E Book Mosaic History

Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists
http://www.glassmosaictileart.com
by William J. Enslen, Jr.
Copyright 2008 by William J. Enslen, Jr. All rights reserved. Any use - including the reproduction, modification, distribution, transmission, republication, or display - of the content is strictly prohibited.
Table of Contents
Chapter 1 - Introduction Chapter 2 - Tessera Types Chapter 3 - Mosaic Methods Chapter 4 - Base Materials Chapter 5 - Designing and Drawing Chapter 6 - Color and Contrast Chapter 7 - Backgrounds and Borders Chapter 8 - Adhesives Chapter 9 - Tools for Cutting and Grouting Chapter 10 - Work Area Chapter 11 - Cutting and Adhering Tesserae Chapter 12 - Creating Your Masterpiece Chapter 13 - Grouting Chapter 14 - Finishing Chapter 15 - Hanging Your Masterpiece Chapter 16 - Ideas
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 1 - Introduction
Chapter 1 - Introduction
I fell in love with mosaic art many years ago and my passion today is just as deep. Its so satisfying to see my own work in our home and knowing it will pass to generations. You, too, can create a legacy for your children and grandchildren. Read this book and discover how easy it is to create wonderful mosaics that you and your family will enjoy forever. With my help, you can do it. You can! I hope you find the art equally fun, exciting, and rewarding. Maybe someday Ill browse a celebrated art museum and find myself admiring your work. You never know. This book gives you all the step-by-step information you need to create your own mosaic masterpieces. You may think, Why would anyone pay good money for a how-to-mosaic book when hundreds of Internet websites provide lots of free information? Two simple reasons: 1) Websites typically dont explain the necessary details for you to fully understand the art and enable you to compose truly wonderful works, and 2) Many mosaic-related websites provide information thats unclear, incomplete, and flat-out wrong. What about other mosaic books? Why do we need another? Ive read many and found that most simplistically describe the art and offer irrelevant information that doesnt help the artist. They briefly explain the basics in terms of what to do, but few effectively explain how or why. Thats where this book is different. It takes you on an exciting journey into the how and why of creating mosaic masterpieces. Other books typically describe fundamentals but fail to define the details that allow you to become a truly knowledgeable mosaic artist. Knowing the details separates wannabes who make gee-thats-nice work from artists who create wow-thats-incredible masterpieces. For example, books and websites typically give basic instruction for scoring and breaking stained glass. However, few explain how and why glass breaks along the score line. Understanding the how and why allows the artist to more precisely break glass resulting in cleaner and straighter cuts, which can enhance the look of the final mosaic. It can also help reduce wasted glass from bad breaks. This book explains those kinds of details that the artist needs. Youll learn information essential for creating beautiful mosaics. This book focuses on wall-hanging art, but the principles apply to other types, such as tabletops, mirror frames, stepping stones, and flower pots. Youll learn all the nitty-gritty details that Ive absorbed throughout my long experience as a mosaic artist. Youll learn from my mistakes so you wont make them. This book guides you through each process using illustrated, easy-to-understand step-by-step instructions. Its almost as if Im in your workshop working side-by-side with you every step of the way. If you think you have no artistic flair and cant even legibly write your own name, think again. Youll learn to easily draw an image and then skillfully fill it with pieces
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 1 - Introduction
of glass. Youll learn how color influences what our eyes see so you can choose the glass and grout colors that help create your desired look. Youll learn to use backgrounds and borders to enhance your mosaics mood. And youll learn so much more. Its fun, its easy, and you can do it. Yes, you can! Safety Precautions Your safety is of paramount importance. You must understand, observe, and apply common-sense safety practices when working with mosaics. Heed all warnings contained in this book. Its just good common sense to apply safety practices when working with sharp glass, caustic grout, spray paint and finishing materials, and various glass-cutting tools. Never take shortcuts when safety is a concern.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 2 - Tessera Types
Chapter 2 - Tessera Types

Tesserae are the pieces arranged and adhered to the base material to create your mosaic design. They can be of any material and shape. Dont limit yourself to the tessera types described here. Use your imagination. Try buttons and other fun or unusual material. For example, I once saw a family picture collage with a mosaic frame that included one baby tooth from each grandchild. Be creative!
FYI: Tesserae is the plural of tessera (Latin). In the context of mosaics, tessera means, a cube; a piece of mosaic paving. Tesserae is pronounced TESS-uh-ree, and tessera is pronounced TESS-er-uh. Now you know!
Plan your mosaic before jumping in. Dont go off willy-nilly getting a bunch of tessera material without considering the basics. Where will you display the mosaic (e.g., outdoor work must have weatherproof tesserae)? Are you making wall art or a stepping stone (e.g., dont use sharp or pointy tesserae for stepping stones)? Think about how much tessera material you need to complete the job. Plan your work. Know what you need before buying, collecting, or making your material. Thickness is Important Tessera material comes in varying thicknesses. Stained glass is about 1/8-inch thick, vitreous glass tiles are 3/16-inch thick, smalti can be as much as 1/4-inch thick, and marble gems are about 1/2-inch thick. The 1/16-inch difference between vitreous glass tiles and stained glass doesnt sound like much, but in the context of mosaics, its significant. Early in my mosaic life, I made the mistake of indiscriminately mixing vitreous glass tesserae with stained glass tesserae. I thought Id creatively combine the two types to give my work texture, depth, and a sense of perspective. I spent two months carefully cutting and gluing each tessera piece. Finally, I finished. It looked wonderful. Time to grout. I mixed a batch, slopped a big pile in the middle, and spread it with my float. Good grief, what a nightmare. The float wouldnt squeeze grout into all the joints because the thicker vitreous tesserae stuck up too high. No matter what direction I spread, the vitreous tesserae prevented me from squeezing grout into all the spaces. Additionally, grout built up too high in the joints between the vitreous and stained glass tesserae. Sweat beaded on my forehead dripping all over my mosaic as thoughts flew in my head, Oh, no, what have I done? All that work and now its ruined! I scrambled using the float, paper towels, and old rags to fill the joints and wipe away excess grout before it set. Success at last (whew!). Finally, I had uniformly filled all the joints and
wiped away the excess. The final product looked okay, but it didnt turn out as well as I had hoped. Also, I destroyed my favorite grout float, which added to my disappointment. The floats rubber bottom ripped to shreds from running it over the sharp points and edges of tesserae that stuck up higher than others. Good grief. If youre a mosaic novice, I suggest using tesserae of similar thickness for your first few projects. However, that doesnt mean you absolutely cannot incorporate varying thicknesses into your work. As noted in the chapter on Designing and Drawing, texture can create beautiful effects. For example, you may want to design your mosaic wall-hanging with vitreous glass for the border and stained glass for everything else. In this case, ensure the grout joints between the thicker vitreous glass and the thinner stained glass are a bit wider than normal so the grout can properly slope downward without covering the stained glass. Although grouting spaces between the vitreous and stained glass tesserae requires extra care, it can, indeed, look great. When selecting tessera types, be aware that varying thicknesses require extra care and work when grouting. Also, as noted in the chapter on Designing and Drawing, its important to plan your project well to know if varying thicknesses are appropriate. For example, suppose your mosaic trivet or tabletop requires a flat surface. As a novice, its easier to get a flat surface using tesserae of the same thickness. Vitreous Glass Tile Vitreous glass tiles are typically 3/4-inch squares about 3/16-inch thick. The face (i.e., the up side) is flat and the back side has ridges to help the adhesive adhere. As with most glass, the tiles are non-porous so you dont have to seal them prior to grouting. They come in a wide variety of opaque colors and shades, and are typically the most economical type of glass tesserae. Depending on the brand and color, the structure of vitreous glass tile may appear as a one-piece solid or it may seem like lots of small pieces fused together that crumble when cut. Certain colors seem to have different structures than others. Its weird how every now and then youll find a color that just isnt the same as most others. It wont cut straight and oftentimes crumbles easily. Some are so weak you can break them by hand. (Do not break glass tiles by hand because you might injure yourself!) With certain colors, you must sometimes cut three or four tiles before getting a piece without an ugly jagged edge. Vitreous tiles typically come in one square-foot sheets glued on brown-paper backing (see Figure 2-1).
Figure 2-1. Vitreous Glass Tiles on Paper Backing Depending on the spacing between each tile, each sheet contains either 196 tiles (14 tiles by 14 tiles) or 225 tiles (15 tiles by 15 tiles). Some vendors hand-cut the sheet into smaller sections and mark-up the price. Occasionally, youll find a vendor who offers individual vitreous tiles in bags of varying quantities. Before buying, take the time to determine the per-tile cost. In other words, shop wisely. For example, if you can buy a single sheet of 225 tiles for $2.50, is it worth it to buy 225 individually bagged tiles for $7.00? Maybe it is if you dont like soaking the sheet to dissolve the glue, removing the tiles from the sheet, and then wiping them dry. Shop wisely and decide whats best for you. Most vitreous tiles have lots of tiny imperfections instead of a perfectly smooth face. Some imperfections are big enough to catch and trap grout. No matter how much or how hard you rub during the grout process, those tiny holes just wont let go. Thats okay because the imperfections help add character to your mosaic. The point to remember when grouting your mosaic is not to expect vitreous glass to be as clean and grout free as, for example, stained glass. Notice in Figure 2-1 that the tiles are glued face-down to the paper (i.e., the flat side is glued to the paper with the ridged back side exposed). The ridges on the back side of each tile help the adhesive adhere. You might think, Why does the manufacturer glue the tiles face-down on the paper instead of the other way around? Good question. Manufacturers prepare their products to suit tile contractors, their biggest customers. Its easier for a tile contractor to install these 3/4-inch tiles in showers, backsplashes, countertops, walls, and floors using the Indirect Method, which is described in the chapter on Mosaic Methods. With the tiles already prepared in sheets, the contractor simply lines up a sheet and presses it into the prepared base material, such as a backsplash wall covered with adhesive. After the adhesive thoroughly dries, the contractor sponges the paper with water to dissolve the
water-soluble glue, and then peels off the paper to expose the face-up side of the tiles. Each sheet has the exact same spacing between tiles, so the contractor doesnt have to worry about consistent grout spacing. Imagine how time consuming it would be to manually install each individual tile while maintaining a consistent grout spacing. You might think, What if my backsplash design has multiple colors? Another good question. Some manufacturers and retailers create square-foot sheets according to your specifications. For example, one of my favorite online mosaic tile vendors has a tile designer that allows you to specify the colors and pattern for each sheet (i.e., you can specify the color for each of the 225 tiles on the sheet). Obviously, the price per sheet is more expensive because the vendor has to build each sheet, but its well worth it for large commercial projects because an entire square-foot can be installed in the time it takes to manually install a few individual tiles. Im cheap, so I always buy the square-foot sheets and then remove the paper. Its a minor pain in the neck, but I save money, which makes it less painful. The easiest way to remove the paper is to use your kitchen sink or a large dish pan. Half-fill it with warm water and then put in five or six sheets piled on top of each other. Allow them to soak for 15 minutes. While waiting, prepare the drying area by laying towels on the countertop. Have at least two other towels ready to use as dryers (when one gets too wet, use the other). Get out your kitchen trash can so you can easily discard the wet paper without dripping water on the floor. Also while waiting, use a permanent marker to label quart-size Ziploc bags with the color and catalog number of each sheet. Keeping each color separate in a labeled Ziploc bag allows you to easily know what color to order later if you need more. The actual tile seldom looks exactly like the color sample shown on the online stores website and its easy to forget the name of each color. Trust me, after working your project for two weeks using so many colors, you probably wont remember whether that shade of blue is cobalt, pool blue, aqua blue, or periwinkle. So, label your bags. After 10 or 15 minutes, the glue dissolves and the tiles rest freely on the paper. Slowly pick up each corner of the top sheet. Be careful not to disturb the tiles. Dont make them swim off the paper to the bottom of the sink. By picking up each corner, form a sort of bag to keep all the tiles from sliding off the paper. The idea is to save time by getting the tiles onto the drying towel without them sliding off the paper into the sink. Carefully cup your free hand around the paper to drain the excess water without letting the tiles fall into the sink. Place the sheet on the drying towel and slide off the tiles. Discard the paper. Spread out the tiles over the towel. Use one of the other towels to blot-dry the tiles. Pile up the tiles on the towel to make room for the next sheet, but dont mix different colors. If you mix colors, youll spend extra time separating them. For example, if you soak five sheets at a time with each sheet a different color and then dump them all into one pile on the towel, youll have about 1,000 tiles to separate. Not fun. Do not soak sheets of similar colors or shades at the same time. Dont do it! Either soak sheets all of the same color, or soak sheets of completely different colors. For example, suppose your project includes images of trees. Suppose you plan to use five different shades of green for the leaves and each shade is just a little darker than the other. And suppose you bought three sheets of each shade.
Dont try to save time by soaking all 15 sheets at once. Instead, soak only the three sheets of the same color. Until you get good at keeping the tiles from swimming off the paper, its likely that many tiles will end up at the bottom of the sink. As long as all the tiles are the same color, then it doesnt matter much if they swim off. However, if you soak all 15 sheets of five different colors, the tiles get mixed up as they swim to the bottom of the sink and youll have a frustrating time separating them. For example, theres little difference between the color of greenwich green, willow green, wintergreen, crme de menthe green, and fairway green. It may be easy to distinguish between fairway and greenwich, but its not so easy with greenwich and willow or wintergreen and crme de menthe. As a result, youll spend lots of time figuring out the color of each individual tile. Again, not fun. To avoid this headache, either soak multiple sheets of the same color or sheets of completely different colors (e.g., its okay to soak blue, green, brown, white, and purple together because you can easily distinguish the colors). To emphasize, do not soak multiple sheets of different shades of a color unless the shades are clearly distinguishable. After drying the tiles, put them in Ziploc bags. Leave the bags open and set them aside. You likely wont completely towel-dry each tile, so leaving the bags open allows air to get inside to thoroughly dry them. Put the open bags in a safe place where the kids or pets cant get to them. What is Glass? A basic understanding of glass helps us understand how to cut it. The chapter on Cutting and Adhering details all you need to know about cutting glass, so lets take just a moment now to simply explain what glass actually is. Glass is an amorphous solid. Huh? Amorphous? Wasnt he a character in the movie series The Matrix? No, that was Morpheus. There are two types of solids: amorphous and crystalline. An amorphous solid, such as glass and plastic, has molecules arranged in no particular pattern (i.e., theyre random and disoriented). A crystalline solid has molecules arranged in fixed patterns like lattices. The chapter on Cutting and Adhering explains why we, as mosaic artists, are glad that glass has an amorphous molecular arrangement. Basic man-made glass comprises three components: silica, lime, and sodium carbonate (a.k.a. soda ash). Silica is sand or crushed sandstone. Lime is obtained from limestone. Soda ash is manufactured from certain plant ashes, or by processing salt. The mixture is heated to about 1,800 degrees F and then cooled rapidly to make glass. Although pure silica alone can be made into glass, the other two basic components are added to simplify the manufacturing process. Pure silica melts at about 3,600 degrees F, so soda ash is used to lower the melting point. Lime makes the glass less brittle and more resistant to erosion by water and acids. Other common additives include iron, cobalt, and chromium for brown, blue, and green coloring. Glass can form naturally, too. Obsidian (i.e., volcanic glass) and glass formed by lightening strikes on a sandy beach are common examples of naturally forming glass.
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What Does Vitreous Glass Mean? Vitreous refers to material in an amorphous state (i.e., randomly patterned molecules rather than in a fixed pattern). The American Heritage dictionary defines vitreous as, ...of, relating to, resembling, or having the nature of glass; glassy. Therefore, it seems logical to conclude that vitreous glass means glassy glass. Sounds like a redundant pleonasm, eh? In my opinion, a more appropriate term would be standard 3/4-inch mosaic glass tile, but I guess thats not as short and fancy as vitreous glass tile. Now that you know what vitreous glass means, the next time you buy vitreous glass tiles, youll know youre not buying anything special just because of the name. In fact, youre buying simple glassy glass manufactured into 3/4-inch squares. Iridescent Glass Tile These are glass tiles with a shimmering iridescent surface typically made by applying a thin coat of lustrous metallic-salt spray and then firing at high temperatures. Iridescence is a visual quality where color changes as the angle of your view changes, such with an oil slick or a soap bubble. Depending on the vendor, iridescent tiles are sold as either 9/16-inch squares or 3/4-inch squares about 3/16-inch thick. They are typically flat on both sides and mounted back-side down on mesh instead of face-down on paper like vitreous glass tiles. The mesh can be removed by soaking in water similar to how the brown paper is removed from vitreous tiles. Because both sides are flat, you can use either side as the face. One side is usually a different shade than the other or has different colors, so choose the side that best fits your mosaics color scheme. Metallic Glass Tile These are glass tiles with copper dust or flakes mixed with the glass to produce a metallic shine. Some brands pour melted copper into the molten glass to create beautiful swirling threads throughout the tile. They are typically 3/4-inch squares about 3/16-inch thick. Other Molded Glass Tiles Vitreous, iridescent, and metallic are the most common molded glass tiles, but other varieties can add stunning effects to your mosaics. For example, some of my favorite accent pieces are glitter glass tile, frosted glass tile, and transparent or translucent glass tile. Mirror tiles also provide wonderful results. Shop around to discover whats available and then experiment. Mini-Glass Tile These are comparable to 3/4-inch vitreous tiles, but are only 3/8-inch squares about 3/16-inch thick. Use these small tiles to save cutting time by not cutting the 3/4-inchers into smaller squares. However, think twice before using this smaller size simply because you dont want to cut the bigger size. The 3/8-inch tiles are near-perfect squares, which result in straight
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grout lines. Most mosaic artists prefer irregular shapes and grout lines. Therefore, its probably worth taking the time to hand-cut the 3/4-inchers into four smaller less-than-perfect squares. Hand-cutting the 3/4-inchers using wheeled glass cutters seldom results in perfect smaller squares. The irregularity of the cuts results in irregular grout lines giving the mosaic a more unique look than if everything were perfectly aligned. Whenever I need small squares for my wall art, I always hand-cut the bigger squares into smaller squares, no matter how long it takes, no matter how boring it is, and no matter how tired my hand gets. The irregular squares and grout lines almost always look better than the perfect ones. However, perfect squares and grout lines have their places in the mosaic world. For example, they oftentimes look amazing as kitchen backsplashes and in shower stalls. The point is, think twice about why you want to use these small mini-glass tiles. Will they truly provide the look you want, or do you want to use them simply because you dont want to hand-cut the bigger squares into smaller ones? Smalti Smalti are the opaque glass tiles used in traditional ungrouted Byzantine-like mosaics. (Smalti is the Italian plural of smalto, which means a piece of colored glass used in mosaics.) They are made by mixing molten glass with metal oxides, pouring the molten glass onto a flat steel surface, and then hand-cutting it into small pieces. Smalti are typically rectangular between 1/2-inch and 5/8-inch long, and between 3/16-inch and 1/4-inch thick. Some manufacturers produce square and triangular pieces. Unlike vitreous glass tiles molded into near-perfect squares, smalti shapes are irregular with rough surfaces. The cut edge is typically used as the face of the tile, which gives it a unique brilliance and reflective quality.
FYI: Byzantine mosaics are from the Byzantine Empire, which was the Greek-speaking Roman Empire in the Middle Ages. Constantinople was the capitol. Now you know!
Some manufacturers offer 2-inch square sheets of material for artists who prefer to make their own pieces. The material is then carefully cut into thin rectangular strips and then nipped into small pieces. Again, the shiny cut side is typically used as the face. Apply smalti pieces adjacent to each other without grout lines. Although the pieces touch, the irregular shapes result in small spaces between pieces. Smalti mosaics are traditionally ungrouted, which displays the tiles full brilliance. However, grouted smalti can still look great, depending on the look the artist is trying to capture. Although grouting fills the small spaces between pieces, it also fills irregularities in the tile, which reduces the colors luster. Compared to vitreous glass tile, smalti is very expensive. About three pounds of smalti cover one square-foot. At a cost of about $16 per pound, one square-foot of smalti coverage costs about $48; whereas, one square-foot of vitreous glass coverage costs less than $3.
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Stained Glass Stained glass typically comes in 12-inch square sheets about 1/8-inch thick. Some vendors offer 16-inch square sheets or hand-cut the 12-inch square sheets in half to offer 6x12 sheets. Stained glass is becoming increasingly popular with mosaic artists, so its important to note that its about 1/16-inch thinner than molded vitreous glass tiles, which are 3/16-inch thick. Remember, as a novice, its important to use tesserae of equal thickness, but that doesnt mean you absolutely cannot incorporate varying thicknesses into your work. Stained glass doesnt limit the size or shape of a tessera, as vitreous glass can. For example, an entire 2-inch-long flower petal can be made from one piece of beautifully swirling stained glass; whereas, the petal must be fractured into several pieces of vitreous glass tesserae with the associated grout lines. Depending on the feel that the artist wants to convey, the single stained glass tessera without grout lines may be more desirable than multiple vitreous glass tesserae with grout lines. Stained glass comes in an extensive palette of colors, patterns, and textures. Typical varieties include standard translucent and opaque, antique (striations), baroque (swirls), opalized, iridized, rough-rolled, crinkled, rippled, granite-like, vecchio (tiny seeds with granite texture), waterglass (gentle, rolling waves), wispy (opaque with white streaks), and many more depending on the brand. Incredibly beautiful mosaics can be made using stained glass. Unless tumbled, cut stained glass tesserae are usually much sharper that cut vitreous glass tesserae. Be careful when cutting and handling stained glass. A bit more care is required when grouting stained glass to avoid leaving sharp edges and points exposed. Miscellaneous Tessera Material The various types of vitreous glass, stained glass, and smalti are probably the most common tessera materials, especially for mosaic wall art. However, artists have managed to create beautiful mosaic works using just about anything. The following list should give you some ideas on what you can use to create your masterpieces. Have fun and let your imagination run wild.
