Paint Mixing

Stained Glass Painting – Mixing Stained Glass Paint

Here’s where you can post your Questions about Paint Mixing.

For other Questions, please See Here:

• Silhouetting
• Tracing
• Shading
• Painting with Oil
• Firing
• Other

Note This: for main details about Paint Mixing, please see Part 1 of the e-book.

Here’s a video demonstration.

You already have the recipe in Part 1 of the e-book. This video is therefore completely silent, so that you can just concentrate on what you see with your eyes.

There are several things you should notice.

1. It’s essential to use Reusche tracing paint if you want to paint like we do.
2. As you will see, we ourselves too much water to begin with. We therefore have to add more glass paint to get the right thickness.
3. Here we’re using red tracing paint. It’s fine to use bistre brown or umber brown.
4. The paint mixture will improve if we allow it to rest – under cover – for a few hours.

Note this: for the recipe and full instructions, please see Part 1 of the eBook.

Stained Glass Painting – Lead-Free Glass Paints

Tom Ansell wrote and asked us whether we’d used lead-free glass paints.

We hadn’t.

So we decided to give them a try.

And here’s what we discovered.

We used Reusche’s Series 5 tracing black (E401) and bistre brown (E402).

Now series 5 is flagged as lead and cadmium free, which is all good and fine. But we would remind you that, whilst using these paints, you must still be aware of the danger of inhaling dust.

When preparing our lump, we used exactly the same procedure as we always do. The only difference was that we prepared about half our usual quantity.

The first thing we noticed was the incredible creaminess of the paint.

As creamy as a silk shirt ...

We imagine it was a bit like wearing a satin shirt when you’re used to good hard-wearing cotton … (Not that we’d know.)

Just mixed, it was a little tricky to get to flow smoothly. But that’s also what we’d expect of our paint that isn’t lead-free. So we covered it up and left it overnight.

And here’s where we discovered something really interesting.

Next morning, the lump hadn’t dried up as much as we’d expected it to.

Even the next morning, still as creamy as ever

This wasn’t down to how we’d sealed and covered it: we did the same as we always do.

Nor was it down to the temperature in the studio: we compared it with some ordinary tracing paint that we’d also been using the day before.

So we suspect it’s connected with the size of grain, which may also explain the extraordinary creaminess of the paint.

Now why is this an interesting discovery?

Leave aside that the paint is lead and cadmium free – the slow-drying property of this paint might be particularly useful to glass painters who work in hotter climates than we have here in overcast and cloud-bound England.

Why?

Because, even uncovered and in use, the lump remained creamier for longer, and overall needed less attention.

Overall, we continued to find the creaminess a little bit unsettling.

We imagine it was a bit like driving a Jaguar XKR 5.0 V8 Supercharged Convertible when (like me) you’re used to cycling.

The paint loaded nicely, although its smoothness and creaminess take a bit of getting used to

That is, perhaps a little too smooth for my personal taste.

But maybe something that I’d get used to.

In fact, if England were hot, then I’d jolly well make myself get used to it.

And my test pieces fired just fine on the usual firing schedule. Here’s one of the silhouette tiles that you’ll find in Part 2 of the e-book:

Stained glass silhouette tile

And here’s a leaf that we often paint on our glass painting courses in the studio. It uses softened lines as explained in Part 3 of the e-book:

Also fine for softened lines and shading

So Series 5 is worth looking at, not just for reasons of health and safety, but also on account of its moisture-retaining property.