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