WARNING Wear eye protection when breaking ceramic tile, crockery, or shells with a hammer. Wrap the tessera material with a towel before breaking it. If you wear eyeglasses, use proper eye protection over your eyeglasses.
Millefiori Ceramic tile (use intact or broken pieces)
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Crockery (use broken pieces) Marbles and glass gems Buttons Shells (intact or broken pieces) Keys Beads Coins Stones and pebbles Plastic doodads Metal shapes Costume jewelry Hardware (screws, nails, nuts, bolts).
Some of these materials may seem odd, but you never know what a creative artist can do with them. For example, I suspect that someone somewhere can turn a pile of rusty nails into a beautiful mosaic that would be a great gift for a building contractor. Dont let anything inhibit your imagination. Nothing is too crazy. Sometimes the best ideas are the craziest.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 3 - Mosaic Methods
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Chapter 3 - Mosaic Methods

The fundamental methods for creating mosaics are: 1) Direct Method, 2) Direct/Indirect Method, and 3) Indirect Method. I use the Direct Method for all my indoor mosaic wall-hanging art, and I recommend it for your first projects until you gain experience. Direct Method With the Direct Method, tesserae are adhered face-up directly to the base material. This method is good for small to medium projects that you can easily lift, move, and hang by yourself. When starting your mosaic journey as a novice, I suggest using this method because its easy. Simply draw your image on the base material and then apply the tesserae one by one. As you progress, youll see the mosaic come to life. The Direct Method allows you to see when changes are needed, such as tweaking the drawing or changing a color. After gaining enough experience to tackle a big commercial job, the Direct Method is undesirable because you typically must work at the installation site instead of in your workshop. A mosaic comprising many pieces takes lots of time to complete, so youd spend lots of time away from home using the Direct Method for commercial jobs. You may not be comfortable working in an office building or at someones home. Your time may be restricted because the office isnt open or the homeowner doesnt want you there. I like being in my own workshop where I can work whenever I want, day or night. I can turn up the radio and listen to whatever music fits my mood. Or I can have the ball game blasting on TV. Im in complete control with no outside influences. You might think, I dont like people looking over my shoulder and I do my best at home, so is there any way I can go commercial but still build the mosaic in my own workshop? Yes. Use either the Direct/Indirect Method or the Indirect Method. Lets walk through the Direct/Indirect Method first. Direct/Indirect Method This technique is sometimes called the Double Direct Method and uses fiberglass mesh. On one hand, its like the Direct Method because you apply each piece of tessera right-side up, but onto mesh instead of the base material. On the other hand, its like the Indirect Method because you apply the tesserae at your workshop and then take the finished mesh sheets to the installation site. This allows you to break the mosaic into sections, complete each section at your workshop, and then take the sections to the job site for quick installation. Fiberglass mesh is like the mesh used for pre-mounted mosaic bathroom tile. Most good online mosaic supply stores offer mesh thats about one yard wide, typically $0.50 per foot (so, a
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12x36 piece of mesh costs about $1.50). The grid spacing is small enough to accept small pieces of tessera (see Figure 3-1).
Figure 3-1. Fiberglass Mesh Grid Size Avoid working with sheets too big because they get heavy and bulky as you adhere the tesserae. Depending on your pattern, try to limit the size of each sheet to two square-feet. If two square-feet is too bulky or heavy for you to handle comfortably, then limit the sheet size to about one square-foot as your design permits. The following steps describe the basic process for using the Direct/Indirect Method with mesh for a kitchen backsplash. The process varies depending on your design, application, size, and other factors, so use the process simply as a guide. Although my backsplash area is greater than 2 square-feet, I used a single piece of mesh because I could still easily handle it alone. Lets start by summarizing each step in the process. Then, well look at the details for accomplishing each step. Summarized steps: 1. 2. 3. 4. 5. Determine the backsplash dimensions. Outline the backsplash area. Draw the mosaic pattern. Secure the pattern to a flat work surface. Cover the pattern with plastic wrap or parchment paper.
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6. 7. 8. 9. 10. 11. 12. 13. 14. 15.
Cover the plastic wrap with mesh. Measure, cut, and apply the tesserae. Remove the pattern and plastic wrap. Cut off the excess mesh. Apply adhesive to the wall. Apply the mosaic to the adhesive. Remove excess adhesive from the grout spaces. Use painters tape to protect against grout stains. Grout the mosaic. Stand back and admire how wonderful your finished mosaic looks!
Step 1: Determine the Backsplash Dimensions Draw a simple sketch of the backsplash wall and write down the dimensions, including around windows, electric outlets, and other interferences. Even if you dont think you need them, its usually best to record the dimensions before starting because something always happens where you wish you had. Step 2: Outline the Backsplash Area If the backsplash wall is a rectangle with square angles and without interferences, then simply measure the backsplash area, return to your workspace, measure and outline the backsplash area on paper, and then draw your image on the paper. However, if the backsplash wall has interferences, then its best to trace the outline of the backsplash area. In this example, the backsplash area looks like a normal rectangle (see Figure 3-2), but I dont trust any type of construction to be square (even my own). I used tape to hold paper over the backsplash area and then I traced the outline of the area. This resulted in a perfectly sized outline on paper. See Figure 3-2 for the actual backsplash area, and Figure 3-3 for the outline on paper.
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Figure 3-2. Backsplash Area between the Stove and Microwave Notice in Figure 3-2 that I prepped the backsplash area by installing a border using 2x6 ceramic bullnose cut down to 1.25. The 2-inch width was too wide so I cut 3/4-inch off each tile using a wet tile saw. I cut the straight side leaving the rounded bullnose side intact, and then installed the tile with the bullnose toward the mosaic. The ceramic tile is 1/4-inch thick; whereas, the stained glass mosaic is only 1/8-inch thick. The rounded bullnose allows me to make a grout line that transitions smoothly between the ceramic tiles and stained glass. If I had reversed the ceramic tiles and installed them with the straight cut edges toward the mosaic, the grout transition from the 1/4-inch ceramic down to the 1/8-inch stained glass would have been much less subtle.
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Figure 3-3. Perfectly Sized Outline of the Backsplash Area Figure 3-3 shows the backsplash area on paper, which I made by taping together six pieces of plain paper (notice the tapes reflection in the figure). After tracing the backsplash areas outline using a pencil, I used a black felt-tip pen and ruler to thicken the line so its easier to see. The two pencil lines at the bottom-third of the outline that angle down from the center represent the area concealed by the stove. The stove top is actually about two inches above those angled lines, but the stove doesnt butt directly against the wall, which creates a visible area of the wall below the stove top. Therefore, these two guide lines define the areas where the mosaic must be perfect (because it will be seen) and where it can be less than perfect (because it wont be seen). I decided to build the mosaic several inches below the visible area in the event that stoves in the future are designed a bit shorter than today. Step 3: Draw the Mosaic Pattern Draw the pattern using a pencil. When its perfect, go over it with a black felt-tip pen. If you cant draw, dont fret! Refer to the chapter on Designing and Drawing. Even if you cant legibly write your own name, the chapter on Designing and Drawing teaches you to get your idea on paper. Figure 3-4 shows my completed pattern.
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Figure 3-4. Pattern Drawn on Paper Note that I even drew the background shapes on the paper. My preferred background style uses rounded triangular shapes with specific focal points (refer to the chapter on Backgrounds and Borders for clarification). Planning and drawing each triangular shape ensures I maintain those focal points throughout the background. Figure 3-5 is a closeup of my pattern. Notice that the flower heads are cut from tracing paper. To save time, I drew only one flower head, traced it three times, cut off the excess paper, and taped each tracing to the pattern paper. All three flower heads in the pattern are actually the same drawing. To make them appear different, I simply rotated each tracing to a different orientation.
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Figure 3-5. Closeup of the Traced Flower Heads Step 4: Secure the Pattern to a Flat Work Surface Ensure your work surface is flat. Check the tabletop to ensure the laminate doesnt have bubbles or other imperfections that make it uneven. Its frustrating to apply half the tesserae and then hit a bubble that prevents the next tessera from making full contact with the mesh. If you do find a bubble in your tabletop, turn the table around so the bubble isnt under the pattern. If the bubble is in the middle of the tabletop and you cant avoid it, put a piece of flat plywood or MDF (medium density fiberboard) under the pattern. Secure the pattern to the flat work surface using painters tape. Step 5: Cover the Pattern with Plastic Wrap or Parchment Paper Place transparent plastic wrap or translucent parchment paper over the pattern. It should extend liberally over the edges of the tracing paper. The plastic wrap functions as a protective cover to prevent glue from getting all over your pattern and tabletop. PVA glue wont stick permanently to plastic wrap or parchment paper (refer to the chapter on Adhesives for pertinent information about PVA glue). Secure the plastic wrap to the work surface with painters tape. Start at one end and secure the entire edge of that end. Unroll the plastic wrap until the entire pattern is covered. Carefully cut the wrap so it doesnt stick to itself. Gently pull the wrap tight over the pattern but dont yank it so hard that you separate the other end from the tape. Tape the plastic wrap so it remains fairly tight over the pattern. Dont scrimp on the tape; use enough to tightly hold the wrap in-place. If your pattern is wider than the width of the wrap, put down another piece of wrap. Overlap the first piece by at least two inches to ensure the glue doesnt squeeze itself onto the pattern. I prefer plastic wrap (Saran, Glad, or generic work equally well) because its transparent so I can easily see the lines on the pattern through the tracing paper (refer to the chapter on Cutting and Adhering Tesserae). Parchment paper is translucent, which makes it a bit tougher to see the lines. Try both and use whichever you prefer. Parchment paper is silicone coated, non stick, translucent paper typically used in baking. You can buy it in almost any grocery store, and comes in a long rectangular box, like tin foil. Transparent plastic wrap is used for sealing food in containers. PVA glue wont adhere to either product. When the glue dries, simply peel away the paper/plastic. The result is a mesh backed sheet of tesserae similar to mosaic bathroom tile. Step 6: Cover the Plastic Wrap with Mesh Place the mesh over the plastic wrap, extending it beyond the edges of the pattern. Tightly secure the mesh to the work surface with painters tape as you did with the plastic wrap.
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When everything is secured flat and tight without any ridges, bumps, bubbles, or folds, use painters tape to outline the edge of the mosaic area (i.e., the rectangular outline of the backsplash area). This clearly defines the area in which all tesserae must remain. No part of any piece of tessera can extend off the mesh onto the tape. Figure 3-6 shows the results of Step 4 through Step 6. The figure shows my pattern, plastic wrap, and mesh secured tightly in-place on my flat work surface. A few features are worth noting. The pattern, plastic wrap, and mesh are secured on all sides with lots of tape to ensure it stays tight and flat. The tape is pressure-sensitive so dont forget to gently rub your fingers over the tape to make it stick well. The rectangular backsplash-area outline is taped all the way around with the full width of the tape. I carefully aligned the tape over the outline to exactly define the backsplash area. The 12-inch-wide plastic wrap didnt cover the entire pattern, so I had to use a second piece. I ran out of wrap and didnt want to interrupt my work session to go to the store for more. I dug out my wifes old parchment paper from a kitchen cabinet and used it for the second piece. Notice along the bottom quarter of the pattern that the pattern lines are harder to see. Thats where I used the translucent parchment paper. Also notice the six small pieces of painters tape under the parchment paper. Thats where I taped the edge of the plastic wrap to help keep it tight and flat. I was careful to use small pieces of tape and not cover any of the pattern lines.
Figure 3-6. The Pattern, Plastic Wrap, and Mesh Secured In-place Step 7: Measure, Cut, and Apply the Tesserae The Direct/Indirect Method requires opaque glass. Dont use transparent glass because the mesh shows through. Refer to the chapter on Cutting and Adhering Tesserae for details on how to measure, cut, and apply tesserae.
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IMPORTANT: Leave a 1/8-inch space between the edge of the outline tape and the tesserae. That 1/8-inch gap serves as a grout line between the mosaic and the ceramic-tile border. Therefore, do not butt the tesserae up to the taped edge. Leave a 1/8-inch gap for grout. Its also just as important not to leave too much space between the tesserae and the taped edge. Too much space results in a wide grout line that looks inconsistent with the grout lines between the ceramic tiles. Before cutting and applying glass for the flower petals, I determined the color for each petal. I decided to use light-yellow, dark-yellow, and orange glass to blend with the colors in other parts of the backsplash. I used the tip of a black felt-tip pen to mark each petal. Then, I created a legend to define my marks (I dont trust my memory, so I wrote down what each mark means). Figure 3-7 shows how I marked each petal to define its tessera color. If you wait to mark your pattern until after the plastic wrap is down (i.e., instead of marking the pattern paper before putting the plastic over it), be aware that the ink wont stay permanently on the plastic. The glue soaks up the ink and then remains embedded in the glue when you install the mesh. This isnt a problem with opaque glass, but just be aware of it so youre not surprised when you peel off the plastic wrap and see the markings embedded in the glue instead of on the wrap.
Figure 3-7. Color Legend for the Petals Before cutting the petals, I had to fix my dark-yellow stained glass. I buy online whatever stained-glass colors or styles arent available at the local hobby store. For this project, I got everything I needed at the hobby store except dark-yellow. As noted earlier, transparent glass doesnt work for the Direct/Indirect Method because youd see the mesh through the glass.
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I went online and scrolled through the yellows looking for something opaque. The online descriptions of the glass were vague, so I took a chance. Sure enough, the glass I ordered was probably the most transparent available (see Figure 3-8).
Figure 3-8. Transparent Glass for the Flower Petals Good grief, I dont think I could have found a more transparent yellow. Instead of ordering something else hoping it would be opaque and waiting another few days for it to arrive, I decided to figure a way to use the stuff I already bought. But how could I make transparent glass opaque? The solution was obvious. I painted it. Thats right; I painted it with water-based white primer (see Figure 3-9). Yes, it stuck to the glass. One coat didnt make the glass completely opaque, but it was enough to hide the white mesh just fine. The white primer minimally affected the glass color, and it didnt affect the breaking properties of the glass at all. Success! I was back on track and ready to proceed.
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Figure 3-9. White Primer Changed the Transparent Glass to Almost Opaque Figures 3-10 through 3-17 show the progression of my backsplash. Its fun to see how it all comes together.
Figure 3-10. Progress after about 4 Hours Notice in Figure 3-10 that I use both Weldbond and Elmers Glue All. Refer to the chapter on Adhesives for information about these PVA glues and whether one is truly better than
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the other for mosaics. Also, notice that the left-most leaf looks like it butts up against the taped edge; however, there is, indeed, a 1/8-inch gap.
Figure 3-11. Progress after about 6 Hours Its starting to look good in Figure 3-11. The yellows and reds perfectly match the colors in the rest of the backsplash. I like the look of the leaves. Plain and simple, yet they look good. Notice how I shaped the tesserae so the grout lines resemble veins in the leaves.
Figure 3-12. Progress after about 8 Hours
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Almost done with the flowers (Figure 3-12). Its been slow going, but thats okay, Im in no rush.
Figure 3-13. Progress after about 10 Hours Whew! The flowers are done (Figure 3-13). Now I can switch gears and work on the background.
Figure 3-14. Progress after about 18 Hours
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The background is about one-third complete. Notice in Figure 3-14 how the tesserae follow my pattern and fit tightly together like puzzle pieces as discussed in the chapter on Backgrounds and Borders. Ensure you leave the proper spacing between the tesserae and the taped outline to serve as a grout line, as shown in Figure 3-15. For this project, I need to match the 1/8-inch spacing of the ceramic tile already on the wall, so I do my best to leave 1/8-inch between the tesserae and tape.
Figure 3-15. Proper Spacing between the Tesserae and Tape for the Grout Line The spacing between the tesserae and the taped outline isnt a perfect 1/8-inch all the way around, but its close enough. The irregularity creates an imperfect grout line, which is okay because it will blend nicely with the irregular grout lines of the mosaic.
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Figure 3-16. Progress after about 26 Hours Im starting to see the light at the end of the tunnel in Figure 3-16. At this point, the visible portion of the mosaic is complete. The remaining bottom portion is simply filler and wont be seen unless we someday get a new stove thats shorter than the one we currently have.
Figure 3-17. Progress after about 30 Hours One last piece! After about two weeks, cutting and gluing are almost complete (Figure 3-17). Pressing that last piece into place always feels so good.
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Step 8: Remove the Pattern and Plastic Wrap Let the glue dry at least 48 hours; however, it probably still wont be completely dry. The plastic wrap and glass are air-proof, and as the glue dries from the outside edges, it entombs the rest of the wet glue in the center of each piece of tessera. The result is that the glue in the center of each tessera takes a relatively long time to dry. As we learned in the chapter on Adhesives, PVA glue dries only when the water evaporates, so when air flow is restricted, the glue stays wet longer. However, enough glue dries around the edges of each tessera to hold everything in-place while you carefully turn over the mosaic. Taking your time, remove all tape that secures the mesh, plastic wrap, and pattern paper to the work surface. Carefully lift everything (i.e., paper, plastic wrap, mesh, and glass) and turn it over. Then, slowly peel off the plastic wrap from the mesh. When the plastic wrap and paper pattern are removed, youll see areas of wet glue in the center of most tesserae. Wait 24 hours to let the rest of the glue dry. Figure 3-18 shows the wet glue in the center of most tesserae. PVA glue is white when wet and clear when dry, so all the white stuff on the tesserae in Figure 3-18 is wet glue. For this mosaic, I waited a full 72 hours before peeling off the plastic wrap and found that a lot of glue was still wet. However, after fully exposed to air, the remaining glue dried clear in about two hours. Be patient and allow plenty of time for all of the glue to thoroughly dry before proceeding.
Figure 3-18. Glue in the Center of Most Tesserae is Wet Even after 72 Hours of Drying Notice in Figure 3-18 how the glue lifted the ink markings from the plastic wrap. Again, this is okay when using opaque glass, but disastrous with transparent because the markings show through the glass. Also notice the white paint on some of the petals. The paint not only prevents the mesh from showing through the transparent glass, but it also prevents the black markings from showing through.
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Step 9: Cut Off the Excess Mesh After all the glue is thoroughly dry, use a razor-blade knife to carefully cut off the excess mesh.
WARNING Razor blade knives are sharp and dangerous. Use them with care. Do not allow children or pets access to knives.
I find that a razor-blade knife works much better than scissors because the razor cuts flush with the tesserae (no loose or hanging threads) and its easy to run the blade. Simply position the mosaic over the edge of the work surface about an inch. Then, hold the mosaic with one hand and carefully run the blade along the edge of the tesserae. Step 10: Apply Adhesive to the Wall Dry fit the mosaic into the backsplash area to ensure a good fit. If a piece of tessera fits too closely to the ceramic tile (i.e., no grout space), then mark it with a black felt-tip pen, take the mosaic back to your workspace, and trim that specific piece of tessera. When youre comfortable with the dry fit, youre ready to adhere the mosaic to the wall. Using a small trowel with shallow notches, apply adhesive, such as AcrylPro Ceramic Tile Adhesive (refer to the chapter on Adhesives), to the wall over the entire backsplash area. Avoid slopping adhesive on the ceramic tile. If you do, simply wipe it off before it dries. Once the adhesive is on the wall, go over it again with the trowel to get rid of all globs and thick ridges. If you apply too much adhesive, it squeezes up and fills the grout spaces when you press the mosaic into place, so its important not to leave big globs or thick ridges. Notice in Figure 3-19 how the adhesive is spread thinly and evenly over the wall. Also, notice how the adhesive is spread close to the ceramic tile but not slopped all over it.
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Figure 3-19. Spread the Adhesive Evenly and Not Too Thick Notice that I apply the adhesive directly to the drywall. In this case, I primed the drywall but I didnt install waterproof backerboard over it. I dont worry about water damage because I dont expect water to ever hit the wall in this part of the backsplash. You should determine if your application requires a waterproof backerboard. Step 11: Apply the Mosaic to the Adhesive Carefully align the mosaic on the wall and gently press it into the adhesive. Obviously, the mesh side goes down into the adhesive. Dont press too hard yet! Press just enough so the mosaic stays on the wall. Use both hands with your fingers spread apart to carefully adjust the mosaic into position. Dont press too hard because, once each tesserae is firmly pressed into the adhesive, its very hard to adjust the mosaic into proper position. When the mosaic is properly aligned, gently press each tessera to set it in the adhesive. Be careful not to move any tesserae out of alignment. If you think its necessary to set and level the tesserae, put a clean scrap of wood over the tesserae and gently tap the wood with a rubber mallet. Move the wood over the entire mosaic and carefully tap. For this mosaic, I didnt need to set and level because the tesserae were already level after I pressed them with my fingers. However, when I do feel the need (e.g., when setting ceramic floor tile), I use a 2x4 wrapped with an old mattress pad instead of bare wood (see Figure 3-20). The soft mattress pad makes me feel more comfortable when tapping the delicate pieces into place.
