| Introduction:Glass is a non-absorbant painting | | | | mark the outer limits of your artwork.Clean the |
| support which does not allow paint to easily | | | | surface of the glass thoroughly with a |
| adhere to it - apart from through the paint's own | | | | glass-cleaning product. Use paper towelling or any |
| drying process.For this reason the outlines of a | | | | cleaning material that will not leave dust or |
| subject painted on glass need to be simplified | | | | threads on your painting surface.Store the glass |
| when applied to an extremely smooth glass | | | | where it will be safe. If placed between sheets of |
| surface. Simplifying a subject does not necessarily | | | | newspaper it will be protected from scratches |
| detract from the end result after the painting is | | | | and dust.CREATING OUTLINESArt products in |
| completed and the final result can often have an | | | | liquid form that are suitable for creating outlines |
| appearance similar to that of naive art in relation | | | | on glass may be readily available in some |
| to composition and form and a certain number of | | | | countries. Oil-based paint,water-based acrylic and |
| other details. Many artists may find that such | | | | ceramic paint can also be used for this purpose.In |
| simplification can actually be very | | | | order to create fine lines these paints must |
| appealing.Working the paint or changing outlines | | | | sometimes be thinned down in order to use with |
| without smudging the surrounding areas of undried | | | | a pen nib or similar line-drawing tool.To prevent |
| paint may require some concentration in the | | | | lines from being effaced too easily you can use a |
| beginning, as well as a certain amount of skill, but | | | | paint that is oil based for creating the outlines of |
| with patience and the development of their skills | | | | your subject if the paint you will be applying over |
| using this painting technique, artists will find that | | | | the top of it (after it has properly dried) is water |
| applying and mastering the use of glass as a | | | | based. Reverse this procedure if your outlines are |
| support will become easier as time | | | | created with a water-based paint.Always use a |
| progresses.MATERIALS REQUIRED FOR | | | | liquid paint product that will provide the best |
| PAINTING ON GLASSGlassChoose clear unflawed | | | | adhesion possible to a glass surface.Due to pen |
| glass (or plexiglass) in the shape and size you wish | | | | nibs clogging relatively easily, attention must be |
| to use. In order to begin mastering the technique | | | | paid to cleaning the nibs regularly.OUTLINE |
| of reverse painting it is advised to choose smaller | | | | METHODSMethod 1.If you have a steady hand |
| sizes to begin with.PaintsIt is important to use a | | | | you can use a freehand method for applying |
| paint that will adhere properly to the surface of | | | | outlines directly onto the surface of the |
| the glass. Oil based paints or acrylics are often | | | | glass.Method 2.Use an original subject for your |
| used for this reason.There are also opaque and | | | | painting (e.g. a drawing) and place this under the |
| transparent ceramic artist colours that have been | | | | glass then copy it onto the glass surface.Method |
| especially manufactured for using on a | | | | 3.Place a layer of carbon-paper on top of the |
| non-absorbant surface. Metallic colours (eg. gold, | | | | glass then place your drawing on top of the |
| silver or copper) can also be interesting to work | | | | carbon paper and with a pointed object trace the |
| with. There are an increasing number of new art | | | | subject onto the glass. Be careful not to damage |
| products available today that may be suitable for | | | | your original image (the image being copied) when |
| painting on a non-absorbant surface such as | | | | using a pointed object.Method 4.A tracing table |
| glass.PaintbrushesTo begin choose a selection of | | | | can be used for creating outlines. This is a table |
| small or medium-sized paintbrushes with fine, flat | | | | with a sheet of clear glass inserted into the top |
| and pointed tips. Larger brushes can be used for | | | | and with an electric light source situated beneath |
| working on a larger scale. Artists can also use less | | | | it. For those who frequently need to trace their |
| conventional tools for applying paint if they wish, | | | | work a tracing table can be very practical and |
| depending on the effects obtained through | | | | useful.Method 5.You can omit outlines |
| experimentation that may interest them.A | | | | altogether.APPLYING THE PAINTMost artists have |
| penholderUsed for outlines (if required) and finer | | | | a preference for how to work when creating an |
