval battles with ships throwing it at each other. This was so effective that in the 13th century, Henry III’s English navy is said to have destroyed an invading French fleet by blinding their enemy with quicklime.


Greek Fire was powered by quicklime, now a major contributor to damaged bricks
Quicklime is thought to have been one of the components of Greek Fire before it started causing issues to bricks in 21st century Britain

Quicklime is even thought to have been one of the components of Greek fire, the legendary weapon used by the Byzantine Empire which ignited on contact with water and struck fear into the hearts of European crusaders and other wannabe conquerors.

Whilst lime powder is good for securing the safety and prosperity of empires and sinking French ships, it is not something which you want to have in a wall. When a clay brick containing calcium oxide becomes wet, it can cause an eruption to the face of brick.

In a country like Britain where it rains rather a lot, that is a bit of a problem. Thankfully, chunks exploding out of bricks does not cause structural integrity issues. Some people even like the weathered look.

Not our customer though. They were working on a site in the south of England, which had been severely affected by lime blow. Our challenge was to help formulate a way to restore the bricks so that nobody could tell that they had been damaged by the same compound used to quell revolts in Imperial China.

Magic Sculp is finer than most other modelling putties. It has a soft consistency and does not shrink or crack when formed in large structures. Those properties made it ideal for filling the holes in the brickwork caused by lime blow.

Regular users of Magic Sculp will know that it cures grey. To colour match the putty to the brick, our customer came up with the inspired idea of wetting the putty once it had been applied to the wall and pushing dust taken from the brick into the putty.

To give the putty the same texture as the existing brickwork, they pierced the putty with a wire brush. The result is incredible – see if you can spot the area which has been repaired on the photo below…


Brickwork restoration carried out using Magic Sculp
Spot the area of brickwork which as been restored…

Difficult, isn’t it? You can find out if you were right when we reveal the before photo at the end of the article. Needless to say, both the customer and the team here at SylCreate were delighted with the outcome.

We wrote a while back about the benefits of combining Green Stuff and Magic Sculp together to create a hybrid putty with unique properties. What this project has shown is that you can do much more when it comes to mixing Magic Sculp then simply kneading it with other putties.

If you have a restoration or model making task in which a very specific colour is required, then mixing existing material particles of that colour – such as brick dust – into Magic Sculp can help customise the putty to a degree we did not appreciate was possible before.

This adapted version of Magic Sculp is not the only putty which can be used in brick restoration. We also supplied the customer with their own customised version of Geomfix Coloured. Because we make Geomfix onsite here at SylCreate, we can match it to practically any colour imaginable.



Originally, these colours were based on Swarovski crystals as the purpose of Geomfix Coloured was custom jewellery manufacture. Now though we are seeing the benefits of being able to offer brick coloured epoxies for restoration and repair projects.

Brick coloured epoxies, Magic Sculp with brick dust. Who knew modelling putty could be used to repair 21st century brickwork damaged by the same chemical reaction that was the secret behind Greek Fire 1,500 years ago?


As promised earlier, here is a photo of the brick before restoration. Did you manage to spot the repaired area?

Before and after of a restoration project carried out to damaged brickwork caused by lime blow using modelling putty