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Figure 3-20. Tools for Gently Tapping the Mosaic into the Adhesive After pressing the entire mesh section into the adhesive, ensure everything is still properly aligned. Corners or individual tessera may have moved slightly from setting everything into place. Carefully and slowly slide it into proper alignment. At this point, its very difficult to move because the adhesive has grabbed the mosaic tightly. Youll have to press hard against the glass pushing it into position, so be careful not to cut yourself. Figure 3-21 shows my mosaic applied to the wall. Notice that I have the proper spacing between the mosaic and ceramic tile.
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Figure 3-21. Mosaic on the Wall Properly Aligned and Set into the Adhesive Step 12: Remove Excess Adhesive from the Grout Spaces Undoubtedly, some adhesive will squeeze up and fill the grout spaces. You must remove this excess adhesive before it dries. Dont panic, you have lots of time. Because my grout lines are so thin, I used toothpicks to dig out the excess adhesive. Bent paper clips work well, too. After the grout lines are clean, use damp paper towels to wipe off all excess adhesive that may have gotten on the glass. Step 13: Use Painters Tape to Protect Against Grout Stains Grouting is messy. No matter how slow you go or how much care you take, youll slop it somewhere that you dont want it. Therefore, use painters tape to protect the countertop, cabinets, sink, outlets, and anything else you dont want stained. I learned the hard way that one row of 2-inch tape usually isnt wide enough, so I use at least two rows. Dont be afraid to use lots of tape. Figure 3-22 shows my mosaic area taped and ready to grout.
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Figure 3-22. Painters Tape Protects Against Grout Stains Step 14: Grout the Mosaic At least 24 hours after installation when the adhesive has thoroughly dried, its time to grout. Refer to the detailed chapter on Grouting. I planned to apply the same Mallard Green grout that I used for the rest of the ceramic tile backsplash, but I wasnt absolutely sure it was right for the mosaic colors. As described in the chapter on Color and Contrast, I decided to make a swatch to verify the look (see Figure 3-23). I randomly glued several scrap pieces of glass to an old piece of backerboard, and then slopped on some grout. After several hours of drying time, I confirmed that the dark-green would look good. I didnt want to stray from the existing grout color so I was relieved to see that the Mallard Green grout looked good with the glass colors.
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Figure 3-23. Use a Swatch to Verify the Grout Color Figure 3-24 shows a closeup view of the finished mosaic. Notice that the grout spacing between the glass and ceramic tile almost equals the 1/8-inch spacing between the individual ceramic tiles. The painters tape protected the microwave so everything looks clean and neat.
Figure 3-24. Closeup of Finished Mosaic Figure 3-25 shows another view of the finished mosaic. Isnt it amazing how something so plain can look so good? Nothing fancy, just a simple border, simple flower pattern, and simple background. But it adds such a nice touch of charm and uniqueness to the kitchen.
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Figure 3-25. The Finished Mosaic Adds a Touch of Charm Indirect Method With the Indirect Method, apply tesserae upside-down on adhesive-backed material that holds the design together until you take the sections to the installation site. At the installation site, press each section into the pre-applied adhesive. When the adhesive dries, remove the paper backing to expose the design right-side up. This method is very similar to the Direct/Indirect mesh process described above with two distinct differences: 1) Instead of using mesh and PVA glue, use tacky plastic or brown mounting paper with water-soluble adhesive, such as wallpaper paste or water-soluble craft glue; and 2) Adhere the tesserae face-down (i.e., stick the face of the tesserae onto the mounting paper). In my opinion, a product called Mosaic Mount is the best and easiest material to use for Indirect mosaic projects. Its sticker than contact paper, you dont have to sponge it to dissolve the glue, and it wont leave any adhesive on the tesserae. Its also transparent so, unlike brown paper, you can turn over your work to see the face-up design. It typically comes in rolls 20 inches by 10 feet and retails between $25 and $30. Because the tesserae are stuck on the paper face-down, you must build your design in reverse (i.e., a mirror image). Another advantage of using the semi-transparent Mosaic Mount instead of brown paper is that you can turn the sheet over and see your design, which allows you to correct design flaws or bad color combinations before setting the sheet into the prepared base.
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If you use brown paper and water-soluble glue, be careful to use the right amount of glue. Too much glue makes it difficult to remove the paper. Too little glue causes tesserae to fall off before pressing the sheet into the prepared base. After installing the tesserae sheets into the prepared base and when everything is thoroughly dry, sponge the brown paper with water and allow the water a few minutes to dissolve the paste. (Sponging is not required if using Mosaic Mount paper.) Carefully peel the mounting paper away from the tesserae revealing your beautiful masterpiece face-up. Carefully sponge the tesserae to remove any pasty film. If some tesserae work themselves loose wile peeling off the paper, simply remove the loose pieces, clean them, and adhere them back into place. Ensure you let the adhesive dry thoroughly before grouting. Finish by grouting as described in the chapter on Grouting.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 4 - Base Materials
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Chapter 4 - Base Materials

Tesserae can be adhered to almost any type of base material. Size and weight of the finished work, and where and how the work will be displayed are the primary factors to consider when selecting your base material. Glass is heavy, so the base material must be robust enough to support the weight of the tesserae and grout. Indoor mosaics that remain dry (i.e., not displayed in steam rooms or similar environments) may be made using wood as the base. Outdoor mosaics exposed to the weather should be made with backerboard or other water-proof material. Regardless of the base type, the surface must be clean, free of oil and grease, and with no loose paint or other coverings such as wallpaper. If not already roughed (especially wood), its best to sand or otherwise rough the surface to give the adhesive something extra to grab (e.g., scratch it with a flat-tip screwdriver or score it with a razor-blade knife). Wood for Indoor Mosaics Wood is my favorite base material for indoor hanging mosaics. It can be easily cut to any size and shape and is relatively cheap. For my indoor wall-hangings, I prefer 3/4-inch cabinet-grade plywood pre-cut at my favorite home improvement store into 2x4 pieces (each piece costs about $15). The standard pre-cut 2x4 size limits me to a maximum mosaic width of two feet. I like this limitation because it prevents me from going crazy and creating gigantic mosaics that take forever to finish. Over the years, Ive found that 24x30 is a good size for wall-hangings of any subject, so the 2x4 pre-cut size is just right for me. I prefer cabinet-grade because its already sanded and isnt warped, and the cheaper grades usually have gouges, nicks, and knot holes. The 3/4-inch plywood is plenty strong enough to handle the weight of the tesserae and grout, and its plenty thick enough to accept the 1/2-inch screws needed to install the frame clips and hanging wire. The 3/4-inch thickness also resists warping, which is important for mosaics. If the base warps, the grout will likely crack and tesserae will likely pop off.
CAUTION If you plan to hang your indoor mosaic on the wall, use 3/4 inch wood. 1/8 inch or 1/4 inch plywood isnt thick enough to safely install the frame clips and hanging wire. Plan ahead before starting your mosaic and select the proper base material with the proper thickness, depending on where and how youll display the finished piece.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 4 - Base Materials
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Bare-wood furniture (i.e., unpainted and unstained), boxes, mirror frames, and other doodads at your favorite craft store make delightful indoor mosaics. Refer to the chapter on Creating Your Masterpiece to learn how to properly sand and seal wooden base material. Backerboard for Outdoor Mosaics The two most common types of backerboard are water-resistant greenboard sheetrock and cementitious-type ceramic-tile backerboard. Greenboard is water-resistant but not waterproof. Unlike standard drywall, greenboard has a moisture-resistant paper and a treated core. Although treated, it disintegrates with prolonged exposure to water. Therefore, dont use greenboard for outdoor mosaics. Cement backerboard is strong and water-resistant. It wont disintegrate with prolonged exposure to water, and it wont warp due to changes in temperature or humidity. Typical cement backerboard is formed with a solid cement core reinforced on both sides with fiberglass mesh. Hardibacker is a brand of backerboard made with proprietary materials, which dont include fiberglass mesh. Hardibacker is purportedly stronger and lighter than other brands. Cement backerboard or Hardibacker is the best base material for outdoor mosaic walls, tabletops, panels, mailbox-address plates, and various other flat mosaic projects. Miscellaneous Base Materials Terracotta is a hard, brownish-orange mixture of clay and sand used in pottery. Flower pots are typical examples of terracotta and look wonderful as mosaics. Cement-based stepping stones and birdbaths make beautiful outdoor mosaics. Glass plates, bowls, and vases make lovely indoor mosaic knickknacks and keepsakes. You can mosaic just about anything as long as its strong enough to hold the weight of the tesserae, its durable enough to endure the environment in which the mosaic will be displayed, and its properly prepared (sanded, sealed, etc.).
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 5 - Designing and Drawing
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Chapter 5 - Designing and Drawing

Dont jump willy-nilly into your mosaic project haphazardly gluing tiles to a hunk of plywood. Instead, plan everything about the project. Plan your style, design, base material, tessera material, type of adhesive, and colors. Save spontaneity for later when creating the details. This chapter focuses on designing and drawing your mosaic project. In the context of this book, designing means how the tesserae flow throughout your mosaic and the basic look achieved by merging tesserae and grout. It does not mean the art style you plan to incorporate into your work (e.g., abstract, surrealism, cubism, expressionism, etc.). The four basic aspects of mosaic design are andamento, tesserae size, texture, and grout-line size and shape. Tesserae and grout color are also important, but we discuss those separately in the chapter on Color and Contrast. Andamento Andamento (Italian for flow) is the visual movement of your mosaic created by placing tesserae in specific patterns to achieve the desired image (a.k.a. coursing your tesserae). Opus (Latin for work of art or literary work) is any work in any creative field, such as literature, architecture, music, and fine art. In our world of mosaic art, opus refers to how we arrange our tesserae. Different opera (the plural of opus) result in different flows. Understanding the various opera allows you to plan your work to ensure you achieve the desired look. The following opera terms are based on Latin. Few people I know, including me, remember two minutes later what each term means. It doesnt matter what you call each style. For example, instead of saying Opus Regulatum, you can call it squares aligned like a brick wall. The point is to be aware of the types of opera, plan which types give the results you want, and then create your masterpiece accordingly. Refer to Figure 5-1 as we discuss the more common opera. Dont get hung up on the names, simply be aware of the various styles and how your eyes react to each. Plan your work to give the desired flow and effect. I wont try to describe in art-speak the effect that the eyes see in each opus because your eyes may interpret something completely different than mine. Besides, I never understand so-called connoisseurs when they use words like energy, strong, sharp, dynamic movement, and dynamic power to describe a particular opus. I remember a pretentious guy who once told me, Your lines are crisp and intense, and give the piece a provocative personality. I confidently responded, Thats exactly what I was going for, although I had no idea what he was talking about. I felt I had to acknowledge what sounded like a compliment by pretending to understand his silly art-speak.
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Surf the Internet for mosaic artists, study their work, and note the flow of their tesserae. Pay attention to how each type of flow makes you feel. Associate the flows with the feelings they stimulate in you. Then, plan your own work using the flows for the feelings you hope to evoke in others. Try mixing several types of opera into your work. For example, try using Opus Regulatum for the border, Opus Palladianum for the background, and Opus Sectile for the focal point. Opus Tesselatum (A) is a square or rectangle pattern with grout lines aligned, such as a checkerboard. Opus Regulatum (B) is also a square or rectangle pattern but with grout lines staggered like a brick wall. I sometimes use a variation of this opus as a background enhancing the effect by using light tesserae in the center and gradually darkening the tone to the border. Youll find inconsistencies with the definitions of tesselatum and regulatum in that some believe theyre reversed. Those who believe as I do have sound justification. The Latin tessella means small square piece of stone. The Latin tessellatim means in a checkered or tessellated form. The modern tessellate means arrange in a checkered pattern. Therefore, Im comfortable being in the group that defines the two terms as noted above. However, theres another discrepancy associated with the spelling of tesselatum. Does it have one l or two? I use one to stay consistent with the other ...latum opera described below. Again, it doesnt matter what you call them or how you spell them as long as you understand that the two styles exist and they each can arouse different feelings when used in mosaics. Opus Reticulatum (C) is similar to opus regulatum or tesselatum but with slanted lines. Opus Sectile (D) is either a piece of tessera cut to one specific shape (such as the round smiley face in Figure 5-1), or several tesserae of varying sizes cut to shapes that fit together like puzzle pieces. Opus Vermiculatum (E) is typically a single row of tesserae following the outline of a focal point or main feature of the mosaic. Some artists use several rows to create the halo effect adding emphasis to the focal point. The background is usually done with a contrasting opus, such as opus regulatum. Vermis is Latin for worm, so think of opus vermiculatum as a worm surrounding your focal point. Opus Musivum (F) is opus vermiculatum extended out to fill the background, either all the way to the borders or to secondary focal points. Opus Classicum (G and H) combines opus vermiculatum with opus regulatum or opus tesselatum. Opus Palladianum (I) uses similar shapes laid in an irregular pattern. In my opinion, triangle-like shapes with relatively equal grout spacing works best for this opus. Opus Circumtactum (J) uses interlocking fan-like patterns for the background.
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Figure 5-1. Types of Mosaic Andamento (Flow of the Tiles) or Opera

A = Opus Tesselatum D = Opus Sectile G and H = Opus Classicum B = Opus Regulatum E = Opus Vermiculatum I = Opus Palladianum C = Opus Reticulatum F = Opus Musivum J = Opus Circumtactum
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Tesserae Size Ive found that tesserae size is nearly as important as andamento in creating the desired look and feel of a mosaic. For example, a background done in 1/4-inch opus regulatum looks and feels entirely different than the same pattern done with 3/4-inch tesserae. Typical tesserae sizes are: 3/4-inch x 3/4-inch (e.g., square vitreous glass tile) 3/4-inch x 3/8-inch (e.g., rectangular smalti) 3/8-inch x 3/8-inch (e.g., manufactured 3/8-inch square vitreous glass tile or 3/4-inch vitreous squares hand-cut into four equal-sized squares) 3/16-inch x 3/16-inch or less (i.e., for projects known as micro mosaic) Free-form shapes in varying sizes cut from sheets of stained glass.
When using squares less than 3/4-inch, I prefer to hand-cut them. The resulting irregular sides enhance the feel of the grout lines. Because the hand-cut tesserae have irregular lines, the grout lines are also irregular instead of the precise lines you get when using manufactured vitreous tiles. Try using stained glass for large pieces of tessera when creating your focal points. For example, suppose your primary focal point is a sunflower 6-inches diameter (including the petals). You could make the 4-inch diameter head using a single piece of stained glass, the individual petals using 1-inch oblong pieces, and individual leaves using 2- to 3-inch pieces. Then, when all focal points are in-place, complete the mosaic with a background done in vitreous tiles hand-cut to 3/8-inch squares in opus regulatum. As with many things in life, size matters, so put some thought into the tesserae size for focal points, backgrounds, and borders. Texture Different tessera thicknesses catch and reflect light producing beautiful effects. Create texture and depth by combining different types of tesserae, such as smalti, vitreous glass, marbles, and stones. However, ensure texture works for your piece. For example, if youre doing a tabletop, the surface must be flat so tesserae of varying thicknesses wont work. Be careful because its not easy getting the right combination of tessera types and thicknesses. In the wrong light, varying thicknesses cast shadows that can ruin the mosaics look. Planning is important. Before choosing your tessera types and thicknesses, think about where youll display your mosaic and the ambient light conditions. Will it be displayed in direct sunlight or in a dark hallway? Will the light source be directly overhead or from the side or bottom? The main reason Im not keen on incorporating texture into my mosaics is that grouting is a challenge (refer to the chapter on Tessera Types). Grout spacing is critical when creating
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texture with tesserae. The grout must have enough room to naturally slope from the higher tesserae to the lower tesserae. Otherwise, the grout job can look dreadfully sloppy. With proper planning, patience, and attention to detail when grouting, results from incorporating texture can be wonderful. Without them, results can be disastrous. Grout-line Size and Shape Where you dont put tesserae determines your grout lines because grout fills in everything on your base material left uncovered by tesserae. Strive for consistent grout spacing over the entire mosaic. If you use mismatched shapes (e.g., broken pieces of miscellaneous crockery), this is virtually impossible, but do your best to maintain consistency. Big gaps left between tesserae because you were in too much of a hurry look messy. However, youll have instances where specific lines are intentionally wider or narrower than others. For example, wider lines can emphasize the distinction between one shape and another. A wider grout line around the eye of a frog can make the eye standout, if thats the look you desire. Avoid consistently wide grout lines throughout your mosaic because they just dont look good. Tesserae dont need to fit together tightly like a puzzle, but they should be close enough to yield thin grout lines. The danger with thick grout lines is they can cause the mosaic to appear extremely fractured or cause the tesserae to merge into a single muddy image. As explained in the chapter on Color and Contrast, the eyes are weird in the way they see juxtaposed colors. If you have relatively equal amounts of grout and tesserae, and especially if the grout and tesserae colors are of similar tone, the primary features can be hard to distinguish from the background or the even grout. Therefore, I suggest using thin grout lines. They dont all have to be the exact width throughout the mosaic, just make them consistently thin. However, if thick grout lines give the desired look, then use them, but dont be surprised if couch-potato critics accuse you of being in a hurry to finish the work (i.e., thicker grout lines equal fewer tesserae, which equals less time cutting and gluing, which equals less time to finish the mosaic). Figure 5-2 shows how thick grout lines can make the mosaic look fractured.
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The two examples above have the: Same mosaic size Same tesserae size Same tesserae color Same grout color. In Example A above with wide grout lines, the mosaic appears fractured, as if almost falling apart. The brown square is on the verge of being lost in the background. In Example B above with thin grout lines, the mosaic is much less fractured. The brown square is much more distinct.
Figure 5-2. Thin Grout Lines are Usually Better than Thick Grout-line shape is also important because it can add distinction to your work. For example, suppose your focal point is a butterfly. If you properly plan, cut, and place your
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tesserae, the resulting grout lines can represent veins in the butterflys wings, which make your mosaic look more unique and alive. Planning Your Mosaic Start by answering a few general questions: Why am I creating this particular piece, whats its purpose? Lets assume youre creating a 12x18 wall-hanging for the kitchen. Is there ample room to display it and can the wall safely support a 15-pound mosaic? Assume you can safely hang it as described in the chapter on Hanging Your Masterpiece. What kind of light will shine on it? Assume lots of direct morning sunlight and bright fluorescent light at night. What theme is your focal point? Assume you want big, bright sunflowers to complement the flowers in your backsplash. What feelings do you hope to evoke with the piece? Assume you want to feel the wind gently blowing the sunflowers as they help brighten your day. What art style do you want and will it complement the style of the other flowers in your backsplash? Assume you want traditional style (i.e., not abstract, cubism, etc.). Now that you know the general requirements for your mosaic, you must answer some detailed questions, such as the following. How many flowers do you want in your mosaic? For example, one flower with lots of leaves or three flowers with just a few leaves? Will the flower hang in mid-air, or will it grow out from the bottom or side border, or from a pot? If you find it difficult to visualize your finished work, these questions can be hard to answer without help. Dont fret. Theres an easy solution. Inspiration for ideas is all around you, so look for it. Do you have a flower garden in the backyard? Are magazines lying around? Do you have flowered wallpaper in the house? What about your bedspreads, sofa, and other fabric? How about the flower design in your backsplash? Sources for ideas are everywhere. Just open your eyes to see them. When searching for ideas, dont judge the entire image; instead, look for specific features within it. For example, if I need the perfect sunflower head, I scan many sunflower pictures looking only at the flower heads. I dont care about the leaves, backgrounds, foregrounds, or anything else in the pictures. I look only for the flower head that fits my planned mosaic design. My favorite trick is to browse the Internet for photographs of what I want and then print the ones I plan to use. Search the keyword images and youll get lots of hits that provide comprehensive databases of pictures on just about any subject. Suppose you select Google Image Search from your search results. Once in Google Image Search, enter the keyword light switch. Believe it or not, hundreds of light-switch pictures appear on screen. Try searching for pictures of a rusty nail. Sure enough, hundreds of rusty-nail pictures appear. I think its amazing that you can find so many pictures of the oddest things so quickly using the Internet. If
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computers are foreign to you, ask your kids for help. Within 10 seconds of clicking and typing, theyll have hundreds of sunflower pictures ready for you to browse, from which youll undoubtedly find something you like. The process I use for creating my mosaic images is so easy that anyone can do it. Use it as a guide to create your own images. I cant draw from memory at all, but I can copy fairly well, which means I must find things to copy. Most of the time, a single picture doesnt have all the elements I want, so I find multiple pictures from which I pick and choose certain features. My thought process goes something like this (use this process for personal mosaics that you dont intend to sell to avoid copyright problems): I want my sunflower mosaic to complement my backsplash. The flowers in my backsplash are in bunches so I should probably have at least three flowers in the mosaic. Oh, heres a good picture, I like the straight stem. Ill make it the primary flower centered in the mosaic. Now, I probably need one that bends a little to the left. Heres another good picture. This looks really nice because I like the angle of the bent stem. Okay, one more. Ho hum, none of these pictures strike my fancy. Thank goodness there are so many to choose from. Oh, here it is, this is exactly the one I need for my third flower. Okay, now I have pictures of the three flowers that I want, but I dont like the leaves in any of these pictures because they dont hang right. I just dont like the way they look. So, now I have to find some pictures of leaves that hang just right. My goodness, there are so many, how do I choose? Heres one, this will look good hanging down on the right side. And this leaf on this other picture might look okay on the left side. What else do I need? Oops, silly me, I have leaves for the left and right sides, but I almost forgot about the ones filling the middle. Look at this picture, its perfect. I can copy this one leaf several times until the middle is full. Okay, what else? Nothing. Oh, wait, what about a flower pot? No, forget it. Ill have the flowers grow up and out of the bottom border. Okay, I think I have all the pictures I need. Now print them and then Ill be ready to start arranging and copying all the individual features into a single image for my mosaic. I cant wait to start! Do you get the idea of how I search for multiple pictures, from which I take selected elements and combine them into a single image of my own? It sounds complicated, but I find it very easy and hopefully you will, too. Now that you have your various pictures, its time to copy and merge them into one image thats perfect for your mosaic. If you cant copy, dont fret because later well discuss what to do. A basic mosaic rule for drawing your image is to keep it simple. Dont make your image a piece of fine art. Instead, an outline sketch is all you need. Think of a coloring book where each page is a simple outline without detail. Theres no shading, no texture, no strokes, no blending--nothing but a simple outline. Thats how your mosaic image should look. In a coloring book, details come from the crayons. In a mosaic, details come from the tesserae and grout. For your sunflower mosaic, outline only the flower head, petals, stems, and leaves. The only details Id consider adding are the veins in the leaves to help you get the tessera shapes right
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so the grout lines serve to define the veins. All shading is done by feel as you apply different hues, tones, and intensities of tesserae. I sketch directly onto the base material because I have a knack for copying, so I dont need to draw it on paper first. If you need to use paper, thats okay, in a moment well discuss how to do it. Before putting pencil to wood or paper, decide how big or small you want the focal points. Will they dominate the mosaic or will the background dominate? Select the specific features from each picture and copy them onto the base material. For example, in this exercise, start with the picture that has the primary flower head and copy only the flower head. Then, get the picture with the leaf that hangs to the right and copy the leaf. Get the picture with the leaf that hangs to the left and copy the leaf. Get the picture with the left-side flower head and copy the flower head. Continue until your outline sketch is complete. Dont worry about the background design yet. Focus on getting the outline of your focal points exactly how you want them. Help, I Cant Draw! Even if you cant legibly write your own name, you can, indeed, draw a good outline sketch of a sunflower and its leaves. You can! It takes a bit more effort, but its easy. Think of how youll feel when the mosaic is complete. Youll step back, marvel at it, and think, I cant believe I created something that looks so good! So, stop procrastinating, get some confidence, and lets get to work. For mosaic wall-hangings small enough for one person to safely lift, move, and hang (i.e., no greater than about 3x3), Ill explain two methods for getting your outline sketch onto the base material (Method A and Method B). Use Method A when combining several features from multiple pictures into a single image for your mosaic. Use Method B primarily when transferring a single image to the base material. For big, heavy, bulky works (e.g., a 4x8 wall mural), a third method is also described (Method C). Method A: Trace and Transfer You need: Tracing paper (costs about $5 for a 50-sheet tablet of 9x12 paper at your favorite craft and hobby store) Graphite transfer paper (like carbon paper) (about $1.50 per 20x26 sheet at your favorite craft and hobby store) Painters tape Pencil Black felt-tip pen
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Access to a photocopier if you dont have a computer with photo-editing software or dont know how to resize digital pictures.
