More Paint Chatter

[Amber]

So I dug out the boxes of paint I got from that guy, took some snap shots and re-read the posts from here *phew*. I know a tiny bit more, but that just seem to lead to even more questions *lol. I can tell the difference ( I think ) between the frit like paint and the oxide paint, the frit like stuff just looked different when I added water... very grainy and gritty and the other stuff really blended with the water. But now after reading the other posts are there many variations within each different type? And what is luster, marbling, copper enamel and all the rest of this stuff.

[Amber]

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[Amber]

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[Amber]

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[Alan]

 
Those peanut butter jars look very scary - you really do not know what is in there!

Like you say - leads to a LOT more questions!

[Vic Rothman]

Deka paints are cold paints. You don't fire them. The copper enamels are for copper enameling not glass.

[Amber]

I wonder what the heck he was doing with all this stuff *lol, I've got three small boxes packed with all this mystery stuff.
So copper enamel is out, cold paint sounds like a google project and whatever is in the peanut jars must have been more cost effective because everything else seems to be in tiny little jars. I know anything that is COE dependent I  can't use because he worked with Bullseye and I use Spectrum.... seems to be a process of elimination going on here *L.

[Vic Rothman]

The stuff in the peanut butter jars, may be fired glass paint. This paint often comes in paper envelopes, jars are a convenient way to store them. Although, labeling things would be a good idea.
Get some scrape clear glass do some test fires. Mix the paint with water and a very small amount of gum arabic. Give all the samples a name or number and scratch it into the paint before you fire them. Fire to 1100, see what happens

[Amber]

If I fire it and the coe isn't compatible how can I tell for sure? I understand that the stress can still be in the glass but isn't it the case that it doesn't always splinter/shatter right away and that the stress can be released further down the road?

[Vic Rothman]

If I fire it and the coe isn't compatible how can I tell for sure? I understand that the stress can still be in the glass but isn't it the case that it doesn't always splinter/shatter right away and that the stress can be released further down the road?

Painting and fusing are not the same. The paint is a this surface coating. COF does not come into play. There are millions of painted pieces of glass all over the world centuries old. Before anyone heard of COE. Painters have used "flash" kilns. They bring painted glass to full temperature and cool back down in less then 1 hour. It's a different world

[Amber]

O.K., now my mind is running *lol. I'm going to reference another post about different types of materials used to paint and one was made of fine glass particles and another was oxide based. Are both of these paints and if so are the frit like paints, since they are made of glass and I'm assuming the COE I have is 90 since that's what the artists was using for glass, then is it o.k. to use it on my 96 since it's a thin coat? Some of the paint was very milky when I mixed it with water and some didn't dissolve so much and were quite gritty.

[Anne]

Amber, I think I may be adding to the confusion for you.  The enamel I got was gritty - like a fine frit (and I think I even referred to it as a frit in the enamel post - BUT.....it's not frit. Frit and paint are two different things and yes the COE is important when you're talking about frit.

Some of what you have may even be potter/ceramic paint.  When I saw all the peanut butter jars that was my first thought.  My better half and I used to do pottery and that's how that paint was stored.

I think your best bet so that you know exactly what you have is to contact the man you got all this stuff from. Better to be safe than sorry - or put another way it would be a shame to waste a lot of product and time trying to figure out what it is you've got when contacting him could alleviate all the guesswork.

[Vic Rothman]

You are mixing up  fusing (frit) with paint (oxides). COE matters when fusing. Not so much with a tack fuse, BUT VERY important with a full fuse. Painting is a thin surface application so COE is not important.
here is a link to a modern "flash" type kiln
http://www.hoaf.nl/images/stories/pdf/Speedburn%20II/hoaf-speedburn-II-40x40-en.pdf

[Rebecca]

I have used ceramic paint on float glass.  It was fine.

Rebecca

[Ian]

Hi Amber
I think you could be lucky. The peanut butter jars look to me like they could be Sunshine series onglazes. In the photo you will find all the code no's for these paints. The white plastic bottle is Sunshine onglaze. These all work perfectly for painting on any glass and like Vic said compatibility is not a problem. Make up a set of test squares by mixing up a small quantity of each color and fire to fusing temp. I would stick no's on each of the bottles so that you can mark each square with the corresponding no. My Sunshine test squares were done about 4 years ago and not one has broken. I matted some paint on the square to see how transparent the colors would be, painted it on thick and also capped a small strip down one side to check how it would fuse when capped. I would use something like diluted corn syrup as a medium so that you don't have to
wat to buy CMC or gum arabic.

[Kev]

Interesting topic!

Amber..you have all kinds of stuff to play with..what fun!

[Amber]

Interesting topic!

Amber..you have all kinds of stuff to play with..what fun!

It will be fun when it doesn't seem as daunting *lol. I think the hard part is it's so overwhelming, I count 204 different jars, packets and what nots and it's hard to walk in and even know where to start *L. It's such a variety and some of the jars have professional labels others are just mysteries. Even if I did get a hold of the old owner tomorrow the chance of him coming here and taking the time to tell me what each jar is is unlikely, he gave me these almost as an afterthought when I was buying some glass and molds off of him and I doubt he's used any of this stuff in the last year or more. So I'm kinda on my own with this...

I did find a little jar marked (in handwriting) gum arabic and it's a greyish looking powder so I'm just gonna roll with test fires for now. I'll organize all the bottles and just start with a small section of like items, the rest I'll keep in boxes so as not to get too confused *lol.

[Vic Rothman]

all the  gum arabic I've seen was white

[Rebecca]

The old owner probably doesn't remember what's in them.  Just judging by myself, I could be wrong.

Rebecca

[Amber]

That's pretty much what I'm thinking too Rebecca, I can hardly remember what I had for breakfast last tuesday so I can't really see him knowing the jars..... not that many after so long *L.
So I just separated and organized everything, the I'm tossing between two types to start with. One is what Ian pointed out as the onglazes from Sunshine, because I have a large enough quantity of like items to works with in that range, I like the pic that Ian posted of how the colors looked rich. The other ones I'm looking at are a collection of Onita's translucent glass stain and translucent glass color, I'm not sure where those fall in the spectrum of oxide paints and what the difference is between glass color and glass stain... tips?



I've packed away all the copper enamel.. don't know what I'd do with that and also put away any unmarked bottles since I have more then enough to figure out for now *lol. Did I mention yet how amazing you all are and that I really appreciate all this help  .