Painting on glass

1. Introduction
1.1. The origin of the decoration of glass. The origin of the decoration of glas
s is very old: Pliny, Roman naturalist and historian, speaks of him and says tha
t working the glass comes from the Phoenicians. Belo Sand River, in Phoenicia, w
as prized for its manufacture. But it was Syria that the glass industry spread t
hrough the Mediterranean coast by traders and navigators. The oldest objects mad
e of glass paste that we know comes in part from Egypt. 1.2. The ancient techniq
ue. Egyptian art was very particular development: modeling hot friable a mold wh
ich is then destroyed. The object is modeled by placing the molten glass materia
l, and so soft around the mold. The coloring was done by wrapping molten glass t
hreads of different colors around the mold and turning, which was obtained by th
e particular development in parallel bands. This method of straining or pressure
to mold the molten glass goes back to the XVIII dynasty (XVI-XIV centuries BC)
and continued until the fourth century BC, it is known as prior art core. The de
velopment of glass as we know it today began with the invention of the blow rod,
which allowed to obtain transparent objects and light as it was not possible be
fore. Apparently, the discovery of the reed to blow took place in Syria in the e
arly Christian era. Between the first and fourth centuries of glass objects from
glass baking ovens Alexandria, color and refined forms, came to Rome, whose cit
izens fought for, coming to pay in Tel el-Amarna high prices. Not yet know the c
omposition of 3D Reconstruction in the molten glass. It seems that the famous "m
urrine vessels" were multicolored glass obtained with the mixture of glassy frag
ments too small and very bright colors, creating a mosaic cast, or on a plate ha
ving glassy rods of different colors forming a star or a cross . After the merge
r, the object model was a value and unusual beauty. Historians have investigated
the existence of the glaziers before the end of the tenth century in Venice. Th
e artists were called "phialeri" because blowing "phiale", ie, 'bottles'.
In 1291, a provision known Consiglo Maggior moved all the furnaces of the city t
o the island of Murano and, from that moment began the glass industry as prestig
ious. 1.3. The color. The glass material can be colorless or colored if you add
special components, mostly metal oxides, which are obtained with different shade
s. The coloring technique is known since the first century The transparency of g
lass is obtained by purifying the special substances vitreous matter. The Murane
se, Italy, using manganese dioxide. The decorative painting on glass can be done
in cold, without warming up, or with a slight annealing of the object, which pe
trified color. This gives a glaze painting technique, typical of the oriental de
corations (Syria) and Venice. Glass is, therefore, an amorphous material, unlike
ceramics, requires a hot or viscous state to be worked. 1.4. Fusion. The glass
melting furnace has a special place in different ways, which merges the componen
ts to a very high temperature (1,400 degrees or so). Of these crucibles are caug
ht with the end of the rod to blow a small, viscous fluid (flame), then you blow
it, and with the help of very few instruments, you start modeling the object. A
s in other times, the work of glass continues to depend exclusively on the work
of human hands. 1.5. Varieties of glass. With regard to the varieties of glass c
an be found in the market, we highlight the most common, ordinary glass transpar
ent, opal glass, glass pearl, glass blowing, stained glass and glass cathedral.
2. The painting on glass.
Glass made with the technique of leaded (Chartres Cathedral) The decoration of g
lass is based on a systematic use (rarely casual) color, which applied on or in
the glass gives shape or meaning. The color gives life to the windows, as it tur
ns light transparency, casting rainbow stripes. There are transparent colors tha
t allow the drawing stress, transparent colors, which are used mainly for decora
tion monochrome, and color paste, used to delineate the contour of the drawing t
hat is to be colored. Regardless of the technique and method of work adopted and
 the type of glass chosen€is necessary for the operation to color glass has a gl
ass surface and a very clean working environment, as the dust is deposited on th
e glass, remains bright colors, while the grease and dirt prevent a good adhesio
n of the color. To clean the glass you can use alcohol or acetone, which is also
used to dilute some colors. When you start the coloring of a theme, it's best f
inish since interruptions and delays may dry out the color that is being used an
d would
difficult to regain the same shades and densities. Having decided the theme of t
he decoration, it is necessary to define the colors that do it, remembering that
the color is highlighted by the light filtering through the glass and therefore
it is important that the colors are bright, clean and homogeneous. Once set the
colors, the type and quantity needed for the job, you can proceed to its prepar
ation, obtaining accurate tones and gradations. It is always easier to darken a
light color from dark to clear, hence, in the preparation of the colors should s
tart with the lighter. Using small glass or ceramic containers, pour the color c
hosen. Starting with the lighter color and stirring, is added little by little t
he darkest, to obtain the desired gradation. Otherwise, if you wish to clarify a
dark color, is poured into the small bowl a bit of dark color and add a few dro
ps of solvent to obtain a lighter shade. The coloration may be carried out with
the brush, in the case of small areas, narrow and difficult, or dropper, for are
as more or less extensive, flat, bounded by resin or lead tape.