If your computer printer doesnt also function as a photocopier, go to your favorite office supply store to make photocopies. If theres no office supply store nearby, local printing companies sometimes have photocopiers in their lobbies for self-service use. If you own a computer and printer, know how to use them, have photo-editing software installed, and dont mind draining your expensive printer ink, then you can do Step 2 below to resize the pictures using your home computer instead of a photocopier. Step 1: Determine the Size of Each Feature Determine the size of each feature in your mosaic. For example, you know from your general planning that you want the mosaic to be 12x18 overall, so now you must determine the size of the main features in the mosaic. Suppose you want the primary flower 6-inches diameter (including the petals), the two secondary flowers 5-inches diameter (including the petals), and all the leaves about 4-inches long. Step 2: Resize the Pictures to Match Your Desired Sizes Lay out all the pictures that you printed from the Internet. For each feature in each printed picture, determine how big or small you need to make them to match the dimensions you want for the mosaic. Using a photocopier, resize (i.e., enlarge or reduce) the pictures so the features match your desired dimensions. Dont waste money on color copies. Black-and-white copies work fine. The following examples provide clarification. Suppose picture #1 that you cut from a magazine or printed from the Internet contains the perfect flower head that you want as the primary flower in your mosaic. You know from Step 1 that you want the mosaics primary flower head to be about 6-inches diameter. Suppose the flower head in the printed picture is only 2-inches diameter. In this case, use the photocopier to enlarge the picture until the flower is 6-inches diameter. Ask the store clerk for help if you dont know how to use a photocopier to enlarge copies. For example, suppose the printed picture in Figure 5-3 contains the flower head that you want as your primary flower in the mosaic. The flower head in the printed picture is only about 2-inches diameter, so use the photocopier to enlarge the picture to make the flower head about 6-inches diameter. See Figure 5-3 for the resulting enlargement. Dont worry about chopping off the leaves or stem when you enlarge the picture. All you want from this particular picture is the flower head. Your other pictures contain the leaves and stem that you want for the mosaic. Your only objective for this particular picture is to enlarge the flower head to the correct size for your mosaic so you can proceed to the next step in the process.
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Figure 5-3. Enlarge Your Picture so the Specific Feature that You Want is the Correct Size for Your Mosaic Suppose picture #2 contains the right-side secondary flower, which you want to be 5-inches diameter in the mosaic as determined in Step 1. However, the flower is 8-inches diameter in the picture. Using the photocopier, reduce the picture until the flower is only 5-inches diameter. Ask the store clerk for help in reducing copies. Picture #3 contains the left-side secondary flower, which you want to be 5-inches diameter in the mosaic as determined in Step 1. However, its only 3-inches diameter in the picture. Using the photocopier, enlarge the picture until the flower is 5-inches diameter. Pictures #4, #5, and #6 contain the various leaves that you want in the mosaic. Enlarge or reduce the pictures to make the desired leaves each about 4-inches long as determined in Step 1. Step 3: Trace the Outlines of Each Feature Using tracing paper, trace the outlines of each feature from each resized photocopy. For example, on one sheet of tracing paper, trace the 6-inches-diameter primary flower head. On another sheet of tracing paper, trace the left-side 5-inches-diameter secondary flower. On another sheet, trace the right-side 5-inches-diameter secondary flower. And so on. When tracing the leaf outlines, dont forget to also trace the veins. See Figure 5-4 for an example of an enlarged black-and-white photocopy of a 6-inches-diameter primary flower head and the resulting tracing. Notice in the tracing that only the outline is traced (i.e., no details or shading within the head or petals are drawn).
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Figure 5-4. Enlarged Photocopy of a Flower Head and Resulting Tracing Step 4: Position the Tracing on the Base Material Place the tracing of the 6-inches-diameter primary flower head on the mosaics base material and move the tracing around to determine its exact location and orientation. For example, move and rotate the tracing over the base material until the flower and petals are in the orientation that you think looks best. Step 5: Secure the Tracing to the Base Material Place two small pieces of painters tape over the top two corners of the tracing paper to secure it to the base material so the flower outline remains in its proper location and orientation. Step 6: Insert the Graphite Transfer Paper Slide a sheet of graphite transfer paper under the tracing with the graphite side down. Ensure the tracing paper doesnt move or rotate to change location or orientation of the flower outline as you slide the transfer paper. Step 7: Secure the Tracing Paper and Transfer Paper Apply small pieces of painters tape around the tracing paper and transfer paper to secure them while you trace the flower onto the base material.
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Step 8: Trace the Image Using a pencil, trace over the flower lines on the tracing paper. Press hard enough so the graphite paper transfers the lines to the base material, but dont press so hard that you rip the paper and dig the pencil into the wood. IMPORTANT: While tracing, pay attention to where you are to ensure you trace over every line. After removing the tracing and transfer papers, if you find that not all lines transferred to the base material, its difficult to exactly realign the image, which means the lines you transfer in the second try probably wont match up with the lines you transferred the first time. Step 9: Remove the Tracing and Transfer Papers Carefully remove the painters tape to avoid tearing the tracing and transfer papers. When free, remove the tracing and transfer papers from the base material. Wow, that looks great! You just drew a perfect outline of a sunflower head onto your base material. Lets finish transferring all the other features. Step 10: Position the Tracing of the Next Feature Place the tracing of the 5-inches-diameter right-side secondary flower on the mosaics base material and move the tracing around to determine its exact location and orientation. Maybe you want this flower a little lower than the primary flower, so move the tracing down. Maybe you want this flower to grow at a slight angle to the left, so rotate the tracing to whatever angle looks good. Keep moving it around until you find the location and orientation that looks best next to the primary flower. Step 11: Transfer the Right-Side Flower to the Base Material Repeat Step 5 through Step 9 to finish transferring the outline of the right-side secondary flower to the base material. Dont use a fresh sheet of graphite transfer paper for each feature that you trace. Each graphite sheet should last for several tracings. Youll know when its time to use a new sheet of graphite transfer paper. Step 12: Transfer the Left-Side Flower to the Base Material Repeat Step 10 and Step 11 to transfer the left-side secondary flower to the base material. Step 13: Transfer the Leaves to the Base Material Repeat Step 4 through Step 9 for each leaf. Undoubtedly, some features will overlap others as you transfer them to the base material. Simply erase or scratch through the lines you dont need. For example, suppose you transfer a leaf that overlaps one or two flower stems. Decide what you want in the background and foreground, and then erase the unnecessary lines.
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Suppose you want all stems behind the leaves (i.e., you want the leaves in the foreground), so simply erase the stem lines that intersect the leaves. Erasing lines from the base material may be harder than you think, depending on the type of primer or sealer you used on the base material. Sometimes, the graphite from pencils or transfer paper wont erase no matter how hard you rub; instead, it smears and smudges everywhere. Thats okay as long as you use opaque tesserae; however, if your tesserae are clear or translucent, youll see the smears and smudges in the final mosaic, which obviously is not good. I usually have more luck with a white plastic art eraser than the standard pink eraser on a pencil. Step 14: Highlight the Finished Outline Use a black felt-tip pen to go over your outline sketch on the base material to keep it from rubbing off or smearing when your arms, hands, and fingers touch the base material while measuring, cutting, and gluing tesserae. Your outline sketch is now complete on the base material and youre ready to cut and glue glass. Method B: Draw Grid Lines and Copy This method works best when transferring a single image from a single picture to your base material; however, if you take your time and pay attention to detail, it can also work with multiple features. You need: Tracing paper (about $5 for a 50-sheet tablet of 9x12 paper) Ruler Straight edge (24- or 36-inch, depending on the size of your base material) Pencil Black felt-tip pen Calculator.
For this example, assume your 12x18 mosaic has only one focal point, which is a single sunflower about 11-inches diameter, including the head and petals. If you own a computer and printer, know how to use them, have photo-editing software installed, and dont mind draining your expensive printer ink, then you can resize the pictures yourself instead of making photocopies (i.e., do Step 1 using your computer and printer at home instead of using a photocopier at your favorite office supply store).
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Step 1: Resize the Picture to Add Grid Lines Suppose the printed picture of the flower that you want in your mosaic is only 3-inches diameter. Using a photocopier, resize the sunflower picture to about 6-inches diameter so it takes up most of the space on a regular sheet of paper. Get help from the store clerk if you dont know how to use a photocopier. Make a black-and-white copy (i.e., dont waste money on a color copy). Note that you cant resize the flower to the full 11-inches diameter that you want for your mosaic because the paper in the copy machine is only 8.5x11. Instead, resize the picture so its big enough to draw a grid over it. In this example, resize the flower so its about 6-inches diameter to take up most of the space on an 8.5x11 piece of paper. Step 2: Trace the Picture Using tracing paper over the resized black-and-white photocopy, trace the outline of the 6-inch-diameter sunflower. Trace the head and individual petals but ignore internal lines that add detail and shading. Figure 5-5 shows an example of a sunflower tracing that includes the outline of the head and individual petals without detail.
Figure 5-5. Sunflower Tracing Ready for Grid Lines
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Step 3: Highlight the Tracing Using a black felt-tip pen, trace over the pencil outline to create thick and easy-to-see permanent lines (see Figure 5-5). Step 4: Create a Grid Over the Tracing Create a grid over the entire sheet of tracing paper. Start by drawing a line centered vertically and another line centered horizontally over the sunflower. The intersection of these two lines should be fairly close to the center of the sunflower. After drawing the first vertical and horizontal lines, use a ruler to measure one inch between lines and continue drawing lines to make a 1-inch grid (see Figure 5-6). Step 5: Number the Squares on the Grid Number each square starting in the center moving outward. Write small so you dont blur too much of the sunflowers outline. See Figure 5-6 for the completed grid with numbers. Note that the squares are numbered from the center outward because you want to copy the center first and move outward as you copy the squares. Also note that the sunflower is about 6-inches diameter including all petals. This is a key measurement, so remember it.
Figure 5-6. Completed Grid on Tracing Paper

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Step 6: Determine the Size of the Sunflower in Your Mosaic Determine how big you want the sunflower in your mosaic. As noted earlier, for this example, you want the sunflower to occupy most of the mosaic area by being 11-inches diameter. This, too, is a key measurement, so remember it. Step 7: Determine the Location of the Sunflower in Your Mosaic Determine where you want the sunflower in your mosaic. Determine the sunflowers center point and make a little tick mark on the base material to define the sunflowers center point. Step 8: Draw the First Two Grid Lines on Your Base Material To start the grid on your base material, draw only the first vertical and horizontal lines similar to how you started the grid on your tracing. The intersection of these two lines should be at the tick mark you made in Step 7. Draw grid lines lightly on the base material, just dark enough to see them. Unlike the grid on the tracing paper, you want the grid on the base material to be barely visible. Step 9: Determine the Grid-Line Spacing on the Base Material Before continuing to draw the grid on the base material, determine how much spacing is required between each grid line. As you determined earlier, you want the mosaic sunflower to be 11-inches diameter, and the tracing-paper sunflower is about 6-inches diameter. Therefore, the mosaic image is about 1.8 times bigger than the tracing-paper image (i.e., 11 inches 6 inches = 1.83). Therefore, the squares on the base-material grid should be 1.8 times bigger than those on the tracing-paper grid. The squares on the tracing-paper grid are 1x1. Multiply a 1-inch square by 1.8, which results in a 1.8-inch square. Therefore, the squares on the base material should be about 1.8-inches. Now, determine how to look at a ruler and know how many little lines equal 1.8 inches. Make it easy by rounding 1.8 down to 1.75. Therefore, assume each square on the base-material grid is 1 3/4-inches, which are easy to read on a ruler. Lets do another example just for fun. Suppose you use the same sunflower tracing (which is 6-inches diameter), but this time you want your mosaic sunflower to be only 10-inches diameter. How far apart should the grid lines be on the base material? Thats right, very good! Youre a natural at this! 10 inches 6 inches = 1.67 inches. But how do you read 0.67 inches on a ruler? To make it easy, round 0.67 down to 0.63 because 0.63 equals about 5/8-inch, which means the squares on the mosaic should be 1 5/8-inches, and 1 5/8-inches are easy to read on a ruler. Lets do one more example (be careful because this one is a trick question). Suppose you use the same sunflower tracing (which is 6-inches diameter), but this time you want your mosaic
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sunflower to be only 5-inches diameter. How far apart should the grid lines be on your mosaic? Very good! You saw right through my trick question. In this example, dont bother creating grid lines because, instead, you can trace it directly onto your base material using Method A. The point of this trick question is that if you can enlarge or reduce the image to fit on an 8.5x11 piece of paper, then simply resize the original picture to the size you want in your mosaic. In this example, simply use the photocopier to resize the original picture to a 5-inch diameter. Then, use Method A and graphite transfer paper to transfer the image to the mosaics base material; thereby, eliminating the need to fiddle with grid lines. Step 10: Complete the Grid on the Base Material Now that you know the grid-line spacing for the mosaic is 1.75-inches, create the base-material grid by first adding four vertical lines, two on the left side and two on the right side of the center vertical line. Using a ruler, measure 1.75-inches between lines. Complete the grid by adding four horizontal lines, two on the top and two on the bottom of the center horizontal line. Using a ruler, measure 1.75-inches between lines. This should result in a base-material grid of 1.75x1.75 squares. Step 11: Number the Squares on the Base-Material Grid Number each square on the base-material grid the same way you numbered them on the tracing-paper grid. This results in a numbered base-material grid that exactly matches the tracing-paper grid, except that the base-material grid is a bit bigger. Step 12: Copy Each Individual Square in Sequence Use a pencil to copy each individual square from the tracing-paper grid to the base-material grid. Press gently making light lines on the base material so they easily erase if you dont get them quite right on the first try. Notice that each individual square on the tracing-paper grid contains only a few lines, which makes it easy to draw. Refer to Figure 5-7 for an example of an individual square and see how simple it is to copy the lines within that square.
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Figure 5-7. Square #1 on the Grid Figure 5-7 shows an enlarged view of Square #1 on the tracing-paper grid. Note in the figure that all you have to draw are five easy lines. Anyone can copy those five easy lines to Square #1 on the base-material grid. Copy the remaining squares in sequence to complete the sunflower drawing on your mosaic base material. Step 13: Highlight the Completed Outline on the Base Material After copying all squares to the base-material grid, use a black felt-tip pen to go over the outline sketch on the base material to keep it from rubbing off or smearing when your arms, hands, and fingers touch the base material while measuring, cutting, and gluing tesserae. You did it! Wasnt that easy? By dividing the image into small squares and then copying each square individually, you can easily draw the complete image onto your base material. Method C: Trace Using a Slide Projector For big projects such as wall murals where tracing paper wont work and making a grid is too cumbersome, try using a slide projector. This method assumes the base material is already securely installed on the wall. Technology has taken over and nowadays presentation slides are typically done on computers; however, slide projectors still exist. But who wants to spend $500 for an antique gizmo that youll probably use only once unless youre in the business of making big mosaic wall murals? The solution is simple--borrow one from your local library. Assuming your city or county public library is like mine, borrowing equipment is as easy as borrowing books.
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If you own a computer and printer, know how to use them, have photo-editing software installed, dont mind draining your expensive printer toner or ink, and have transparency film for your type of printer (e.g., a laser or ink-jet printer), then you can create your own resized pictures instead of making photocopies at an office supply store (i.e., do Step 2 and Step 3 using your computer and printer at home instead of using a photocopier at the office supply store). Step 1: Find Pictures of Your Mosaics Subject Matter Similar to the previous methods, find pictures on the Internet and then print each feature you want to trace onto your mosaics base material. Step 2: Resize the Pictures Similar to the previous methods, use a photocopier at your favorite office supply store to enlarge or reduce each picture so each feature is about 6-inches centered on the paper. Step 3: Photocopy the Pictures onto Clear Plastic Film Photocopy each picture onto clear transparency film. Ask the clerk how much it costs to make transparency copies. If they dont offer that service, then youll have to buy a box of plastic slides, which should cost less than $20 for a box of 100. Ask the store clerk for help in putting the plastic sheets into the photocopier. Use the proper kind of plastic for the type of machine youre using. For example, transparency film for industrial copiers is a bit different than film for your ink-jet printer at home. Step 4: Set Up the Slide Projector Set up the slide projector in front of the base material on a stable platform (e.g., a card table or similar support). Try to get the projector at the same height as the base material.
WARNING The slide projectors bulb is hot and bright. Do not touch the hot bulb. Do not look directly into the light.
Step 5: Project the Image onto Your Base Material Use the projector to project the image onto your base material. Adjust the projectors position on the table up or back so the image is the correct size on the base material. Moving the projector closer to the base material makes the image smaller, while moving it back makes the image bigger. Move the projector left or right so the image is in the correct position on the base material. Focus the image so its clear on the base material. If the projected image on the base material faces the wrong direction, flip over the slide.
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Step 6: Trace the Image onto the Base Material Using a pencil, trace the image outline onto the base material. Step 7: Trace All Remaining Features onto the Base Material Repeat Step 5 and Step 6 for each slide to trace each feature onto the base material. Step 8: Make the Base Material Safe After tracing all the features from all the slides onto the base material, turn off the projector and unplug it. Put the projector on the floor out of the way so theres no risk of it falling off the table. Step 9: Highlight the Outline on the Base Material Use a black felt-tip pen to go over the entire outline sketch on your base material. How Much Tessera Material Do I Need? Its important to make educated guesses for how much tessera material you need to complete your project instead of simply pulling numbers out of the air. For your first two or three projects, it may seem a bit challenging to estimate the amount because you cant accurately predict how many bad cuts youll make. Also, at the beginning of a project, you probably dont know for sure the average size of your tesserae. Small tesserae yield more grout area and large tesserae yield less grout area (more or less grout means less or more tesserae). Tessera prices depend on the type and color. For example, red and yellow vitreous tiles and stained glass typically cost more than blue and green. Iridescent tiles typically cost much more than vitreous tiles. And smalti is just plain expensive. Avoid buying too much of the expensive types and colors. Also, avoid buying too little of the cheaper stuff. Its frustrating to run out of the one color that you need to finish your project and then have to wait a week to receive it from your favorite online mosaic supply store. If you dont care about cost, feel free to order 500 pounds of every type and color of tesserae available. However, the rest of us must plan how much material we need. If you hate fiddling with math, use one of the many mosaic tile calculators available online. Search the keyword mosaic tile calculator and select a search result that offers a free calculator. Dont search the keyword tile calculator because the top search results usually offer ceramic tile calculators that dont allow you to enter the small size of mosaic tiles. So, search for mosaic tile calculator. Many so-called online tile calculators are virtually useless, so I dont even bother. Instead, I do it myself by hand. Follow these simple steps. Its easy so dont fear the math.
