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Rebecca
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Tue May 13th, 2008 04:49 pm |
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I never used glass paint until last Thursday. I am trying to match a piece for a repair. I did okay for most of the piece, but there is a spot of less than a square inch that has a gritty texture like fine sandpaper. I thought about sprinkling dry paint or dry gum over the paint to see if that would give me texture, but I hope someone here can tell me how to do it. It's hard to see, but here is a picture of the original glass.
Rebecca
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 Last edited on Tue May 13th, 2008 04:50 pm by Rebecca
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kathy
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Posted: Tue May 13th, 2008 05:42 pm |
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Hi Rebecca,
A flash of questions come to mind. Are you describing surface texture that you can see in reflected light? Perhaps what you are describing is paint loss? Could that small area have been solid at one point? Is this a stand alone piece or do you have others that repeat the same pattern. What color paint pigment were you going to use? With a bit more information, I think I may be able to offer some suggestions.
Kathy Jordan
PS. could you take and post a picture in reflected light. thanks.
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Rebecca
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Tue May 13th, 2008 06:45 pm |
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It doesn't look like paint loss and the texture is in certain places (as if it were intentional) throughout the window. There is no glass showing in the area, so I don't think it is paint loss. I read that if the paint was applied to thickly it would blister. It didn't look like what I would call blistering, but I experimented with a thick blob of paint and that didn't do it. That picture IS reflected light, I put it on a piece of white paper. It is rough to the touch like fine sandpaper. I have several pictures, I'll post a larger one and if it makes too much scrolling back and forth, I can take it back off. Remember the rough place is a little smaller than one square inch on these pieces. The color is a reddish brown. I only have Reusche bistre brown and tracing black, so the color is the next thing I will have to think about.
Rebecca
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Mary Clerkin Higgins
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Posted: Tue May 13th, 2008 07:10 pm |
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Hi Rebecca,
It's hard to tell from the photos, but I wonder, is most of the paint on the other side of the glass? From the second photo it looks like those squares might be the only backpainting on the glass and that the painted squares were fired down on a bed of whiting (and the majority of the paint was fired "up" - away from the whiting) and the backpainting (or second firing) picked up some of the whiting, thus the rough texture.
Regards, Mary
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Rebecca
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Tue May 13th, 2008 07:32 pm |
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No, all the paint is on this side. Could it be that the other paint fired at a higher temperature, then this spot was painted and fired on the whiting at a lower temperature? I don't know enough about painting to know what to try.
Rebecca
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Rebecca
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Posted: Tue May 13th, 2008 07:41 pm |
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| Here are two pictures of another piece. One with flash and one without. First one without - Attached Image (viewed 70 times):
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Rebecca
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Tue May 13th, 2008 07:44 pm |
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That one was a little fuzzy in the foreground. This one is with flash. The paint is all on this side.
Attached Image (viewed 66 times):
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Rebecca
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Posted: Tue May 13th, 2008 07:49 pm |
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The rough parts don't really have white on them, that is the reflection from the flash. The two pictures of the round piece were taken on the work table instead of on white paper.
Rebecca
Last edited on Tue May 13th, 2008 07:52 pm by Rebecca
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Rebecca
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Tue May 13th, 2008 08:07 pm |
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It belongs to the antique (junk) store lady. I told her when she brought it that I couldn't repair it. Here's a picture of the whole thing on the light table when she first brought it. You can see how dense the paint is on the rough spots.
Rebecca
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kathy
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Posted: Tue May 13th, 2008 09:49 pm |
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Thanks Rebecca for posting additional pictures.
In photo .018, it looks like the window was re-puttied with a whitish cement and not cleaned off the painted surface very well, trapping itself on the textured surface. Thick and/or textured trace detail can be achieved by mixing pigment with oil. Slow drying oils seek it's own level and may flatten out. Turpentine mixed with Violet of Iron 55R004 to the right viscosity may enable you to texture your paint utilizing a stipple as it sets up. You may want to try Propylene Gylcol with the pigment. Mixed to the right consistancy (like the process described above), it will produce texture in reflected light.
Many of the German and English windows I have worked on have the same livery red color. Reusche's Lead Free Violet of Iron (55R004) is the closest match in transmitted as well as reflected light that I have come across (I love that paint color!). I have had trouble with the other Violet of Iron pigments that Reusche sells. They crawl, have been gritty and tend to blister (Hey that might be your answer!?). I have plenty of Viotet of Iron and would gladly send a sample.
Looks like the matt color is warmer than Bistre. You may want to try 2 parts Umber Sepia 1139E to 1 part Vinegar Tracing Brown 1140A mixed with water and a bit of gum. Again, it looks like you only need a very tiny amount, so I could send some pigment your way.
Wouldn't it be nice to have an AGG "bank" of pigment, purchased at wholesale price for just this type of work?
