2.5 to 3 - moderate to difficult
Category: Step-by-step: Glazing
General glaze methods -
Acrylic / Latex glaze.
furniture, objects, painting techniques
Glaze refers to a substance that is thinned to
create a transparent or translucent film of color. Diluting any
paint substance, tinted varnish or tinted water essentially can
produce a glaze.
Acrylic glazes should be applied over a water-based, latex
basecoat, of the color of your choice. Eggshell sheen is preferable, but never
flat (matte) finish.
more information see sheens…
pros and cons:
||Water - easy
Wall Surfaces -
Acrylic glazing is a non-toxic, fast drying process. The primary advantages of
acrylic glazing are the non-toxic qualities of water-based products and ease of
clean up. However, due to the
rapid drying rate of acrylic glazes, it is more difficult to work over large
areas. A latex extender (drying time extender) such as Floetrol may be used.
A good water-based glaze coat with extended drying time is
Paintmanufacture's latex glaze coat.
Method of approach:
On large wall surfaces it is generally necessary for at
least two people to efficiently apply and work the glaze. Water-based glazes
will still set up rather quickly. Without a methodical and timely approach to
the glazing application, darker areas may appear as irregular lines, known as
‘burn’ marks. These are created because the glaze application must be
applied in segments, always moving from top to bottom, then across the wall in
a regular fashion (see diagram).
Glazing application diagram for wall surfaces
Apply glaze in irregular sections.
This insures a random overall appearance and helps diminish potential 'burn'
lines (glaze build up from section to section).
Striee glazing and dragging
the wall application methods vary. Refer to the wall diagrams in the appropriate
When a new segment is started, the previous
area treated has already begun to set. With the application of glaze in the new
segment, where old meets new, a build up of color may appear and create a
‘floating line’ that is unattractive and will probably interfere with the
overall look of the textured or faux glaze appearance.
However, it is overcome with experience
and can usually be avoided if an area can be used for “practice” before a
big project is begun.
Oil based -
For oil based glazing methods click here.
For specific effects, including color washing, rag-
rolling, stippling and striee (dragging) refer to the artSparx archive
Always start the glaze application in the least
visible area of the room. As you continue glazing, a rhythm is achieved and the
overall appearance of the glaze treatment improves.
Using two glazers, one should begin by wetting the wall so the glaze flows
fluidly. The glaze is then applied with a brush over an area only large enough to create the desired finish.
Keep the exposed areas ‘wet’ by leaving a buildup of glaze. The
second glazer should begin the desired finish (color-wash, rag-roll, striee,
etc.) while the first artist continues
the glaze application on the next segment. Working in tandem, they should
continue until the wall area is completed, without resting. Clean up any excess
glaze that may appear on adjoining (and yet untreated) walls with a rag
moistened with water.
keep wall wet
glaze onto section 2
large areas may require 2 people.
One softens while the other continues glaze application.
working evenly over wall.
step back occasionally to view overall appearance
Apply glaze to within ˝ inch of wall edge and work to edge with a dry brush.
This should prevent you from getting any fresh glaze on a previously treated
Important Tip - How to fix drips and spills
If wet glaze gets onto an area that has already been finished and has begun to
set, it may dissolve the previous finish. Simply blot area with a dry rag to
remove excess. Any attempt to repair area before completely dry may result in a
mess that is virtually irreparable. Small areas are manageable. Large areas may
require the complete area to be removed then re-treated.
A bit about Glaze Coat or Glazing liquid
For decorative finishes and
glazes are typically created using color suspended in a medium known as glazing
liquid or glaze coat (not to be confused with ‘glazing’, a
putty used for securing glass in window frames). Glaze coat can be found
in both alkyd (oil-based) form and acrylic latex (water-based)
form. Glaze coat is best tinted with universal tinters (also known
as universal colorant) to maintain clarity of color, but can also
be tinted using artists paint in tubes, either artists oil paint for alkyd
glaze coat or artist’s acrylic for latex glaze coat. Japan Pigment
also makes an excellent tinter for use with alkyd glaze coat.
repair - Once completely dry (24 hrs.) fresh glaze may be touched in
with an artist’s brush until desired results are achieved.
repair - Treat before drying is complete.
If a large area of glaze is affected and begins to burn away, or
dissolve, the removal of the entire glazed surface may be required. To do this,
dampen a rag with mineral spirits and wipe surface until clean, using multiple
rags if necessary.
Alternatively; you may allow wall to completely dry (24 hrs.) then
repaint base coat and begin again.
Clean up – Clean
up water-based products with warm, soapy water.
For specific effects, including color washing, rag-rolling, stippling and striee (dragging) refer to the artSparx archive
Scumble glaze - Glaze
medium comparable to Glazing liquid, found readily at your local paint supply
Historic and Period
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paint and glazing techniques