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Step 1: Determine the Area of Your Mosaics Base Material Lets consider only two basic shapes: the square and circle (lump rectangles in with squares). Forget triangles, trapezoids, hexagons, and other funky-shaped polygons. We can estimate the area of all those weird shapes well enough for our mosaic purposes using the basic equations for squares and circles. Square: The area of a square or rectangle is: Area = Length x Width. For example, the area of your 12x18 mosaic base material is: 12 inches x 18 inches = 216 square-inches. Circle: The area of a circle is: Area = x r2 Where: = 3.142 r = radius of the circle. The equation can be rewritten as: Area = 3.142 x radius x radius. For example, suppose the circular tabletop that you want to mosaic is 24-inches diameter. Radius is the distance from the center of the circle to the edge of the circle. Diameter is the distance from the edge of the circle, through the center, to the other edge of the circle. When dealing with circles, radius equals half the diameter. Therefore, for a 24-inch-diameter circular tabletop, its radius is 12-inches. Using the equation, the area of a 24-inch diameter circular tabletop is: Area = 3.142 x 12 x 12 = 452 square-inches (rounded down so we dont have to fiddle with fractions). Because vitreous glass tile and stained glass are typically sold by the square-foot, lets convert square-inches to square-feet. One square-foot equals 144 square-inches. We know this because 12 inches x 12 inches (i.e., 1 square-foot) = 144 square-inches. Therefore, divide square-inches by 144 to get square-feet. For example, your 12x18 rectangular mosaic base material has an area of 216 square-inches as we calculated above. Therefore, 216 144 = 1.5 square-feet. For purposes of determining how much tessera material you need, round fractions up, especially when using vitreous tiles or stained glass because these are often sold in 1 square-foot sheets. So, for example, if your results show your project is 3.3 square-feet, then round it up to 4 square-feet. Its always better to have too much tessera material than not enough. See Figure 5-8 for a pictorial view of how to calculate the area of squares, rectangles, and circles.
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For rectangles and squares: L = Length, W = Width. Area of a Square or Rectangle = L x W For circles: D = Diameter, R = Radius (Radius = 0.5 x D) Area of a Circle = 3.142 x Radius x Radius
Figure 5-8. How to Calculate Area of Squares, Rectangles, and Circles Other Polygons: Instead of applying a bunch of mind-whizzing math, try relating the polygon to a square (or circle), find the area of the square (or circle), and then guess whether you should add a little more just to be sure. For example, suppose your project has a trapezoidal shape. A trapezoid is a quadrilateral with one pair of sides parallel to each other. The complex way to find the area of your trapezoidal shape is to change the trapezoid into a parallelogram by first duplicating the trapezoid (i.e., draw another trapezoid exactly like the original). Then, flip one of the trapezoids and move them together to form the parallelogram. The area of the
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parallelogram is: A = h x (b1 + b2), but we must change the equation to account for only one trapezoid (i.e., we need to disregard the part of the total area attributable to the duplicate trapezoid that we drew). Therefore, the equation becomes: A = 0.5 x h x (b1 + b2). Huh? Good grief, thats way too much thinking for me. Instead, I visualize the trapezoid as a square and then simply estimate the area by multiplying the length times the width. To ensure I estimate enough, I typically add between 0.5 and 1.0 square-feet, depending on the complexity of the polygon and how easy or hard it is for me to visualize as a square. For an oval shape (e.g., for a tabletop), I visualize it as a circle and then simply calculate the area using the circle equation. I dont mind overestimating with this visualization process because an extra square-foot of vitreous tiles or stained glass costs only about $5, so Im not wasting too much money. If I have leftover glass at the end of the project, its okay because Ill use it on a future project. This visualization process isnt prefect, but the results are close enough. The key is to bump up the estimate enough to ensure you have plenty to finish the project. Figure 5-9 shows a pictorial view of how to estimate polygons as either circles or squares.
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Visualize Your Oval Tabletop as a Circle: 1. The oval is 24 wide. 2. Visualize the oval as a circle with an estimated diameter of 22. 3. Calculate area of a circle: Area = 3.142 x Radius x Radius. Visualize Your Hexagonal Paving Slab as a Square: 1. The hexagon is 16 wide. 2. Visualize the hexagon as a 12-inch square. 3. Calculate area of a square: Area = Length x Width.
Figure 5-9. Visualize a Circle or Square and Then Estimate the Area
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Step 2: Determine the Grout Spacing. As noted earlier, more grout means less tesserae and less grout means more tesserae. For example, inconsistent grout spacing that varies between 1/8-inch and 1/4-inch (e.g., when using triangular tesserae, as in an opus palladianum background) results in a much larger grout area than when using consistent 1/16-inch grout spacing. Therefore, you can adjust the results of your calculation accordingly. For example, if you plan your project to have wide grout spacing and you calculate your projects total area to be 3.1 square-feet, then you might adjust the result down to an even 3 square-feet. Caution! Be careful when adjusting your estimate down based on grout spacing. You risk running out of tessera material before the project is complete, which can be terribly frustrating. Not only must you stop work on your project, you must wait a week to receive your order for more material. Also, the Pale Peach Cream color you order today might not match the Pale Peach Cream you ordered three weeks ago because of different batches and lots. I dont take the risk. I never lower my tessera-material estimate based on grout spacing. If my result is 3.1 square-feet, then I plan on 4 square-feet (I dont round down to 3.0). An extra square-foot of vitreous tile or stained glass is only about $5, so the risk isnt worth it to me. When I sit down to cut my first tessera, I like knowing that I have enough material to finish the job even if my planned completion date is three months down the road. Step 3: Cutting More Tiles Doesnt Always Equal Needing Fewer Tiles Dont fool yourself by thinking that cutting vitreous tiles always results in needing fewer tiles. The premise is that cutting tiles into smaller pieces increases the number of grout lines, which increases the grout area, which reduces the tesserae area, which means you need fewer vitreous tiles. This premise ignores that fact that youll make cutting errors and discard more glass than you might think. Also, the glass from rounded or trim cuts typically falls to the floor as waste. As with grout spacing, I never consider how cutting tiles might decrease the amount of tessera material I need. The risk of running out of material isnt worth the small price for having plenty from the beginning. Step 4: Determine the Quantity of Each Color Determine how much tessera material you need of each color. For this example, suppose the pattern on your 12x18 mosaic is the three sunflowers described earlier in Method A. With your outline sketch complete, estimate the size of each feature considering its color. For example, suppose the 6-inches-diameter primary sunflower is 0.2 square-feet with half of it (i.e., the flower head) done in Dark Tobacco and the other half (i.e., the petals) done in Retro Yellow. Record the colors and amounts (i.e., 0.1 square-feet of Dark Tobacco, and 0.1 square-feet of Retro Yellow). Do the same for the next feature (e.g., the left-side secondary sunflower) and record the colors and amount of each color. Do it again for the right-side secondary sunflower. And again for the leaves. Then, simply add up the amounts for each color to get the totals for the foreground.
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Once you estimate the total for the foreground, you can easily estimate the background. Simply subtract the total foreground area from the total area of the entire mosaic. For example, suppose your estimate for the total area of the three sunflowers and all leaves is 0.8 square-feet. We know the total area of the entire 12x18 mosaic is 1.5 square-feet (i.e., 12 inches x 18 inches = 216 square-inches 144 = 1.5 square-feet). The background area would, therefore, be about 0.7 square-feet (i.e., 1.5 square-feet - 0.8 square-feet = 0.7 square-feet). Your thought process might go something like mine: My 12-inch by 18-inch rectangular mosaic base material has an area of 216 square-inches, which equals 1.5 square-feet. My primary sunflower is 6-inches diameter. At 6-inches diameter, its area is: Area = 3.142 x radius x radius = 3.142 x 3 x 3 = 28 square-inches. Therefore, 28 square-inches 144 = 0.2 square-feet. I need to write this down or Ill forget. What happened to my pencil? Oh, there it is, how did it get on the floor? Okay, 0.1 square-feet of Dark Tobacco for the flower head, and 0.1 square-feet of Retro Yellow for the petals. Boy, I hope that Retro Yellow looks as bright in real life as it does in the picture online. My left-side and right-right secondary sunflowers are each 5-inches diameter. The area of one of them is: Area = 3.142 x radius x radius = 3.142 x 2.5 x 2.5 = 20 square-inches. Therefore, 20 square-inches 144 = 0.14 square-feet. I want the head and petal colors to match the primary sunflower, so thats another 0.07 square-feet of Dark Tobacco, and 0.07 square-feet of Retro Yellow. But I have two secondary flowers so I have to add another 0.07 square-feet of each color. Okay, so let me do a quick subtotal. 0.1 + 0.07 + 0.07 = 0.24, which is close to 0.25. So far, I need 0.25 square-feet of Dark Tobacco and 0.25 square-feet of Retro Yellow. Now, what about the leaves? I have four leaves, each is a 4-inch-long oval. Ill be safe and estimate high, so Ill assume theyre 4-inch by 2-inch rectangles. Therefore, the area of each leaf is: Area = L x W = 4 inches x 2 inches = 8 square-inches. Oh, man, its raining outside. I wanted to go to the beach today. Where was I? 8 square-inches = 0.06 square-feet. I have four leaves, so the total area of all four leaves is 0.06 x 4 = 0.24 square-feet, which is close to 0.25. I want all the leaves to be Forest Green. I better write this down. I lost my pencil again. Now, the background. I want the background to match the white tile in my backsplash and I dont want any border, so I want the whole background to be bright white. To determine the background area, I first have to figure out the total area of the foreground. Its a good thing I wrote this down. Lets see, I have 0.25 square-feet of Dark Tobacco, 0.25 square-feet of Retro Yellow, and 0.25 square-feet of Forest Green. That means the total area of the three sunflowers and four leaves is 0.75 square-feet. The total area of the 12-inch by 18-inch mosaic is
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1.5 square-feet, so the area of the background must be 1.5 - 0.75 = 0.75 square-feet. Let me write that down. I need 0.75 square-feet of Bright White. I guess Im ready to order. I sure hope I did the math right. Okay, I need 0.25 square-feet of Dark Tobacco, but a whole square-foot sheet only costs $3.25 so Im going to order a whole sheet instead of trying to save a dollar by ordering only a quarter of a sheet. I need 0.75 square-feet of Bright White, but a whole square-foot sheet only costs $2.99 so Ill get the whole sheet. Same with the Forest Green. Wow, the Retro Yellow is expensive! Oh, now I remember, yellows and reds are always more expensive. I wonder why. Never mind. What the heck, I might as well buy a whole sheet of Retro Yellow like I did the others. Its better to be safe than sorry, besides the petals might be hard to cut so I should ensure I have plenty in case I make a bunch of bad cuts. Do you get the idea of how I apply a thought-out guess to estimating the amount of each tessera color? It isnt perfect and I always have leftover material, but that means I never run short and I never have to stop working to buy more. Always Buy More Tesserae Material Than You Need Its always better to overestimate the amount of tesserae material for your project than trying to get it just right. Its impossible to know how many bad cuts youll make. After cutting a piece of tessera, you might not like the way it blends with the other pieces. Some vitreous tiles crumble when cut because of a bad manufacturing batch. There are many ways for you to create waste, which means you must have extra to replace it. If you dont buy enough from the start, you risk running out before finishing. Vitreous glass tiles and stained glass are cheap, so I suggest spending a little extra to ensure you have plenty to complete the job.
FYI: If youre new to working with stained glass, practice with a sheet of the cheapest color. For example, suppose your project uses blue and yellow glass, and suppose one square-foot of blue is $5.50 and one square-foot of yellow is $9.50. Order an extra sheet of blue to practice with (instead of the expensive yellow). Save the broken pieces from your practice sheet. Youll likely be able to cut smaller tessera shapes from the broken pieces. Now you know!
Why Do My Examples Focus on Square-Feet? Note in my thought process above that I put everything in terms of square-feet because I usually buy my glass by the square-foot. My favorite hobby store sells stained glass in 1-sq-ft sheets and most online mosaic supply stores sell 1-sq-ft sheets of vitreous tiles. Dont buy at the first store you visit because you can find great deals if you take the time to shop around. For example, a store might sell small sheets of 25 vitreous tiles for $0.60, and
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another store might sell the exact same brand and color of tile for $3 per square-foot. Which is the better deal? The typical square-foot sheet of vitreous glass contains 225 tiles (i.e., 15 tiles by 15 tiles). Vendor A sells 25 tiles for $0.60. The per-tile cost is: $0.60 25 tiles = about 2.5 cents per tile. Vendor B sells 225 tiles for $3.00. The per-tile cost is: $3.00 225 tiles = about 1.5 cents per tile. Therefore, Vendor A charges a penny more per tile than Vendor B. Is that significant? Maybe, maybe not. It depends on the size of your project. It also depends on how much extra of each color you want to buy to make up for waste and cutting mistakes. For example, yellow is expensive, so if you only need 0.25 square-feet for the entire project, you might want to buy only 0.5 square-feet instead of a whole square-foot sheet. You should also compare each vendors shipping charges. One vendor may have a free shipping sale, or another vendor may be charging four times what others charge. Another consideration that I find very important is customer service, particularly regarding how well they respond to your questions. Some vendors are eager to help and gladly answer all your questions. Others seem bothered and give curt answers. Unless theres a significant cost savings using the unfriendly vendor, Im usually willing to pay a little extra for better customer service.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 6 - Color and Contrast
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Chapter 6 - Color and Contrast

Working with color in mosaics is much more challenging than most other art media, such as paint and colored pencils. The painters color palette is limited only by the painters imagination in mixing any number of colors until the desired hue is achieved. In contrast, the mosaic artists color palette is constrained by the limited colors that glass manufacturers decide to produce, which are typically determined by what sells best. As an example, lets compare the mosaic artists choices for the color blue to the painters choices. One of my favorite online mosaic tile stores offers 14 various colors of blue vitreous glass tiles; whereas, a popular online artists paint store offers only 13 colors of blue paint. However, the paint store also offers 91 various shades of reds, yellows, oranges, greens, purples, pinks, browns, grays, whites, and more. The painter can choose to blend any one of the 13 blue colors with any number of the other 91 colors. Unlike a painter, the mosaic artist cant blend various colors to create a new one. So, while the mosaic artist is limited to only 14 colors of blue, the painter has an almost limitless palette. If we, as mosaic artists, cant mix colors to create new ones, are we stuck with what the glass manufacturers give us? Certainly not. This is where the artists imagination and creativity are tested. Unlike the painter who mixes colors to create new ones, we blend different colors and shades by placing them next to each other to give the illusion of color change. For example, by alternating small pieces of dark-blue and light-blue tesserae, the result is that our eyes interpret the pattern as medium-blue when viewed from a distance. If we view the pattern from only 12 inches, then our eyes can distinguish the pattern and we see an obvious checkerboard. However, when viewed from 12 feet, we must focus more to distinguish the checkerboard because our eyes interpret the blend as a single color (i.e., we see medium-blue instead of a bunch of small pieces of dark-blue and light-blue). Figure 6-1 shows an example of this phenomenon. Color is equally as important to your mosaics look as andamento (i.e., the visual movement of your mosaic created by placing tesserae in specific patterns). Artists choose colors to stir emotions or simply because they like how the colors look. The brain is sensitive to certain color schemes, so whatever motivates your color choices, you must ensure the combinations dont irritate or bore the viewer. Be aware of how the eyes see varying color characteristics when colors are juxtaposed. Plan your desired look before cutting and gluing any tesserae. Do you want contrast or do you want an intentional blended look where the colors are barely discernable? When you determine the overall look, mood, and feel that you want your mosaic to represent, youll know how to achieve it by combining color with andamento. Experiment with different hues, tones, and intensities to create texture and shading. Browse the Internet for mosaic artists of different styles to see how they use color. Note the
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feelings that each piece evokes in you, then think about how the artists use of color contributes to creating those feelings. The best way to learn how to use color in mosaics is to start cutting and gluing your own glass. Yes, youll probably make a few mistakes along the way, but learn from them and dont repeat them. Maybe someday, Ill be in a museum marveling at the incredible use of color in one of your mosaics!
Figure 6-1. Dark and Light Blend to Make Medium Basic Color Theory The subject of color theory is so extensive that you can get a college degree in it. Lets just touch on the basics. If you want a broader understanding, search the Internet for the keyword color theory and youll find tons of information about color harmony and schemes, the psychological effect of colors, and much more. Color theory explains how color combinations are pleasant, displeasing, or neutral to the eye. The color circle visually represents the color spectrum and the connection among various hues. It is made by joining the ends of the linear color spectrum to form a circle. Filling in the circles center with color gives the familiar color wheel that we studied in grade school. The basic color wheel comprises three primary colors: blue, red, and yellow. These colors cannot be formed by blending any combination of colors in the spectrum. In contrast, all
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other colors are formed by mixing various amounts and combinations of these three colors (hence, the name primary). Figure 6-2 shows the color wheel for the three primary colors.
Figure 6-2. Color Wheel with the Primary Colors Each of the three secondary colors is formed by blending two primary colors. Green forms from a blend of yellow and blue, purple from blue and red, and orange from red and yellow. Therefore, the secondary colors are: green, purple, and orange. Figure 6-3 shows the color wheel with the three primary and three secondary colors.
Figure 6-3. Color Wheel with Primary and Secondary Colors
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Each of the six tertiary colors is formed by blending primary and secondary colors that are adjacent on the color wheel. Blue-purple forms from a blend of blue and purple, red-purple from red and purple, red-orange from red and orange, yellow-orange from yellow and orange, yellow-green from yellow and green, and blue-green from blue and green. Each tertiary colors name begins with the primary color and ends with the secondary color (e.g., the name is yellow-green instead of green-yellow). Figure 6-4 shows the color wheel with the three primary, three secondary, and six tertiary colors.
Figure 6-4. Color Wheel with Primary, Secondary, and Tertiary Colors Color combinations are often called color schemes and color schemes are considered harmonious when pleasing to the eye. Its interesting to note the relationship of pleasing color schemes on the color wheel. The analogous color scheme comprises two or three colors adjacent on the color wheel, resulting in minimal contrast. For example, your work would be considered in harmony if the majority of it were done in the analogous colors red-orange, orange, and yellow-orange. One color is usually dominant over the other two. Small amounts of contrast may be inserted into the scheme, but too much contrast may confuse our eyes, resulting in a displeasing image. The complementary color scheme comprises two colors directly opposite each other on the color wheel, resulting in maximum contrast. For example, your work would be in harmony with maximum contrast if it were done in green, yellow-green, red, and red-purple (notice how two colors are exactly opposite the other two on the color wheel). One color is usually dominant and the opposite complementary color usually provides accents. For information on other more intricate color schemes, search the Internet for the keyword color theory or color wheel. Once you become familiar with the complexities of color, youll be better prepared to properly use color to help stir the desired emotions in your mosaics.
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Characteristics of Color A color is described by its hue, intensity, and tone (tone is also known as shade or tint). Other characteristics can further define a color (e.g., chroma and luminance), but those discussions are much more technical than we need. Hue: The basic color, such as red, yellow, or blue (i.e., the wavelength of the electromagnetic spectrum that appears most dominant). Intensity: The brightness or dullness of a hue. Saturation is a measure of the hues purity (i.e., whether the hue contains a narrow or wide set of wavelengths). Increasing saturation makes the hue vivid; whereas, decreasing saturation makes it look dull and gray. Shade: Modification of a hue by adding black. Tint: Modification of a hue by adding white.
Color is Relative Its important to understand how color behaves when blended with other colors. Contrast can do funny things to the way we perceive colors. Look at the red circles in Figure 6-5. Surrounded by black, the intensity of the red looks greater (i.e., it looks bright, vibrant, and exciting). Surrounded by white, it looks less intense. Surrounded by orange, the red looks dull, boring, and lost.
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Figure 6-5. Contrast Has Astonishing Effects on Color Fully saturated colors (i.e., bright and colorful) juxtaposed create the greatest amount of contrast. Tinted or shaded colors reduce the contrast. Figure 6-6 shows an example. Note in the figure that the simulated gray grout is the same color in both samples and only the tile colors are changed. The bright blue and red appear to have greater contrast than the duller shades.
Figure 6-6. The Greater the Color Saturation, the Greater the Contrast
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As seen in Figure 6-1, our eyes blend colors that are juxtaposed. We see medium-blue in Figure 6-1 because there are an equal number of dark-blue and light-blue squares. What happens when the mix is dominated by one color? Refer to Figure 6-7 for examples of the following observations. The color occupying the largest area dominates and we see that color, regardless of whether the color is light or dark (A and B). Accents are created by inserting small areas of color (light or dark) that contrast with the main colors (C).
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Example A: Dark-blue occupies the most area, so we see dark-blue. Example B: Light-blue occupies the most area, so we see light-blue. Example C: The contrast between blue and yellow creates accents.
Figure 6-7. Our Eyes See the Dominant Color
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Another interesting aspect of contrast is that different colors of similar tone are not as discernable as you might expect. Figure 6-8 shows examples. In the first example, note that the two colors are clearly different (i.e., green and blue), but they both have a similar dark tone. When juxtaposed, the colors tend to blend and get lost. In the second example, the tones are much different. The green's tone is dark and the blue's tone is light and, therefore, the colors are much more discernable when juxtaposed. Therefore, different colors of similar tone (i.e., shade), such as dark green and dark blue, blend and are less discernable to our eyes; whereas, different colors of different tone, such as dark green and light blue, are much more discernable.
