Marbelizing in reverse

[Jeremy Howes]

Hi Daniel,
I would suggest that your lecturer knows what he is talking about, give it a go and let us know how you get on.

Simple question = Simple answer, or am I just being cynical?

Jeremy

[Neil Davey]

I really don’t think this would work.

Paint has no ‘key’ on glass and I think you would have a problem when removing the mask that it would remove the laquer coat from the glass.

Why not , as you say, work in reverse…..apply the veins and when these are dry ideally spray a coat of laquer on to seal in the veins and when dry carry on with your background colour.

[Daniel Kneebone]

Jeremy, we don’t have faith in this method because the lecturer sometimes just throws ideas around, some ruin our work some work lol….

I don’t want to ruin the work i’ve already done!

I like the idea of sealing in the veins and then creating the b/g effects…

I will definatley suggest this!

[Barry Williams]

quote Daniel Kneebone:

Hey guys,

I’m currently doing a project for TAFE and I need to marbelize the background of the glass but in REVERSE…

We were doing a few different tests and we keep rubbing the veins off when we go to do the background…

We were using a drop of lindseed oil in our very thinned enamel…

The method our lecturer said we were going to try was to:

– Cut out some blue mask and apply it to the FRONT of the glass.
– Create the marble on the front of the blue mask.
– Spray clear lacquer on the BACK of the glass in the area which marble is needed.
– Wait untill the laquer is tacky.
– Peel marbleized mask from front of glass.
– Stick the mask face down on the tacky laquer evenly.
– Allow laquer to dry.
– Peel off mask (hopefully) leaving only the marblized background!

If you can picture these steps do you think this method is very ‘safe’?

Any experience/hints shared will be great!

This is the project in question (The existing marble b/g is a printed vinyl just for an example)

Daniel,
one old trick in dealing with the lack of “key” on glass was to mix “gold size” into the paint.
Many of the old glass signs around my home town which were done by my father and grandfather were done this way and still look good, most with very little crazing or flaking.
And no-Im not very skilled with the lettering pencil, it’s the Mac/Plotter/Mutoh path for me,
and the usual stock brushes for theDecorator/ Painter’s trade.
Regards
Barry

Thanks!
Daniel[/img]

[Greg Bolan]

Hi Daniel

Are you at Ultimo TAFE? I was there 30 years ago. Kane and Waters were the teachers there then..Don’t know why they
told you to put linseed oil in your paint. Goldsize is the way to go as was
mentioned. Signwriting and linseed oil is a recipe for disaster in my book.
I remember when I was probably you’re age that I put some linseed oil
in my Solver paint when I was writing a truck and the thing was still wet 3 days later.
The driver drove from Sydney to Bathurst in the rain and when he arrived
the lettering on the front of the cab had washed off!

Thin your paint with goldsize and a little turps/reducer…
you want that transparency but still be able to double up the density here and there by
laying wet on wet when you’re doing marble veins.

Goodluck with it…

[Simon Strom]

Do you have any scrap material to test on so you don’t ruin the good one you want to use? That’s what I use to do when I hadn’t tried and experimental technique before.

Here’s a website for doing something similar, reverse painting faux finishes on the underside of glass. Possible it might help.

http://www.walljewelry.com/more.html