| details. It can be an advantage to use | | | | artwork. Once it has been decided whether to |
| interchangeable nibs suitable for creating both | | | | work on a table or use a table-easel or a standing |
| thick and thin outlines.Ink for creating outlines on | | | | easel, it will be necessary to view the artwork |
| glassThe inks used need to be suitable for | | | | regularly from its observation side in order to see |
| applying to a non-absorbant surface such as glass. | | | | its progress.Some artists simply take the glass in |
| As an alternative paint can also be thinned down | | | | their hands and turn it around to look at it directly |
| into a more liquid form and used for creating | | | | from the observation side. Others prefer to use a |
| outlines in which case attention must be given to | | | | mirror placed directly opposite their working area |
| to creating the right mixture of fluidity and | | | | so that they can observe their progress while |
| thickness.A painting palette or something similar to | | | | they paint.Mixing and blendingIf you are blending |
| mix your paint on.A palette knife -(optional) for | | | | colours always do so on a palette or similar flat |
| mixing paint.Artists paint cleaner or thinner - used | | | | object before applying them to the glass. If |
| for cleaning or sometimes for thinning, and | | | | colours are not well blended or mixed the result |
| depending on whether oil based or water-based | | | | will be a streaky appearance in the paint on the |
| paints are used.A paint-drying agent - (optional) | | | | observation side of the glass.Avoiding |
| For mixing with paints to help speed up the drying | | | | smudgesWhen creating a reverse painting on |
| processPaper towelling or some clean ragsA | | | | glass it is important to watch out for smudges or |
| mirror - (optional) can be used to check the | | | | particles of dirt or dust that may accidentally be |
| progress of your painting while you are continuing | | | | transferred onto unpainted areas of your artwork |
| to work. Place the mirror in a position where it will | | | | as you are progressing. Unless removed these |
| reflect your artwork from its viewing | | | | may appear as flaws that will show when viewing |
| side.Cellotape - or a similar average-width sticking | | | | the artwork from its observation side. If they are |
| tapeAn easel - (optional) to prop your work onA | | | | also inadvertently covered with a layer of paint |
| glass-cleaning productPREPARING THE | | | | removing them afterwards may become very |
| GLASSChoose a piece of clear glass in the | | | | messy and difficult. When lifting off any smudges |
| dimensions you would like to work with and check | | | | always be careful not to damage outines or other |
| carefully to make sure the glass is neither | | | | areas of paint you have already applied.Applying |
| scratched nor flawed. It is worthwhile | | | | the paintOnce the outlines of your subject have |
| remembering that a flaw in the glass itself will | | | | thoroughly dried you can begin to apply paint to fill |
| often detract from the finished appearance of a | | | | in the remainder of your artwork. Begin with the |
| painting and may be impossible to remove after | | | | smallest and most detailed or intricate areas first |
| the completion of your artwork.The sheet of | | | | e.g. eyes, faces, small figures or objects etc - and |
| glass that is to become your artwork consitutes | | | | always keep in mind that your artwork will be |
| the following:(1) The 'painting side' - which is the | | | | observed from the opposite side to the one your |
| side you will be painting on.(2) The 'viewing side' - | | | | painting on and that you are painting in reverse |
| which is the side you will be looking at (or | | | | and that therefore foregrounds precede |
| through) as you progress with your work and | | | | backgrounds.When applying the reverse painting |
| after it has been completed.To render the cutting | | | | method it is a good policy to reflect carefully on |
| edges of the glass safe take a length of cellotape | | | | the sequence in which your painting will develop |
| that will correspond to the length of one edge. | | | | before beginning to apply your paint. This will |
| Apply it carefully along that length (ideally so that | | | | create a methodical attitude that is essential for |
| it is folded equally over each side of the | | | | this particularly interesting but also intricate painting |
| glass).Repeat this procedure for the other 3 glass | | | | technique.Wishing you many pleasant hours of |
| edges. The edge of the cellotape will also help | | | | reverse painting! |