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Example A: Two completely different hues (i.e., green and blue) with similar tones. When juxtaposed, the blue becomes lost. Example B: The same hues as in Example A but with different tones (the circle is the same hue as in Example A but with a much lighter tone). When juxtaposed, the blue contrasts and stands out.
Figure 6-8. The Effect of Similar and Different Tones
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Grout Color As if we dont have enough to worry about with tesserae color, we must also worry equally about grout color. For example, simple variations in the tone of gray grout can significantly affect tesserae colors and the look of the whole mosaic. You must consider whether the grout color will contrast with the tesserae, unite or divide the tesserae, and soften or harden the tesserae. As emphasized, you must plan your project and determine the desired look of the final project before cutting, gluing, or grouting anything. See Figure 6-9 and become familiar with how grout color can help achieve that look. In the figure, the tiles are laid in the exact same pattern for each example. The only thing different among the examples is the grout color. Notice the effect that different grout colors have on the look and feel of the colored tiles.
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Example A: White Grout Example B: Light-Gray Grout Example C: Dark-Gray Grout Example D: Charcoal Grout
Figure 6-9. Grout Color Changes the Look of Your Tesserae
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Figure 6-10 shows examples of real tiles and grout. The patterns are identical, only the grout color is different. I placed them side-by-side in the sunlight so theres no variation in the type or amount of light shining on them.
Figure 6-10. Real Tiles with Real Grout Even after you mature into a world-renowned mosaic artist, youll probably have a project where you just cant decide which grout color will best achieve your look. Try using swatches. Simply glue scrap tesserae to a piece of wood and grout each swatch a different color. Let the grout thoroughly dry and then determine which color helps create your desired look. My swatches in Figure 6-11 are sloppy, but who cares? They were good enough to help me decide the optimal grout color.
Figure 6-11. Use Swatches to Help Decide Which Grout Color Works Best So, what grout color is best? Again, it depends on the look for your specific project. I use light-gray, dark-gray, and occasionally charcoal (most of my work is light-gray). I never use white. I seldom use color, but when I do, its usually dark-green. In my opinion, a novice
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should use only light-gray, medium-gray, or dark-gray. The key is to make swatches of two or three colors that you think you might like, let the grout thoroughly dry, and then determine which grout color best fits your tesserae color and desired look of the overall mosaic. If you still cant decide, your safest bet is to use medium-gray. Using Colored Grout Effectively using colored grout is difficult to master. The wrong color can ruin the look of beautifully laid tesserae; therefore, I suggest gaining lots of experience before using colored grout. Once youre comfortable that you know what youre doing, go for it. Try reddish browns, dark blues, and dark greens. Use whatever color helps to create your desired look. Figure 6-12 shows examples of the effect that colored grout can have. Again, the only thing different among the examples is the grout color.
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Example A: Reddish-Brown Grout Example B: Brown Grout Example C: Dark-Green Grout Example D: Blue Grout
Figure 6-12. Effect of Colored Grout
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Multiple Grout Colors Make Eye-catching Effects If you feel really inspired, use different grout colors in your mosaic. Its extra work, but the results can be wonderful (refer to the chapter on Grouting for how to apply multiple grout colors in your mosaic). Even subtle color changes can make a big difference. Figure 6-13 shows a closeup view of a 4x8 wall mural. Notice that the dragonfly wings and butterfly are done with black grout, while the rest of the work is done with medium-gray. Guests in our home immediately notice the color difference, stare at it, and ask, Thats amazing, how did you do the different grout colors? I always act like it was a painstaking and difficult process. In reality, it was quick and easy (see the chapter on Grouting).
Figure 6-13. Use Different Colors of Grout for Dramatic Effects One Last Tip Be careful when shopping online for glass in multiple shades of the same color. Invariably, the actual colors of vitreous and stained glass dont match the samples provided by online mosaic supply stores. Some online stores dont even provide pictures; instead, they draw little squares and fill them in using the computers color palette, which may or may not be anywhere close to the tiles actual color. For example, I find theres virtually no real-life difference between forest green and pine needle green even though there appears to be an obvious difference in the online pictures. Figure 6-14 shows examples of how the real-life colors of different stock numbers are surprisingly similar. All the tiles are from the same vendor and each tile has a different name
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and stock number. No matter how hard I squint, I cant tell the difference between the two shades of green, or the middle two shades of gray. If I squint such that my eyes are almost closed and everything is blurry, I can barely see the difference between the two lavenders.
Figure 6-14. Can You See the Color Differences? Dont be surprised if you order different shades of a color that appear in their online pictures to be easily discernable, but find that you cant tell the difference when the material arrives at your door. If in doubt, call the online mosaic store and ask for their honest opinion whether one shade is truly as different as the online photographs show.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 7 - Backgrounds and Borders
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Chapter 7 - Backgrounds and Borders

Your mosaics background is just as important as the primary focus, so pay attention to it. If it overpowers or hides the mosaics main features, the whole project is ruined unless you intend to subdue the main features or merge everything into a muddy image. The proper background enhances the mosaics look. It can complement the key features or it can clash with them. Either is okay as long as it fits your desired look. As with other aspects of your project, proper planning is the secret to integrating the right background andamento and color into your project. Borders arent as critical as backgrounds, but they can still damage the overall look if you dont plan well. Borders not only enhance the look but can also be functional. Backgrounds Backgrounds dont have to be fancy and should not detract from the primary focus. Backgrounds are generally filler to complete the mosaic. If you dont plan to make the background functional, then simple opus regulatum or tesselatum usually works just fine. Some artists add some opus vermiculatum to create the illusion of movement. (Opus vermiculatum is one or more rows of tesserae outlining the main features.) I most frequently use either opus regulatum or my own variation of opus palladianum. See the closeup view in Figure 7-1 for an example of regulatum. Note two interesting points: The regulatum pattern is intentionally misaligned. For this piece, perfect tesserae alignment, whether in a checkerboard or brick-work pattern, is too stiff and unnatural. Each tessera is hand-cut producing varying shapes and sizes, which also results in imperfect grout lines. These deliberate variations result in a less rigid, more flowing background. The dark evening sky comes alive with movement more so than with a pattern of perfectly aligned tesserae and flawless grout lines.
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Figure 7-1. Imperfect Tesserae Alignment Creates Background Movement Oftentimes, the mosaic artist prefers structured tesserae alignment depending on the application. For example, kitchen backsplashes and shower stalls look wonderful when done in a color mix of perfectly aligned vitreous glass tiles. The point is that no one style is better than another for all applications. It depends on your desired look. See Figure 7-2 for an example of how a highly structured tesserae alignment can look beautiful. My neighbors, Jim and Melodee, chose the perfect tile color and design for their kitchen backsplash. A structured tile alignment is best for their backsplash application (Figure 7-2); whereas, a background of misaligned tesserae is best for my mosaic application (Figure 7-1).
Figure 7-2. Perfect Tesserae Alignment Looks Great in the Right Application
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In addition to simply filling space, backgrounds can also be functional to the mosaics overall image. The background in Figure 7-1 is merely filler that helps create flow. Its only contribution is to create a heightened feeling of movement. In contrast, notice in Figure 7-3 how the background contributes much more to the overall mosaic. It presents the sky and, more impressively, the beautiful reflection off the ocean. The entire background (i.e., sky, ocean, and reflection) are done using hand-cut vitreous tiles laid in a loose opus regulatum similar to the pattern in Figure 7-1. I blended the various colors of hand-cut squares to create gradual color change. The sky is lighter far away at the horizon and darker close to the viewer. The ocean is dark-blue far away at the horizon and gradually turns green close to the viewer.
Figure 7-3. A Functional Background that Contributes to the Overall Image Figure 7-4 shows a closeup view of the reflection off the ocean. Notice how I used varying colors of vitreous glass tiles hand-cut into quarters and laid in simple opus regulatum. Hand-cutting resulted in irregular squares that resulted in imperfect lines, which enhances the look.
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Figure 7-4. The Background Presents the Ocean and Reflection The background style dominating much of my work is a modified opus palladianum. The typical opus palladianum uses loose-fitting triangular shapes with sharp angles. Instead, I use rounded shapes that fit tightly together. The loose-fitting triangles seem too disorganized to me. My nature compels me to fit the tesserae tightly like a puzzle. I once tried the random, loose-fitting style, but I couldnt do it. I struggled to copy the style of my favorite mosaic artist by using irregular tesserae shapes laid to resemble a loose weave. The artists work is magnificent; however, I just couldnt get the same look. No matter what I did, my tesserae always reverted back to the tight-fitting, rounded, triangular shapes. It bugged me every time I worked on my mosaic, like a stubborn splinter, festering, driving me crazy. I finally gave up and used a screwdriver to pry up the whole background. I started over, realizing that I had found my own style and that it would be futile to copy someone elses. I immediately returned to my comfort zone of using rounded, triangular shapes fitted tightly together. Figure 7-5 shows a sample of my favorite background style.
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Figure 7-5. Tabletop with My Background Style of Tight-Fitting Puzzle Pieces You, too, will eventually find your own style. While on your journey finding it, observe how other artists fill their backgrounds. Experiment by copying and modifying their styles. Someday, youll sit at your worktable telling yourself to cut circular tesserae for the background, but then find that each piece you cut looks like a square. No matter how hard you try to make circles, you end up with squares. Its hard to believe, but it happens. When that time comes, you will have found your comfort zone. You will have found your own style. After realizing I found mine, I stumbled onto something else about my style. Groups of triangles began converging on their own focal points. Instead of a bunch of randomly placed rounded triangles, they magically began having a sense of order. Notice in Figure 7-6 how the background is filled with these little groups that blend into themselves. The arrows in Figure 7-6 define the focal points for several groups. Notice how each group has about six or seven triangles coming together at a focal point. How many other groups can you find on the tabletop?
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Figure 7-6. Multiple Groups of Tesserae, Each with its Own Focal Point My nature requires neatness and order. I suppose my subconscious takes control trying to bring order to my mosaics by arranging the individual triangular shapes into those little groups. Thats okay with me because that style of background pleases my eye more than a completely random layout (for some reason, its more comforting to me). Im sure some purist mosaic critic somewhere will scold me for using tightly fitting puzzle pieces instead of following a more traditional style. Frankly, I dont care what the Byzantine Romans did 700 years ago and I dont care what critics think. I know what I like without conforming to someone elses idea of good versus bad. If you feel the same, then be free to find your own style without regard to outside influences. By the way, referring back to Figure 7-5, the seven gray pieces of tessera in the center represent a cloud. The light-blue gradually changing to dark represents the sky. The lighter blues are at a distance from the viewer while the darker blues are closer. I wonder if anyone will ever interpret it that way.
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Borders Borders arent as important to me as backgrounds, but that doesnt mean I take them lightly. Keep in mind that my brain requires order, which is a major reason why I use borders. They bring an added sense of structure to my mosaics. Your brain may function differently and you may think borders look silly or detract from the mosaics main features. Borders arent required the way backgrounds are. If you dont like borders or if they dont contribute to the overall desired look, then dont use them. After experimenting with many different types of borders, I found that the simplest usually work best. My favorite style comprises two rows of vitreous tiles. The perimeter row comprises full 3/4-inch vitreous tiles while the inner row comprises vitreous tiles cut into halves. The two rows are usually different colors. For example, the mosaic in Figure 7-7 has a plain, white picture frame (to match the trim in our kitchen) with a border that serves as a secondary frame. The dark-brown row looks almost the same width as the inner light-brown row, but it does, indeed, comprise full 3/4-inch tiles. The white frame covers about 1/8-inch of the mosaics face on all sides. The frame, the border, and the rest of the mosaic all come together into a tidy package that pleases the eye.
Figure 7-7. Borders Add Structure to Your Mosaic

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The border in Figure 7-5 is a similar style with a much different look. The outer row comprises full 3/4-inch gray vitreous tiles. The inner row comprises half-cut bone-colored vitreous tiles with small blue squares set after every two bone pieces. I cut blue vitreous tiles into quarters to make the small squares. I felt like spicing things up a bit so I contrasted the gray and bone tesserae with blue, but made it blend with the blue sky. Just adding those few little blue squares produced a wonderful look. Try varying this simple style to find the border that best fits your mosaic. For example, try using: 3/4-inch vitreous squares for both rows. Two rows of 3/4-inch squares and one row of 5/8-inch iridescent squares. Three or four rows of 3/4-inch vitreous tiles hand-cut into quarters placed in a checkerboard pattern. A single row of 3/4-inch vitreous tiles hand-cut into halves. Stained glass hand-cut into rectangles of equal width but varying lengths.
Once you decide on a pattern, dont forget the color. Should the border contrast with the rest of the mosaic and stand out, or should it blend and hide? Dont constrain your imagination, but keep in mind that the simplest design usually works best. Borders can be functional at the same time they enhance your mosaics look. For example, lets talk more about the end table in Figure 7-5. Long ago, the wife and I bought two junky end tables shortly after getting married. At the time, she was into light oak. Over the years, we accumulated all sorts of mismatched furniture and our tastes gradually shifted from light to dark. One day, we found ourselves with two light-colored oak end tables surrounded by everything else in dark. Sure enough, one day she hinted that we needed to go furniture shopping. I asked permission to try something with the end tables before spending $1,000 on two new ones. I had never refinished furniture before, but I wasnt going to let that stop me, especially when the wife had plans to spend $1,000 on new stuff. I spent all morning sanding the finish off both tables. Perfection. Smooth, clean, and ready for staining. I opened the can of dark-walnut and slopped it on. A few strokes later, I noticed it wasnt looking how I expected. I thought, Man, this is ugly, I hope it looks better after wiping it with a rag. Wishful thinking. The stain highlighted every nick, scratch, blemish, and every other kind of imperfection in the wood. It looked horrible. I failed miserably and quickly accepted the fact that staining wood isnt my forte. But I still wasnt giving up. I painted both tables with quick-drying white primer, and then bought a quart of flat dark-brown paint similar to the dark-walnut stain. Two hours later, both tables were dark-brown. That didnt look quite right, so I dug out a five-year-old rusty can of glossy clear acrylic polyurethane and brushed on a coat. It looked surprisingly good. By the time I finished the
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second table, the polycrylic on the first table was dry so I added a second coat. I thought, You know, this looks pretty doggone good. When dry, I brought them inside and put them in their places. The wife came home later and immediately commented on how good they looked. Success! I saved $1,000. While watching TV that night, I fidgeted in my chair unable to get comfortable. I kept looking at the end tables thinking, Theyre not quite right. Then, it hit me. I decided to mosaic the tops. As usual, I asked for permission to tinker and she said yes, probably hoping Id mess them up so wed have to buy new ones. The next day, I sanded off the polycrylic and paint from the tops of each table. The tops were flat without an inlay so the only way to make this harebrained mosaic idea work was to figure a way to make an edge that wouldnt cut anyone. The simple solution was to use vitreous glass tiles as a border. Unlike stained glass pieces, which when cut have sharp 90-degree-angled edges, vitreous tiles have slightly rounded edges angling inward that can catch grout allowing you to make a finished edge. For these tabletops, I used vitreous glass tiles for the border and stained glass for everything else. The results were much more impressive than I had expected (refer to the Gallery chapter to see how they turned out). The blunt border made it all possible. See Figure 7-8 for a closeup of how I finished the border edges.
Figure 7-8. The Blunt Border is Safe to the Touch
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The vitreous tiles deep-set edge allowed me to squeeze in grout for a finished look. To prevent the exposed grout from cracking and crumbling over time, I carefully brushed on three coats of polycrylic along the entire grouted edge. The polycrylic soaked into the grout, sealing it and making it hard as a rock. No matter how often the dogs scratch it or how hard I bang my leg against it, the grout stays good as new. (How do you like my dark-brown paint job?) The point of the story is that borders can do more than enhance the look of your mosaic. Use your imagination to dream up ways borders can improve your projects, both in terms of looks and functionality.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 8 - Adhesives
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Chapter 8 - Adhesives
Which type of adhesive is best for mosaics? It depends on your base material, mosaic method, whether youre working horizontally on a table or vertically on a wall, whether your mosaic is exposed to moisture, and personal preference. For indoor mosaics with a wood base, I usually use Weldbond glue (or sometimes Elmers Glue-All) when working horizontally on a table, and acrylic ceramic tile adhesive when working vertically on a wall. Figure 8-1 shows the two types of adhesives that I use most often.
Figure 8-1. Weldbond Glue and AcrylPro Ceramic Tile Adhesive When working vertically on a wall using the direct method, gravity causes the tesserae to slide down the base material, so white glue doesnt work. You need something to hold the tesserae in-place. AcrylPro adhesive works well for this application. For me, the only downside to using AcrylPro is that its a bit more cumbersome to apply than Weldbond. AcrylPro dries quickly so you shouldnt continually open and close the tub to scoop tiny bits of adhesive for each piece of tessera. Constantly exposing the paste to air can ruin it, so you should keep the tub tightly closed as much as possible. To minimize opening and
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closing the tub, scoop out a tablespoon and put it in another container. My favorite is a plastic yogurt container (thoroughly washed and dried) that has its own replaceable lid. When opening and closing the yogurt lid, you still expose the paste to air, but thats okay because youll apply the whole tablespoon of paste before the air has a chance to ruin it. If I could figure out a more efficient way to use AcrylPro, Id probably use it instead of Weldbond. I like how the pasty AcrylPro immediately holds the tesserae in-place. In contrast, Weldbond takes a few minutes to set and, until it sets, the tesserae are vulnerable to movement from the slightest touch. Weldbond is good not only for its physical properties (discussed later), but because its so easy to apply. Notice in Figure 8-1 that I use two sizes of bottles, 8 ounces and 4 ounces. The 4-oz bottle is small and easy to handle. Just twist the cap open, flip the bottle upside down, squeeze a little glue onto your tessera, and twist the cap closed. The 8-oz bottle is like an economy size that I use to refill the 4-oz bottle. When the 4-oz bottle gets half empty, I fill it up. Dont let the bottle get more than half empty; otherwise, youll have to give it a few shakes to get the glue from the bottom to the cap (thats not a big deal, but it slows down the process). I store the 8-oz bottle sealed in a zip-loc bag to help ensure air wont get to it. Lets talk about the various types of adhesives that you should consider for your indoor mosaic project. Experiment with them and find the one that best suits your needs. Just because I use Weldbond and AcrylPro doesnt mean you must.
FYI: Theres a distinction between adhesive and glue. An adhesive is a material that bonds surfaces together. Glue is a form of adhesive. All glues are adhesives, but not all adhesives are glues. Now you know!
Weldbond Weldbond is a polyvinyl acetate (PVA) glue, commonly known as white glue. Many types and brands of PVAs are available, but theyre all basically the same with minor differences depending on their specific applications. Be careful when reading claims that one PVA is so much better than another. Manufacturers and vendors use such claims to justify overcharging and to trick you into buying their sophisticated product instead of a cheap bottle of Elmers Glue-All (i.e., the white glue that we all grew up with). PVAs are typically designed to work on porous materials, but Ive found that they also do well on glass for indoor mosaic-art applications. PVAs are water-based, dont contain solvents, and clean up easily with warm water and soap. PVAs dry quickly, usually in about an hour. Typically, the longer they cure, the stronger they get. PVAs are relatively non-toxic, but be careful when using them. Dont allow your kids to drink white glue or rub it in their eyes.
FYI: If PVA glue stays in its properly closed container, it wont harden. When exposed to air, PVA glue hardens as the water evaporates. That's why its important to tightly close the cap when not in use to prevent the water from evaporating. Now you know!
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Is Weldbond Really the Best Adhesive for Indoor Mosaics? Many websites and articles say Weldbond is the best adhesive for indoor mosaics and that its the preferred glue of professional mosaic artists worldwide. My simple question is: Why? What makes Weldbond so much better than other PVAs, such as Elmers Glue-All? I tried to determine the chemical properties of Weldbond and Elmers, but I couldnt find anything that fully defines the ingredients. The Elmers website says their ingredients are proprietary, so I assume Weldbonds ingredients are also proprietary. It took a while, but I finally found a website (www.thistothat.com) discussing Weldbond that says, Although Mr. Ross [a Weldbond company executive] wouldnt tell us all his secrets, he did explain that what makes his glue different from other PVAs is that it is catalyzed; thereby, changing the molecular structure of the polymer. Im the kind of guy who cant accept answers at face value. Im compelled to dig deeper, so I thought, Whats the catalyst, how does it change the molecular structure, and what specific improvements does the catalyst make? Does the catalyst make the glue stronger, more heat resistant, adhere better to glass, or what? After much research, I still dont have satisfactory answers. So, is all the hype over Weldbond simply a ploy to get you to buy relatively expensive glue instead of going to Wal-Mart for a cheap bottle of Elmers? Lets think about it. White glues are made from PVA emulsions. All basic PVA emulsions have the same properties: water-based, odorless, easy clean-up, colorless, relatively non-toxic, water resistant (not waterproof), and not too heat resistant compared to other adhesives. Varieties of PVA glues can be developed by adding small amounts of materials to improve specific characteristics. For example, simple clay can improve the glues high-temperature strength. However, the differences in varieties arent that great because if too much extra material is added, the glues adhering properties unacceptably weaken.
FYI: An emulsion is a mixture of two or more liquids that dont mix well. The components dont dissolve; instead, they remain suspended. Oil and water, and oil and vinegar are good examples of emulsions. Now you know!