Kathy Jordan
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Rebecca
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Tue May 13th, 2008 10:23 pm |
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kathy wrote: Thanks Rebecca for posting additional pictures.
In photo .018, it looks like the window was re-puttied with a whitish cement and not cleaned off the painted surface very well, trapping itself on the textured surface. Thick and/or textured trace detail can be achieved by mixing pigment with oil. Slow drying oils seek it's own level and may flatten out. Turpentine mixed with Violet of Iron 55R004 to the right viscosity may enable you to texture your paint utilizing a stipple as it sets up. You may want to try Propylene Gylcol with the pigment. Mixed to the right consistancy (like the process described above), it will produce texture in reflected light.
Many of the German and English windows I have worked on have the same livery red color. Reusche's Lead Free Violet of Iron (55R004) is the closest match in transmitted as well as reflected light that I have come across (I love that paint color!). I have had trouble with the other Violet of Iron pigments that Reusche sells. They crawl, have been gritty and tend to blister (Hey that might be your answer!?). I have plenty of Viotet of Iron and would gladly send a sample.
Looks like the matt color is warmer than Bistre. You may want to try 2 parts Umber Sepia 1139E to 1 part Vinegar Tracing Brown 1140A mixed with water and a bit of gum. Again, it looks like you only need a very tiny amount, so I could send some pigment your way.
Wouldn't it be nice to have an AGG "bank" of pigment, purchased at wholesale price for just this type of work?
Kathy Jordan
It definitely is gritty! When I told the junk store lady that I couldn't fix it, she left it anyway, saying that she knew I would! I guess she was right. My head is spinning from all the information! It is fascinating. The bistre brown looks pretty close to the original matte in reflected light, but on the light table (florescent) the old looks almost gray. I have some turpentine, so I will experiment with it. I will send you a PM. Rebecca
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Roy
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Posted: Wed May 14th, 2008 09:09 am |
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From the photo, it looks a crude piece of painting, the matt has been rubbed with either finger or brush, then dusted off with a soft brush, much will depend upon how much gum was used.
The gritty shape has been defined by picking out with a stick, then extra tone has been over painted, dabbed on with a small hog haired brush and kept within the stick light shape.
Overpainting the shape may have been done before or after firing the rubbed background, most likely before.
If you are not familiar with painting it would be safer and easier to reinforced the dark shape later after first firing the background with shape picked out.
Firing the background first will allow you to clean up the shape in the second painting.
The white looks like being residue from cement/whiting caught up in the gritty paint.
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Rebecca
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Wed May 14th, 2008 04:08 pm |
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The white is mostly reflection of the camera's flash. I am surprised that you said the matte may have been rubbed with a finger, because that's exactly what I did. Do you agree to mix the paint for the gritty part with oil or turpentine? It seems that it won't be too hard to keep the shape I need to do, but how was the flower done?
Rebecca
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Ardbeg
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Posted: Wed May 14th, 2008 07:33 pm |
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The flower looks to me like it was traced with a rich red and high fired, then heavily stencilled over the top of the trace with a course brush and a cooler fire.
Linda
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Roy
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Wed May 14th, 2008 07:38 pm |
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If you paint with water and gum for the rubbed matt you can still overpaint with water but perhaps oil would be safer if you have limited experience, the safe way is to fire twice.
The matt on the flower also appears to be rubbed.
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Rebecca
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Posted: Wed May 14th, 2008 08:37 pm |
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Ardbeg wrote: The flower looks to me like it was traced with a rich red and high fired, then heavily stencilled over the top of the trace with a course brush and a cooler fire.
Linda
Stenciling makes sense. I don't need to do a flower, I just wondered how it was done.
Rebecca
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Rebecca
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Wed May 14th, 2008 08:39 pm |
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Roy wrote: If you paint with water and gum for the rubbed matt you can still overpaint with water but perhaps oil would be safer if you have limited experience, the safe way is to fire twice.
The matt on the flower also appears to be rubbed.
I've already fired the matt. I'm stuck on the texture for the gritty part.
Rebecca
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Roy
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Posted: Thu May 15th, 2008 12:29 am |
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| I would think you could use a small hog haired brush, charge it with wet paint and stab it like stencilling to get the gritty texture.
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Roy
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Thu May 15th, 2008 01:00 am |
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An additional thought for the gritty texture, don't use oil because it is slow drying and would even out.
Use water based paint but not too wet. Dip a hog hair brush into paint the consistancy of tooth paste, apply by sharply dabbing it onto the glass as if your were stencilling. Test by dabbing on a pallete or spare piece of glass first.
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Rebecca
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Posted: Thu May 15th, 2008 01:20 am |
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Thank you, I'll give it a try tomorrow.
Rebecca
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