| The first decision you need to make is if
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| | painting project. Some may be obvious,
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| the design should be permanent or
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| | and not everything may be included. This
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| temporary. All the window painting I've
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| | list is only to help you think about what
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| done to date was intended to be
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| | you might want to have available at a
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| temporary. In most cases, I've found that
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| | painting site.
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| the client wanted a seasonal design that
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| | Tip 1 - Floating Medium and Clear Medium
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| needed to be changed every three to four
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| | First, I want to mention the use of
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| months.
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| | floating medium (for acrylic paint) and
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| Permanent Designs
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| | Clear Medium (for the enamels). As you
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| If you or your client want a permanent
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| | may be aware, floating medium is a clear
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| design, then my first recommendation is
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| | pigment gel that is used with your Folk
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| to use the Folk Art Enamels paints. I've
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| | Art acrylic paint and helps the paint
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| had a lot of success painting with Folk
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| | flow more smoothly; making the paint
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| Art Enamels on glassware, so I would
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| | easier to work with on any surface,
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| expect similar results on windows.
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| | including windows. Be aware, however,
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| Another option is to use the regular Folk
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| | that it also changes the consistency of
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| Art acrylic paints with the glass and
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| | the paint depending on how much you use.
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| tile medium, following the directions on
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| | The more floating medium that is used;
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| the glass and tile medium bottle.
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| | the more transparent the paint becomes.
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| I like using the Enamels because they
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| | Again, the floating medium is only for
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| require one less step and I feel they
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| | use with the Folk Art acrylic paint. If
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| adhere to the glass better. However, you
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| | you are using the enamel paint, then you
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| should feel free to paint with whichever
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| | would use the enamel clear medium. It
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| combination you are most comfortable
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| | works the same as the floating medium,
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| using. Since I don't have any experience
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| | but is specially designed for use with
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| painting on windows with either the
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| | the Folk Art Enamel paint.
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| Enamels or the combination of paint and
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| | When I use the floating medium, I have my
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| glass and tile medium, I can't tell you
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| | paintbrush loaded with paint and then
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| how durable the final result will be.
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| | work the floating/clear medium into the
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| Temporary Designs
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| | paint. Add more floating/clear medium as
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| Painting a temporary design is, in some
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| | needed to help the paint flow smoothly on
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| ways, easier. You will only need the
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| | the glass. You will notice a big
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| regular Folk Art acrylic paint and, if
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| | difference in how the paint flows as
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| you like, floating medium. Do not use
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| | compared to using the paint without the
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| glass and tile medium or any kind of
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| | floating/clear medium.
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| sealer. Doing so will only make the
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| | Tip 2 - Getting Good Paint Coverage on
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| eventual removal of your design more
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| | Glass
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| difficult or even impossible.
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| | On your first layer (color), since you
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| When painting a seasonal, temporary
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| | are painting directly on the glass, you
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| design, you have to remember that it is
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| | can add paint to the surface to make it
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| exactly that, temporary. If you paint
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| | more opaque and get better coverage.
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| storefront doors, then expect to come
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| | After the first layer dries, then you can
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| back a few days later and see minor
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| | add another layer (color) on top of the
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| scratches in the design. If the design is
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| | first. However, you will not be able to
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| on your front storm door, then a complete
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| | work with the paint like you did with the
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| season of temperature changes will likely
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| | first layer. The first layer of paint
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| crack or wrinkle the paint.
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| | will begin to come off and get sloppy if
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| This wild rose design was painted from
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| | you work the second layer too much. In my
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| the outside using Folk Art acrylic paint.
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| | experience, it is best to load your brush
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| Preparing to Paint the Window Surface
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| | with a lot of paint and stroke over the
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| To ensure that the paint makes good
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| | first layer only one time.
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| contact with the window surface, the
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| | Tip 3 - Removing a Painted Design
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| glass should be clean. I usually use warm
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| | If you want to remove a painted design
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| water and a wash cloth for the bulk of
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| | from a window, there are two methods that
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| the cleaning. Any remaining stubborn
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| | I use; both are a bit messy. The first
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| paint spots can usually be easily removed
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| | involves using a razor blade to scrape
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| by scraping with a razor blade.
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| | the paint from the surface of the window.
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| Before you begin painting, you will want
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| | This produces a lot of paint chips and
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| to determine the placement of the
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| | flakes. The other method is to use
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| different elements of your window design.
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| | lukewarm water with soap (the soap is
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| It might be useful to have a sketch on a
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| | optional) with some rags or paper towels
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| sheet of notebook paper or reference
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| | to clean the window. This is also messy
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| photographs available for this purpose.
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| | because the paint smears everywhere. Once
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| Painting Your One Stroke Design on the
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| | the paint is removed, I use glass cleaner
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| Window
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| | to remove any remaining paint residue.
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| You will also need to decide if you're
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| | You can also use a combination of these
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| going to paint the design on the inside
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| | two methods by scraping some of the paint
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| or outside of the window.
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| | off, then washing off the remainder.
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| If you choose to paint on the inside,
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| | Tip 4 - How Much Should I Charge to Paint
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| then you will need to use the reverse
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| | a Window?
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| painting technique. In one stroke
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| | Unfortuately, there's no easy answer to
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| painting, this means that whatever you
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| | this often asked question. The best
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| would normally paint last on a design,
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| | advice I can give is to first consider
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| should be painted first, then work
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| | the following questions:
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| backwards. This allows the design to look
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| | What is the income level of the area
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| normal when viewed from the outside.
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| | where you live compared to other parts of
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| Reverse One Stroke painting is more
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| | your state or country? (Almost everything
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| difficult than regular One Stroke
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| | costs more in New York City than in a
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| painting, so it will probably require
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| | small midwestern town.)
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| some practice and additional advance
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| | Is the design permanent or temporary?
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| planning. Look for One Stroke reverse
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| | How many colors will you use?
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| painting teaching guides or classes in
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| | How big (or small) is the design?
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| your area if you need help learning to
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| | Does the design have a lot of detail, or
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| reverse paint.
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| | is it simple?
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| If you choose to paint on the outside,
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| | Is the design a mural or picture, or is
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| then you will be painting normally. For
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| | it a border?
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| most painters, this will be faster, since
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| | Will you have to stand on a tall ladder
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| it is the same technique you use to paint
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| | all day, or is the design to be painted
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| on walls, canvas or even the regular
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| | near ground or floor level?
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| teaching guides.
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| | Once you quote a price to a customer, you
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| In my experience, if the outside is
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| | can always negotiate or lower the price
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| relatively well protected from the
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| | by simplifying the design -- fewer
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| elements, then both inside painting and
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| | colors, smaller design, less details,
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| outside painting will experience the same
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| | etc. Always remember, you should charge
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| amount of wear during a three or four
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| | what you think your painting is worth,
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| month display.
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| | and there will always be someone who
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| Window Painting Supplies
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| | thinks your quoted price is too much, no
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| The following is a list of the items I
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| | matter how high or low.
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| carry with me when working on a window
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