To better understand how manufacturers play the PVA-glue game, suppose youre a PVA-glue manufacturer who wants to increase your products set time, so you add a little special sauce to the emulsion and now the set time is reduced from 30 minutes to 25 minutes. Not a big difference, just enough to con consumers into thinking your new formula is so advanced that they cant live without it. You can now advertise, Hey, look at our glue! Our set time is greatly improved over the competition. But for your indoor mosaic projects, do you really care about that subtle difference? I dont. So, for me, this so-called greatly improved glue isnt any better. Catalyzed PVAs are just like basic PVAs except that material has been added to affect the curing process, which improves their ability to withstand heat and moisture. But, remember, the differences are relatively minor such that you probably wont notice them or care about them with respect to your indoor mosaic applications. Catalyzed PVAs break the emulsion and form a
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plastic film so they take longer to cure. Thats why you see many mosaic-related websites and blogs regurgitate the same saying about Weldbond, The longer it sets, the stronger it gets. But it doesnt necessarily mean Weldbond is significantly better than any other PVA, catalyzed or not, for mosaic applications in terms of relative strength or adhesion. PVA-glue formulas may differ according to the application for which the glue is designed. For example, suppose a manufacturer wants to develop a new glue to add to his inventory to attract more customers. He may want the new glue to have improved heat resistance, water resistance, color, viscosity, open time, or cure time. So, he simply adds a filler, thickener, or an extender to meet his new specification. But the differences are typically so subtle that they make little or no difference in our indoor mosaic applications. Weldbond is odorless, and so is Elmers. Weldbond is non-toxic, and so is Elmers. Weldbond cleans up easily with water, and so does Elmers. The way I see it, of all the various characteristics of PVA glue, a significant difference in only one of those characteristics would make Weldbond better than Elmers for indoor glass mosaic applications, and that one characteristic is its adhesion strength to glass. In my opinion, Weldbond and Elmers are equal in all other characteristics, so lets focus on whether Weldbond is better than Elmers in terms of adhesion strength. I cant find independent laboratory test results that define Weldbonds shear strength, adhesion strength, and cohesion strength. (The key word is independent.) Same for Elmers. I suspect that manufacturers keep their formulas proprietary so consumers cant see just how similar they are. Therefore, I cant compare them to determine if one truly is stronger than the other in shear, adhesion, and cohesion strength. For our indoor mosaic applications, do we really care if one brand is stronger than the other by a ga-zillion Pascals? (A Pascal is a unit of pressure equivalent to one Newton per square meter.) I dont think so. For example, do we care that one brand might support the weight of two elephants while the other brand might support only one? Of course not. All we care about is if the glue can effectively hold a small piece of glass tessera that weighs less than an ounce to our base material without extreme external forces acting on it (e.g., forces such as walking on it or beating it with a hammer). So, in terms of strength, how do we choose whether to use Weldbond or Elmers for our simple, light-duty, indoor, mosaic-art application? The answer is easy--perform our own unscientific experiment. Lets gather the following materials for our experiment: Scrap plywood (assuming we use plywood as our base material for our indoor mosaic). Dont use treated wood because the chemicals in the wood can affect the glues adhesion characteristics. Use a scrap piece similar to the mosaics base material. Old rag or towel. Vitreous 3/4-inch mosaic tile (quantity 2). Stained glass piece about 1 sq-inch (quantity 2). Weldbond glue.
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Elmers Glue-All. Pencil or pen. Small flat-tip screwdriver. Safety glasses/goggles.
Using an old rag or towel, wipe off the plywood to remove dust and dirt. Be careful to avoid splinters. Apply Weldbond to a vitreous tile, and then put the tile on the plywood, gently pressing down on the tile to distribute the glue. Do the same with a piece of stained glass. Then, apply the same amount of Elmers Glue-All to the other vitreous tile and stained glass piece. Dont cheat by applying more of one brand than the other; try to apply the same amounts to all four pieces. Annotate which pieces are glued to the plywood with Weldbond and which pieces are glued with Elmers. Wait at least 48 hours. Be patient. Wait the full 48 hours to ensure both glues dry clear. Youll invalidate the experiment if you pry up the pieces and find some of one brand still white and wet.
WARNING Flying glass shards are sharp and dangerous. Wear eye protection when prying up glued on glass. The glass may shatter and small pieces can fly in various directions. Protect your eyes. If you wear glasses, use proper eye protection over your glasses.
Wear safety glasses for this next step! After 48 hours, use a small flat-tip screwdriver to slowly pry up the pieces. Pay close attention to whether theres a noticeable difference in how difficult it is to pry them up. I think youll be surprised by the results. I performed this little experiment and the results were not at all what I expected. My results were: The vitreous tile glued with Elmers was more difficult to pry up than the one glued with Weldbond. In fact, the Elmers glue adhered so well that the plywood failed (i.e., the plywood ripped apart and pulled up with the tile). The vitreous tile glued with Weldbond required noticeably less strength to pry up. Although it adequately bonded the vitreous tile to the plywood (adequate in terms of my indoor mosaic applications), it was clearly not as strong as the Elmers. Perhaps, the Weldbond needed more time to cure (remember the saying, the longer it sets, the stronger it gets). Even if the Weldbond were allowed to cure longer and proved to be stronger than Elmers, the obvious finding after this part of the experiment was that Elmers is plenty strong enough for my indoor mosaic applications. Who cares if Weldbond gets stronger than Elmers after 30 days of curing? In my opinion, I dont need that extra strength for my indoor mosaic applications. Elmers proved to be plenty strong enough for my indoor mosaics.
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Unlike the vitreous tiles where one was more difficult to pry up than the other, the stained glass pieces seemed equally difficult to pry up. In fact, I was unable to pry up either of them without shattering the glass (thank goodness for my safety goggles!). The obvious finding after this part of the experiment was that both Weldbond and Elmers more than adequately bond stained glass to my plywood base material.
Therefore, I concluded that Elmers is just as good as Weldbond in terms of adhesion strength for my indoor glass mosaics when using plywood as the base material. Granted, my experiment was unscientific and I didnt accurately measure the force applied to each piece when prying it up. But knowing the exact force doesnt matter to me. All I care about is that I now know Elmers is plenty strong enough to keep my glass tesserae in-place on my plywood base material. Another surprising result was that both glues adhered well to glass. Elmers says their glue is best used on porous material, but glass is non-porous, so one might wonder how well it performs on glass. Interestingly, non-porous glass is not perfectly non-porous. There are enough irregularities in the glass into which the glue can fill and form a mechanical bond. The molecular structures of the glass and the glue interlock to link with each other. Because glass is smooth with minimal roughness or porosity, the mechanical link is not as strong as it would be with porous material, but its plenty strong enough to hold in-place a piece of mosaic glass on plywood base material. Dont take my word for it, perform this easy experiment yourself. Buy a 4-oz bottle of Weldbond and get that old bottle of Elmers from the utility room. See for yourself how well each performs using your chosen type of tesserae (e.g., glass, china, shells) and your chosen type of base material (e.g., plywood, cement backerboard). I suspect that your results will be similar to mine. Theres one noticeable difference between Weldbond and Elmers. Weldbond is a bit thicker, which makes it a bit easier to use. Because its thicker, it doesnt squeeze as easily from under the tessera when you press it to the base material. A bit more of the Elmers tends to squeeze out, which sometimes requires wiping up with a cotton swab. A simple solution is to press gentler on the tessera when using Elmers. I use both Weldbond and Elmers for my indoor mosaics. I prefer Weldbond simply because its thicker, but I have no qualms about using Elmers when I run low on Weldbond. Just because I like the thicker Weldbond doesnt mean you will. You might like the thinner Elmers. Try both and use the one that best suits you. Be Wary Be wary when reading claims that certain PVAs are so much better than others. You may wonder, Why do so many mosaic websites say Weldbond is the best mosaic glue, but none of them fully explain what makes it better and why its better? I sometimes wonder about that, too. Maybe one mosaic artist heard something about Weldbond and regurgitated it to another artist without knowing the chemical facts. Maybe a mosaic-supply salesman makes a bigger profit selling a 4-oz bottle of Weldbond for $4.50 than a 7.5-oz bottle of Elmers for only $1.50.
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(Incidentally, I just saw an ad in the newspaper for a back-to-school sale offering a 7.5-oz bottle of Elmers Glue-All for $0.99. Yes, thats 99 cents for almost 8 ounces as opposed to $4.50 for only 4 ounces of the other stuff.) Maybe someday, well see those websites justify their claims that Weldbond is better for mosaics that other glues. Until I see independent test results, I remain skeptical of such claims. Perhaps, you should, too.
FYI: Elmers Products, Inc., was originally part of the Borden Company (i.e., the well-known dairy company). Elsie the Cow became Borden's very popular spokescow in the late 1930s. She was a big hit at the 1939 New York Worlds Fair, and soon afterwards the character of Elmer the Bull was created as Elsie's husband. In the late 1940s, Bordens new Chemical Division asked to use Elsie for its new white-glue product. The thought of Elsie representing a non-food product didnt seem appropriate, so as a compromise, Elmer was loaned to the Chemical Division as its very own spokesbull. To this day, Elmer the Bull still represents the most recognized adhesive company. (http://www.elmers.com/funFacts/index.asp) Now you know!
Acrylpro Ceramic Tile Adhesive AcrylPro is a high-performance adhesive (a.k.a. mastic) used commonly in the ceramic tile industry. The terms adhesive and mastic are used interchangeably. The more correct term, as defined by the American National Standards Institute (ANSI) Specification for Organic Adhesives for Installation of Ceramic Tile A136.1, is organic adhesive, in which organic material is used as the main bonding agent. The ANSI standard makes no mention of the term mastic, which is a term that has been handed down from generations of tile installers as part of the lingo.
FYI: The mastic tree is an evergreen shrub found in the Mediterranean region. Its gum, or resin, has a pleasant scent and is used in making pastry, drinks, toothpaste, and lotion. It is also used in cooking soup and meat in Egypt. The resin is used in making varnish, lacquer, and adhesives. In the context of tile adhesives, the more appropriate term nowadays is organic adhesive because of the improvements in chemical properties. Now you know!
Organic adhesive is for indoor use only and is typically categorized as either Type I or Type II (the type refers to an organic adhesives water resistance, shear strength, and stability in storage). Modern organic adhesives are commonly misunderstood, even by professional tile installers. Go to any online forum about tile installation and youll see people swearing up and down that organic adhesive (i.e., mastic) cannot be used in any wet environment. Lets set the
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record straight by providing information from ANSI 136.1 regarding the properties of Type I and Type II. Type I: For indoor use only. May be used on walls and ceilings having: 1) Commercial construction, dry or limited water exposure requirements; 2) Light construction, dry or limited water exposure requirements; and 3) Light construction, wet requirements. May also be used on floors and countertops having: 1) Residential construction requirements; Type II: For indoor use only. May be used on walls and ceilings having light construction, dry or limited water exposure requirements. ANSI 136.1 provides the following definitions: Commercial construction, dry or limited water exposure walls: Dairies, breweries, commercial kitchens, laundries, or other similar areas with like service requirements. Light construction, dry or limited water exposure walls: Residential kitchens and toilet rooms, commercial dry area interiors and decoration, or similar areas with like service requirements. Light construction, wet walls: Tub enclosures and showers or other similar areas with like service requirements. Residential construction floors: Residential floors.
Type I has better water resistance than Type II, as well as shear strength. Both types have similar stability in storage. The misconceptions by uninformed users are that Type I cannot be used for any wet environment and it cannot be used for floors. Its true that organic adhesive should not be used on shower floors or other areas that require continuous water immersion. However, Type I organic adhesive in a residential application with an occasional water spray works just fine. The key is to read the manufacturers label. For example, the label for AcrylPro Ceramic Tile Adhesive says, Areas of Use...Interior wet areas with intermittent water exposure such as tub surrounds and shower walls as defined by ANSI A136.1, Type I requirements...Do not use in steam rooms, shower floors, underwater, or areas exposed to hydrostatic pressure. If the product meets ANSI A136.1 Type I requirements, then its okay to use for projects such as residential kitchen backsplashes. They occasionally get wet, but thats okay as long as its not a continuous immersion in water. For example, none of the 4-inch square ceramic tiles in my kitchen backsplash have loosened or popped off and its been more than 10 years since I installed them. Some say that organic adhesives should not be used for floors. ANSI A136.1 contradicts that notion, saying Type I is just fine depending on the application. Again, read the product label. For example, the label for AcrylPro Ceramic Tile Adhesive says, For interior use on floors, walls, and countertops...maximum tile size for floor application is 12 in x 12 in. When tiling (especially floors), Im slow. I prefer to take my time spreading the organic adhesive onto each tile, setting the tile in-place, and wiggling it back and forth until its perfectly
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aligned. Thats just the way I do it. So, I prefer using organic adhesive for my interior projects over thinset mortar. Every floor Ive done has held up well. For example, in our kitchen, the antique china cabinet (which itself weighs a ga-zillion pounds) filled with old dishes that we never use rests on top of 12x12 ceramic tile. The organic adhesive hasnt failed, even with all that weight pressing down on it. So, I tend to ignore people who insist that organic adhesive (i.e., mastic) wont work with floors. Remember, the key is to read the product label. We now know that Type I organic adhesive is adequate for our indoor mosaic-art applications except mosaics displayed in steam rooms or similar wet areas. In the context of our indoor mosaic wall art, the real question is whether the adhesive sticks to our base material and tesserae. Read the product label. AcrylPro adheres extremely well to roughed or sanded wood, but does it adhere to glass? That question is a bit more interesting. Nowhere on AcrylPros label does it mention use on glass. The section of the label that defines what you can use it for doesnt mention glass. The section that defines its limitations (i.e., what you cannot use it for) also doesnt mention glass. So, does it adhere to glass? Its time for another experiment. For my living room mural (refer to the Gallery chapter), I needed an adhesive that allowed me to work vertically and prevent the tesserae from sliding down the plywood base. (Weldbond is useless for this approach because it takes a few minutes to set and, therefore, wont hold the tesserae in-place vertically.) I went to the garage to see what leftover stuff I could find. I uncovered an old, dried-up tube of Liquid Nails and a half-full tub of AcrylPro ceramic tile adhesive. The Liquid Nails tube was old and hard as a rock, so I wondered if I should buy a new tube since I know the stuff works well. Then, I remembered its smell and after I read the health warnings on the label, it didnt take long for me to disregard it as an option. I glanced at the old tub of AcrylPro and thought, What the heck, cant hurt to try it. I did an experiment similar to the one with Weldbond and Elmers. Since I planned to use vitreous glass tiles for the entire mural, I didnt include stained glass in this experiment as I did in the previous experiment. Instead, I used four different-colored vitreous tiles. As youll discover soon after working with various colors of vitreous tiles, not all tiles have the same texture and finish, depending on the brand and color. Some tiles are smooth and shiny, while others are rough and dull. So, for this experiment, I used four tiles with what I perceived as different textures and finishes. I applied equal amounts of AcrylPro to each tile and set them on a scrap piece of plywood.
WARNING Flying glass shards are sharp and dangerous. Wear eye protection when prying up glued on glass. The glass may shatter and small pieces can fly in various directions. Protect your eyes. If you wear glasses, use proper eye protection over your glasses.
After 48 hours and wearing safety goggles, I used a small flat-tip screwdriver to slowly pry up the pieces. I was pleased with the results. All four tiles were equally difficult to pry up. Surprisingly, the AcrylPro seemed to adhere better to the glass than the plywood because, after
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prying up each tile, more adhesive was still stuck to the tile than to the plywood (i.e., the adhesive separated more easily from the wood than the glass). Therefore, although the product label doesnt mention use on glass, this experiment proved to me that AcrylPro has adequate adhesion strength for my indoor mosaic projects when using vitreous glass tesserae on a plywood base. I used AcrylPro for the entire wall mural and, so far, not one of the ga-zillion hand-cut pieces has popped off because of adhesion failure. The advantages of using AcrylPro are: Its white color doesnt alter the color of translucent or transparent glass tesserae. Its pasty consistency holds the tesserae in-place as soon as you apply it to the base material, so working on vertical surfaces is easy. Its thickness lets you build up tesserae of varying widths to achieve a smooth face (e.g., stained glass is thinner than vitreous tiles, so using AcrylPro allows you to build up the stained glass so its flush with the vitreous tiles). AcrylPro has hardly any odor compared to other pasty adhesives, such as Liquid Nails. Its cheap (less than $10 for a quart container).
A minor disadvantage of using AcrylPro is that you have to use an applicator to get it from the container onto the tesserae (unlike Weldbond where you simply squeeze it out of the bottle). As noted earlier, an easy method of using it for your mosaic wall art is to scoop a tablespoon of adhesive into a separate container (I use a washed and dried plastic yogurt container with its own replaceable lid). This minimizes opening and closing the original container; thereby, minimizing air contact with the adhesive. I make an applicator from a cotton swab by pulling off the cotton from both ends leaving just the stick. After a while, the adhesive builds up on the stick, so I throw it away and get another swab. A painters palette knife (or similar tool) also works, but you must constantly wipe it clean to prevent adhesive buildup. Another disadvantage of AcrylPro is the increased health risk over PVA glue. The products Material Safety Data Sheet (MSDS) indicates eye, skin, ingestion, and inhalation risks. However, if you dont eat it or rub it in your eyes, its okay to use. Be safe! Follow the product label safety warnings and wash your hands after every use. The MSDS indicates an inhalation risk, so dont hold it directly under your nose and dont breathe its vapors for any length of time. Youll be fine as long as you read and follow the product label safety warnings. In my unqualified opinion, the biggest safety risk is keeping your kids and pets away from it. AcrylPro is more toxic than Elmers Glue-All, so dont let kids use it and keep it properly stored so pets cant get to it.
WARNING AcrylPro can cause eye and skin irritation. It is harmful if swallowed. It may cause nose, throat, and lung irritation so do not inhale it. Follow all safety precautions on the product label.
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In summary, AcrylPro has proven through our little experiment to adequately bond glass tesserae to plywood base material for indoor mosaic wall art displayed in dry areas (i.e., not in steam rooms or similar wet areas). I actually prefer AcrylPro over Weldbond because its thick consistency holds the tesserae in-place as soon as its applied to the base material. However, compared to Weldbond and Elmers, its a bit more cumbersome to use, which means it takes more time to apply. Speed is more important to me when making a mosaic comprising a ga-zillion pieces of tessera. If the AcrylPro manufacturer invented an easy-to-use, squeeze-tube applicator, Id probably use AcrylPro for all my indoor mosaic wall art. For vertical working surfaces using the direct method applying tesserae to base material attached to a wall, I use AcrylPro exclusively. Weldbond is virtually useless for this method because it wont hold the tesserae in-place until it sets, which takes a few minutes. For horizontal working surfaces, I use Weldbond or Elmers because its easier to use than AcrylPro (i.e., simply flip the bottle upside down and squeeze a little dab on the tessera), which means I can work faster. Thinset Mortar Thinset mortar is a cement-based adhesive modified with a vinyl copolymer additive to make it adhere to a variety of base materials including plywood and cement backerboard. Its waterproof, adheres well to glass, and gives off relatively minimal fumes so its my preferred adhesive for outdoor mosaic projects. Because this book focuses on indoor mosaic wall art not displayed in wet environments, discussion of thinset is kept to a minimum. Refer to the chapter on Grouting for more information about cement-based products. When using thinset, the key is to read the product label for safety, use, and application instructions. Thinset comes in white and gray. If your tesserae are translucent, use white to minimally affect the tesserae color. When using the direct method of cutting and placing one piece of tessera at a time, thinset is time-consuming to work with, but its better than using Liquid Nails. The best approach Ive found for using thinset is to mix a small amount in a plastic yogurt container or small paper cup and apply it the same way I apply AcrylPro. Dont mix too much because it skins over and becomes unworkable or no longer sticky. Although the constant mixing is inconvenient, I prefer thinset for outdoor projects over Liquid Nails simply because of the safety concerns. However, thinset has safety hazards, too, so read the product label for all safety precautions before using it.
WARNING Thinset can cause skin irritation, chemical burns, and serious eye damage. Wear protective eye glasses and rubber gloves when mixing thinset. Dont breathe in the thinset powder.
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Liquid Nails The Macco Division of ICI Paints manufactures a line of caulks, sealants, weatherproofing, small-project adhesives, and construction adhesives under the name of Liquid Nails. Their product best suited for outdoor mosaic projects is Liquid Nails CLEAR Adhesive. It provides a clear, permanent, waterproof bond for exterior use. It adheres to wood, concrete, backerboard, metal, ceramic tile, and glass. It comes in a tube that requires using a caulking gun. If you choose to use Liquid Nails, ensure you get the right product. Macco manufactures a variety of adhesives for a variety of applications. Not all are for exterior use, not all are waterproof, and not all adhere to glass. So, read the product label and use the one that adheres to your type of tesserae and base material. In my opinion, squeezing out Liquid Nails from a tube using a caulking gun is much easier than constantly mixing thinset mortar and applying it with a stick or palette knife. However, Liquid Nails is a solvent adhesive, which means it has highly toxic fumes that spread long distances. Also, its extremely flammable until dry (dont smoke near this stuff because the vapors may ignite). It can be harmful if absorbed through the skin. No matter how careful you are, youre going to slop it on your fingertips when applying it to small pieces of tesserae. Therefore, to ensure your safety, wear protective gloves and a respirator when using Liquid Nails for extended periods of time when making your outdoor mosaic projects. Although Liquid Nails CLEAR Adhesive works great, I find it too unsafe for mosaic projects. My adhesive choice for outdoor mosaics is thinset mortar. Its bothersome to constantly mix the thinset, but I think its a better than constantly worrying about protecting yourself from prolonged exposure to Liquid Nails.
