Choosing the Right Artglue: CG50 vs CG50i vs CG50s vs CT50i — a problem-solving guide for artisans
Choosing the Right Artglue: CG50 vs CG50i vs CG50s vs CT50i — a problem-solving guide for artisans
When you’re building an artwork, tabletop, tray or ornament, the difference between good and gallery-ready is almost always the finish. The CG50 family was made so artisans stop worrying about runs, dust, bubbles and long rework — but each variant solves a different real problem. This guide helps you pick the exact Artglue that matches your job, your surface and your workflow.
Quick summary (one-line picks)
- CG50i — fastest cure, anti-sag: best for curved/vertical or highly detailed pieces.
- CG50 — balanced cure and flow: best for general flat panels and trays.
- CG50s — slow cure, long working time: best for very large flat pieces or warm shops.
- CT50i — high-body, thick build: best for deep, glass-like pours (river tables, thick inlays).
Curved figurine panic → CG50i
Ramesh the sculptor needs a mirror gloss on a small carved vase. Other resins run down the curve and blur his details. CG50i gels fast enough to stop sagging but still levels for a glossy finish — no ruined carvings, no rework.
Flat tray frustration → CG50
Meera pours 2-3 ft trays. Fast resins lock brush marks; slow resins collect dust. CG50 gives her the moderate working window to spread evenly and the predictable cure to ship on schedule.
Huge showroom panel anxiety → CG50s
A studio does 6 ft decorative panels. They need time to spread across the entire surface and correct minor imperfections. CG50s gives extended open time so you can work calmly without dust traps.
Showpiece depth requirement → CT50i
Arun wants a single deep, glassy pour for a stone-inlay tabletop. Thin coats would take days and risk dust; normal resins sag at that thickness. CT50i holds thickness, levels well for optical clarity, and reduces the number of coats.
Side-by-side features table
| Feature / Problem | CG50i | CG50 | CG50s | CT50i |
| Cure speed | Fast (anti-sag) | Moderate | Slow (long working time) | Fast-medium (but thick build) |
| Best shape | Curved / vertical | Flat / medium panels | Very large flat panels | Thick pours / deep gloss |
| Sag/run control | Excellent | Good | Moderate | Good (if edges dammed) |
| Working time for spreading | Short | Moderate | Long | Short-medium (thicker mix) |
| Number of coats usually needed | 1–2 thin coats | 1–2 thin coats | 1–multiple (depending on size) | 1–2 thicker coats |
| Bubble management | Easy (fast gel) | Standard | More time to manage | Critical — degas or staged pours |
| Ideal users | Sculptors, small studios | General artisans | Panel makers, warm shops | River tables, stone inlay artists |
Decision flow — pick in 30 seconds
- Is your surface curved/vertical or highly detailed? → CG50i.
- Is it a flat panel/tray under 3–4 ft and you want a balance of speed + leveling? → CG50.
- Is it a very large panel (showroom, mural) or you need extra minutes to perfect the spread? → CG50s.
- Do you need optical depth / thick, glassy pours (inlay/tabletop/river) → CT50i.
(If your job mixes needs: e.g., impregnate edges with CG50i then topcoat with CG50/CT50i — use the product combination that solves each local problem.)
Practical application tips (job-ready, cross-product)cations
- Batch size matters. For CG50i and CT50i especially, mix small batches — fast gel + big mass = heat/exotherm risk.
- Mask the edges. Create clean drop lines and dams when doing thick pours (CT50i) or detailed edges.
- Bubble control:
- For flat panels (CG50 / CG50s) let the mix rest briefly before pouring and use a torch/heat gun in short passes.
- For CT50i, consider vacuum-degassing small batches or staged pours to avoid deep bubbles.
- Environment: Cooler, dust-free conditions improve results. In hot shops prefer CG50s for longer open time.
- Multiple coats: Thin, controlled coats beat one very thick coat — unless you intentionally use CT50i for thicker, staged pours.
- Sanding & recoat: All cures sand and recoat well once fully cured. Light sanding between coats removes minor defects.
Troubleshooting (common problems & fixes) - Sagging on curve (you used the wrong product): Trim drips after gel, sand, and redo using CG50i next time.
- Excessive bubbles on thick pour: Use smaller batches, vacuum degas or staged pours; apply gentle heat to pop surface bubbles.
- Dust trapped during cure: Use a dust tent or an enclosed curing box, or switch to faster CG50i (if shape allows).
- Matte/spotty finish: Likely uneven thickness — sand and recoat with thin, even layer. Check substrate contamination.
Example shop workflows (how artisans combine products) - Sculpture studio (mixed forms): Use CG50i for curved/vertical pieces; CG50 for flat plaques. Keep CG50s for occasional large panels.
- High-end furniture maker: Use CT50i for river table main pours (staged), finish with thin CG50 coat for leveling and final gloss.
- Production tray maker: Standardize on CG50 for a predictable workflow and faster throughput; for very warm days switch to CG50s to gain working time.
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