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