3. Exercises. 3.1. Step by step. We will paint on a glass ornament or a figure,
depending on the level of the participants. We will continue to, greatly simplif
ying the preparation of a model polychrome Gothic stained glass. 3.2. Drawing. W
e must first place the design on the glass plate that we want to paint and fix i
t after the paper tape. With a fine-tipped pen for drawing glass moves on the ba
ck of the glass plate. Once copied, removed the tracing paper, we turn to the gl
ass plate on the front and profile again drawing the resin, following the route
of the drawing done with the pen on the back. With the help of a rag soaked in m
ethylated spirits, we delete the stroke of the pen that is on the back of the gl
ass. If you want to paint the item without the outline of resin, and the route w
ill only deleted once the color. 3.3. The coloration. Once the design has been t
ransferred to the glass surface and profile, we can pass the final stage, ie the
coloring. This is an important and delicate operation which involves decision a
nd fairly quickly. First dilute the clear coat on
amount needed with the appropriate solvent.
When you have obtained a preparation of consistency (to check just put a drop on
elvidrio: if the drop tends to widen slightly, the consistency is right) color
is added slowly to obtain the desired tone. To proceed to the color you need to
check the color density by pouring a drop on a glass test. The coloring is done
by first extending the lighter tones. Only in a second phase is completed by ext
ending the color darker tones.
3.4. Drying. Once the color, it should be allowed to dry in a clean and dust fre
e as long as necessary.
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4. Glossary. Ordinary glass: transparent, 3 mm thick, usually used for windows.
It is ideal for our work. The glass, 2 mm thick, typically used for picture fram
es, is not suitable for decoration as being too fragile. • opal glass: it is tra
nsparent and looks milky marble, is indicated for the realization of lampshades
given their capacity to diffuse the light. Ideal for the construction of boxes t
hrough its effect plastic. • Glass pearl: his particular rainbow effect is obtai
ned with the application of a lacquer over the plate.
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Glass Blowing: characterized by the presence within it of numerous air bubbles o
f different sizes that make flash and is of great value. Its thickness is irregu
lar due to the technique used. It is very expensive and difficult to find. Color
ed glass: it presents as a mottled opalescent glass, but is also transparent. It
is made in a wide variety of colors.€Glass Cathedral: its thickness varies from
3-4 mm. It is transparent and evenly colored. Is often used in decoration. It i
s easy to find. Blends well with other types of glass and somewhat rough surface
makes the colors brighter. The glass cathedral may be of different qualities. G
lass classic smooth. Waterglass: wavy surface. Glass Baroque striated color, and
large waves, its color is not uniform, so the surface varies with chiaroscuro.
Ripple glass: it has an aspect that seems wet. Granulated glass: very grainy fra
me. Mirrors: there are many types and thicknesses (from 2 to 5 mm), from those w
ho have the money to the uniform surface treated to simulate antique mirrors.
REFERENCES: - VV. AA.: How to paint and decorate glass, Vecchi, Barcelona, 1998.
- VV. AA.: Transparencies: theater of the signs, the National Glass Centre Foun
dation, Barcelona, 1989. - Cantavella, Miguel: Glass and Ceramics, Department of
Education, Madrid, 1996 - DANCU, Juliana: The popular painting on glass, Meridi
ane, Bucharest, 1982. - Deschamp, Christel: Painting on glass, CEAC, Barcelona,
1996. - FERNÁNDEZ, J. M.: Glass, National Glass Centre Foundation, Madrid, 1991