WARNING Making a mosaic to be displayed outdoors doesnt necessarily mean youll actually make it outdoors. More likely, youll make it indoors in your work area. Therefore, if you decide to use Liquid Nails, use it in a well ventilated area. Do not swallow it. Do not inhale it. Do not let it absorb into the skin. Keep it out of the reach of children and pets. Do not smoke when using it.
Other Adhesives If you feel like experimenting, try various other types of adhesives, such as silicones and expoxies. If you dont like Weldbond, Elmers, or AcrylPro, find something else that suits your needs. Go to your favorite home improvement store and browse the adhesives by reading the product labels. Your evaluation criteria should include, but not necessarily be limited to: Safety issues (e.g., toxic fumes and skin, eye, and ingestion risks) Ability to adequately adhere to your chosen tesserae and base material Adhesion strength (remember, it doesnt need to support an elephant, it needs only to adequately support your small, light-weight pieces of tessera)
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Color when dry (this criterion is applicable when using translucent or transparent tesserae) Ease of use (e.g., application method) Ability to use on a vertical surface (i.e., does it hold tesserae in-place on a vertical working surface) Ease of clean-up Set time Open time (i.e., how long can you leave the lid off exposing the adhesive to air) Water resistance (applicable for outdoor projects or indoor projects in wet environments, such as steam rooms) Heat resistance (applicable when making trivets to hold hot pots and dishes) Cost.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 9 - Tools for Cutting and Grouting
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Chapter 9 - Tools for Cutting and Grouting

This chapter identifies basic mosaic tools. Detailed techniques for using them are described in the chapter on Cutting and Adhering. Glass Tools Figure 9-1 shows the most common glass-working tools for creating mosaics. I didnt arrange them in any particular order of importance. In describing each tool, Ill identify those I use most often and those I hardly ever use.
Figure 9-1. Glass Tools Lets start with the top row in Figure 9-1 moving left to right, and then go to the bottom row.
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Safety Glasses: These are required when cutting glass and prying up pieces of tessera adhered to your base material. Dont risk catching a flying shard in the eye. Always use safety glasses, goggles, or some form of eye protection when cutting and prying up glass. Scoring Tool (a.k.a. Glass Cutter) (the tool with the yellow handle resting on a piece of wood at the top of Figure 9-1): I prefer the pistol grip type of scoring tool because it fits nicely in my hand and its easy to push along the glass. It has a carbide cutting wheel that long outlives a plain steel wheel.
FYI: Carbide is made from carbon combined with tungsten or titanium. Its used in cutting tools because of its hardness and wear resistance (i.e., it stays sharp longer than most other compounds). For example, a carbide cutting wheel can maintain a good cutting edge up to 20 times longer than a steel wheel. Now you know!
The hollow pistol grip contains cutting oil that improves the score line and helps prolong the life of the cutting wheel. I use Novacan cutting oil, which is made of white mineral oil. It isnt an inhalation hazard or a skin irritant, its minimally irritating to the eyes, and relatively non-toxic if ingested (read the product label for all safety warnings). Note in Figure 9-1 my homemade tool stand. I simply screwed two drywall screws into a piece of scrap wood wide enough to accommodate the tool. The tool rests upright so the oil doesnt leak out of the wheel end. Another popular type is the pencil-grip scoring tool (its shape resembles a pencil). Expensive pencil scorers have an oil compartment; cheap ones dont. Both the pistol-grip and pencil-grip types have replaceable cutting wheels. This tool is required when using stained glass. However, when using only 3/4-inch-square vitreous glass tiles, you dont need this scoring tool because all 3/4-inch vitreous glass cuts, straight and curved, are easily made using wheeled glass cutters. Tweezers: These are a must if you plan to use very small pieces of tessera. Use the tweezers to hold small tesserae while applying adhesive and to set them in place. Some of your tesserae may be too small to handle with your fingertips, so use tweezers. Small Screwdriver: I use a small flat-tip screwdriver to pry off tesserae that I dont like after the adhesive has dried. Sometimes, I come back the next day and something just doesnt look right with the shape or color of a particular piece of tessera. I can tell in an instant if I dont like something. I dont need time to let it grow on me hoping that Ill eventually like it and, therefore, not have to go through the trouble of prying it up and re-doing it. If I come back later and dont like what I see, I immediately pry it up and fix it. I dont give myself an opportunity to talk myself into liking it just to avoid having to re-do something. The screwdrivers small tip is
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easy to work under the tessera and pop it off. Once the glass is pried off, I use the screwdrivers tip to scrape off any remaining adhesive to ensure a flat, even surface for the new tessera. Grozing Pliers (a.k.a. Grossing Pliers): Grozing pliers have a flat jaw and a curved jaw. These are dual-purpose pliers: 1) Use the flat tips to nibble away small pieces of glass or nibble away inside curves, and 2) Use the serrated jaws for removing snags or shards from a bad cut. Grozing pliers can also be used to break cuts too narrow to hold by hand. See Figure 9-2 for a close-up of these pliers.
Figure 9-2. Grozing Pliers Glas-Snapper (the aquamarine tool on the far left side of Figure 9-1): The Glas-Snapper is simply a redesigned version of running pliers for stained glass up to 1/8-inch thick. Its easy to hold and the breaking trigger is easy to pull. Its advertised as a tool for breaking pieces as narrow as 1/4-inch, but Ive learned to consistently break pieces as narrow as 3/16-inch, and sometimes as narrow as 1/8-inch without ruining the piece. I use the Glas-Snapper only when breaking stained glass. If you use only 3/4-inch-square vitreous glass tiles, then you dont need this tool. Wheeled Glass Cutters: This tool is essential for creating glass mosaics. I use it to cut and shape vitreous glass and stained glass. It can also be used to cut smalti. The wheeled cutters make cleaner cuts than tile nippers (discussed later). The two carbide wheels (or steel, if you buy cheap cutters) are fixed in position. Instead of scoring and breaking, the wheels apply even
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pressure to the top and bottom sides of the glass, causing it to fracture along the line of the wheels. The wheels are replaceable and eventually go dull, but not before several thousand cuts. Each wheel is held in place by a setscrew (usually an Allen screw). As your cuts become noticeably less clean than when the cutters were new, use an Allen wrench to loosen the screws, rotate each wheel about 1/8-inch, and then re-tighten the screws. By changing the location of where each wheel touches the glass, you have, in effect, replaced the blades. Itll take a long time and many cuts to use the entire circumference of the wheels, especially if theyre carbide. When the wheels finally do become dull, I suggest buying a whole new tool. The wheels make up the bulk of the tools cost, so you wont save much by just getting new wheels. With a brand new tool, not only are the wheels sharp, but the rubber handle grips are new and clean (the rubber wears down and becomes dirty--see in Figure 9-1 how my handles are turning black) and the spring is secured in-place. Several projects ago, the spring broke free from my cutters so every time the handles spread too far apart, the spring falls off. Its quite annoying to drop the spring, watch it bounce out of reach, and then have to get out of my chair to retrieve it. Also, if you drop the tool, its possible to knock the wheels out of alignment. So, after several projects when you think the wheels need replacing, I suggest buying a whole new tool. When your new tool arrives, use an Allen wrench to tighten the screws as tight as possible. Then, use an engraver, paint, felt-tip marker (or whatever you have that makes a permanent mark) to make a small tick mark on the side of each wheel where it touches the glass when cutting (the two tick marks should be aligned opposite each other). I use an engraving tool for making the tick marks so I dont have to worry about paint or ink eventually rubbing off. After a couple thousand cuts, loosen the screws, turn each wheel slightly, and then re-tighten the screws. After several of these adjustments, the tick marks have gone full circle indicating that its time to replace the tool (or just the wheels, if you prefer). Dont be surprised if the wheels rotate by themselves. No matter how hard I crank down on those screws, it apparently isnt tight enough because the wheels slowly rotate by themselves from the pressure exerted during the cutting action. After several days and many cuts, I notice the tick marks are no longer aligned directly opposite each other, which indicates the wheels have rotated slightly. Maybe Im a weakling, but I just cant get the screws tight enough to keep them static. However, thats okay with me because if they turn by themselves, then I dont have to manually do it. See Figure 9-3 for a close-up of the wheeled glass cutters.
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Figure 9-3. Wheeled Glass Cutters (right) and Tile Nippers (Left) Scorer/Breaker: This is the tool in Figure 9-1 just to the right of the wheeled glass cutters. The scorer/breaker is a two-tools-in-one combination of the scoring tool and Glas-Snapper. Ive never used this tool on any of my mosaic projects. Although it can work on glass, I use it exclusively on ceramic tile. Score the tile with the wheel and then break it using the winged breaker by gently squeezing the handles together until the tile snaps along the score line. See Figure 9-4 for a close-up of the scorer/breaker. You dont need this tool for glass mosaic projects.
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Figure 9-4. Use the Scorer/Breaker on Ceramic Tile Tile Nippers: Tile nippers work on ceramic tile the way wheeled cutters work on glass. Tile nippers work best on ceramic tile, porcelain, and mosaic stone. Avoid using tile nippers on glass. See Figure 9-5 for a close-up of the tile nippers. You dont need this tool for glass mosaic projects.
Figure 9-5. Tile Nippers Work Best with Ceramic Tile, Porcelain, and Stone
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Breaking Pliers: Use these for holding thin strips of stained glass when breaking out the score. They have slightly rough, flat jaws that firmly hold the glass at the score line. The jaws are tapered so only the tips grip the glass, which helps to prevent chipping. When I first experimented with stained glass in my mosaics, I let various books and articles talk me into buying breaking pliers, so I added a pair to my tool inventory. However, Ive never used them. Running Pliers: This is the tool with the rubber red tips at the far right of Figure 9-1. Running pliers do the same job as Glas-Snappers; they break stained glass at the score line (a.k.a. run the score line). Breaking stained glass with running pliers is extremely easy and takes hardly any effort when squeezing the handles together. The top jaw is slightly concave and the bottom jaw is slightly convex. Align the score line with the center of the bottom jaw and gently squeeze the handles. The bottom convex jaw puts pressure on the score line while the top concave jaw puts pressure on the sides of the score line. When squeezing the handles, the top jaw bends the glass until the tensile strength at the score line is exceeded and the glass breaks (refer to the chapter on Cutting and Adhering for details of how running pliers break out the score). Running pliers are great for long straight and slightly curved cuts. After experimenting and finding just the right spot to place the jaws, you can even break pieces as thin as 3/16-inch. Running pliers have a screw on the top side (i.e., the side with the concave jaw) that allows you to adjust the distance between the jaws to fit varying glass thicknesses. Adjusting how tight or loose the glass fits between the jaws determines how much pressure you must apply when squeezing the handles. I use running pliers exclusively for breaking stained glass. If you use only 3/4-inch-square vitreous glass tiles, then you dont need this tool. Summary of Glass Tools Online glass stores have many different styles and brands of glass-cutting tools. Dont get so excited about your new hobby that you buy a bunch of stuff you dont need. I remember when I first thought about using stained glass in my mosaics. I found an online store with a huge tool selection and great prices. I browsed every item on every page, thinking, I need this...I want that...I gotta have this...I ought to get that even though I dont know what it is...and the book says I need one of those.... I wound up buying much more stuff than I needed. The following describes what I think are the tools that allow you to create your first glass mosaic masterpiece. As you gain experience, experiment with different types of tools and find the ones that suit your needs. For mosaic projects using only 3/4-inch vitreous glass tiles, the following is the minimum set of glass-working tools you need: Safety glasses/goggles
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Tweezers Small flat-tip screwdriver Wheeled glass cutters.
For mosaic projects using stained glass, the following is the minimum set of glass-working tools you need: Safety glasses/goggles Tweezers Small flat-tip screwdriver Glas-Snapper (Not essential, but a good, cheap tool to have handy.) Running pliers (In my opinion, running pliers are easier to use than the Glas-Snapper, but I still use both, depending on my mood. The Glas-Snapper costs only about $5, so consider getting both, use them, and decide which one you prefer.) Scoring tool Wheeled glass cutters Grozing pliers.
Grout Tools A float is the only grout tool you need to spread and squeeze grout into the spaces between the tesserae. Figure 9-6 shows all the grout materials you need. Anything else is unnecessary. Refer to the chapter on Grouting for details about the entire grouting process, including how to use the items shown in Figure 9-6. As noted in the chapter on Grouting, its important to use a good-quality grout float. One with soft rubber bonded to a dense rubber backing is worth the extra couple of bucks. The one I use (shown in Figure 9-6) looks like a margin trowel and is about 2-inches wide by 6-inches long. I suggest not using a standard 4-inch by 9-inch grout float because its too big. Another neat tool that Ive heard works well is a grout squeegee. I prefer the narrow grout float because its easy to scoop grout and, depending on the circumstance, I can spread it with either the 2-inch side or the 6-inch side. The 2x6 rubber-coated float is only a couple dollars more than the economy plastic version. Dont scrimp on your grout float; buy a good one.
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Figure 9-6. Grouting Tools and Materials The small, green tool in the center of the table is a measuring scoop that I saved from a box of Miracle Grow plant fertilizer. Because your project will likely use only a small portion of the grout powder that comes in a 10-pound box, use something to scoop it into your mixing container. Shop Around One last thought about tools--shop around before buying. Many glass vendors now sell on the Internet. Some are great, some not so great. Some have a huge selection, but lousy prices and service. Some have a lousy selection, but great prices. Shop around before buying and youll eventually find a vendor you like. Price differences among online vendors can be significant. For example, I found the exact same Glas-Snapper at several online stores ranging in price from $3 to $7. Some vendors have great prices for glass but high mark-up on tools, and vice-versa. Decide whether shipping costs are worth splitting your order between two vendors or if its better to order everything from a single vendor who provides the best overall price. Some online vendors with great prices are mom-and-pop operations, so dont be surprised if what you receive isnt exactly what you ordered. I find the lack of quality control of some online vendors quite baffling, but they have such good prices that I dont mind if they make minor mistakes on large orders that save me $100.
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Dont forget to try your favorite hobby store in town. The one near me has a lousy selection of tools, but has a great selection of stained glass. Their regular prices are comparable to most online stores, but they also have 40%-off coupons every few weeks, so I can buy a 12-inch square of stained glass on sale for half the online price, plus I avoid paying shipping charges. Ensure you check the shipping charges before buying online. Does the vendor charge shipping based on weight or the cost of your order? Glass and tools are heavy, so if they charge by weight, the shipping charges may surprise you. Additionally, some online vendors charge boxing fees that average about $7 per order. Is service important to you? Ive dealt with online vendors with cheap prices but they wouldnt give me the time of day when I emailed questions. Long ago when I first thought about using stained glass, I had all kinds of questions that now might sound silly. But they werent silly to me at the time because stained glass was a whole new world for me and I didnt know anything about it. I used the vendors Contact Us link on their website to ask my first question. I never got a reply, even after three tries. Needless to say, I never ordered anything from that vendor, regardless of their cheap prices. Contrary to that experience, I found an excellent online store specializing in 3/4-inch-square vitreous glass tile. I emailed them a couple of questions and immediately got a detailed, friendly response. I followed-up with more questions and got the same quick response. I was pleased with their willingness to help and their patience with my stupid questions. Although their online prices arent the cheapest, I have placed several $150 orders with them.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 10 - Work Area
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Chapter 10 - Work Area

A comfortable and efficient work area makes creating your masterpiece easier and more enjoyable. You dont need a fancy work shop, expensive furniture, a sophisticated storage system for tiles and glass, and a ga-zillion tools neatly arranged on pegboard. It just needs to be comfortable, efficient, and well-lit. I squeeze into a spare bedroom that my wife converted to an office when daughter #2 left for college. As shown in Figure 10-1, my work area is hardly elaborate, but it does the job nicely. Notice in the following pictures that my work area seems confined and cluttered. Confined, yes, because I have nowhere else in the house to do my craft. Cluttered, no, because everything is organized and efficiently in its proper place. If youre a novice with limited space in your home, your work area will probably look like mine.
Figure 10-1. A Comfortable, Efficient Work Area Makes a Big Difference Lets look at a few key things about my work area that I suggest you incorporate into yours. After years of creating mosaic wall art, I learned by trial and error how to make my work area as efficient as the space allows. Sure, it would be nice to build a new addition to the house and furnish it with a custom work table, custom lighting, custom racks, custom tool bin, custom
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chair, and custom everything else. But reality forces me to squeeze into a small corner of the spare bedroom. Although it isnt pretty, its functional. My wife doesnt particularly like what Ive done to the room, but she loves the mosaics hanging throughout the house, so she tolerates it. Work Table. A big, sturdy work table is essential. Mine is an old folding table that weighs a ton (i.e., its solid and stable). The top is 5/8-inch fiber board with a durable laminate topping and is supported by a metal frame all the way around. The heavy-duty legs prevent tipping from any angle. I got it for a measly $4 about 20 years ago from a local business that held an auction to get rid of their unused furniture and equipment. Since Im cheap, I attended the auction and found a few things that I thought I might use in the garage. I saw this table and bid $4. No one else wanted it, so I got it. Notice how its just the right size. Theres enough room for my glass, tools, and miscellaneous stuff. Comfortable Swivel Chair. Notice in Figure 10-1 that my chair swivels and is on casters. The casters allow me to easily roll back and forth from the center of the table where I trace and glue, to the left side of the table where I rough-cut my glass. The swivel allows me to easily rotate to the right to cut my tracings and finish-cut my glass. Notice in the figure that my chair rests on plywood instead of the carpet. I cleaned an old piece of 1/2-inch plywood from the garage and use it to protect the carpet from the constant rolling back and forth (also, the chair rolls a lot easier on plywood than carpet). Lighting. Dont work in the dark. A 60-Watt bulb on the ceiling doesnt cut it. Notice in Figure 10-1 that, in addition to the overhead and window light, I use two fluorescent desk lamps. The gray lamp on the upper-right corner of the table (its base is visible in Figure 10-1) provides adequate light for the detail work on my mosaic. The white lamp on the tray table provides ample light for scissor-cutting tracing paper and finish-cutting my glass. These are cheap lamps, nothing special, so dont run out and buy a bunch of fancy lights when building your work area. Note that I use fluorescent lamps instead of incandescent. Most incandescent desk lamps become heat lamps within minutes of turning them on. The metal shade surrounding the incandescent bulb gets hotter than Hades. Ouch! So, I use fluorescent desk lamps that stay relatively cool.
WARNING Glass shards are sharp and dangerous. Keep children and pets away from shards at all times.
Backstop for Flying Shards. When cutting glass with wheeled cutters, shards fly to the side. After several projects of making big messes with the shards, it finally dawned on me how to minimize the mess. I needed some kind of backstop. I found one of my sons old tri-fold
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display boards that he used for a middle-school science project. (I knew we were saving it for something other than collecting dust.) See Figure 10-2 and note the towel hanging on it.
Figure 10-2. A Backstop Helps Control Flying Shards The towel prevents shards from bouncing off the tri-fold board and hitting me in the face. Instead, shards hit the towel and most of them fall into the trash can. The system works well enough to keep all shards in a confined area. Every so often, I vacuum the shards that miss the trash can so the pile doesnt get too big. See Figure 10-3 to get an idea of the shard mess youll make without a backstop. Avoid making this mess. Obviously, dont step on the shards with your bare feet. Dont step on them at all, even with shoes or slippers, because theyll stick to the soles, then as you walk throughout the house, theyll eventually work themselves free and fall into the carpet. Then, in the middle of the night when you get up to use the bathroom, youll step on one of those tiny shards stabbing yourself in the heel causing you to limp back to bed while unknowingly dripping blood all over the carpet and sheets. (Yes, that happened to me. Ouch!)
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Figure 10-3. Shards Make a Big Mess in Your Work Area You can control a shards flight and even consistently hit the trash can by adjusting the angle of your cutting hand. This works okay if youre new to cutting glass because you typically go slowly, taking special care to align the cutting wheels on your cut lines, making sure everything is just right. However, after gaining experience, youre more concerned with making quick cuts than where shards fly. After a while, cutting glass becomes almost as easy as cutting paper and you focus on making a quick cut instead of where the shards fly. So, although its fairly easy to control a shards flight, making quick cuts becomes more important than taking time to control the shards. The result is a big mess like the one in Figure 10-3 unless you use a backstop. I once read an online tip that suggested using a plastic grocery bag to catch shards. The tip said to align the cutting tool on your cut line, put both hands inside the bag, and then make the cut. I tried it and, in my opinion, this approach works okay for single, straight cuts, but if you have multiple cuts on a single tile or have to nip-cut a curve, its too time consuming. With curves and multiple cuts on a single tile, you must see what youre doing to ensure you stay on line. Its too troublesome fiddling with the bag while looking inside to align the cutters. For me, its so much easier and faster to make cuts without worrying about the shards and then vacuum them when the pile gets big. Remember, as you gain experience, cutting speed becomes more important than controlling the shard mess. As you can see in Figure 10-4, I keep an old vacuum cleaner handy so all I have to do is flip the switch and suck up the shards with the hose attachment.
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Figure 10-4. Put Your Glass in a Safe, Convenient Location in Your Work Area Convenient Location for Your Glass. Put your bulk glass in a handy location so its easy to reach, but out of the way of kids and pets. I suggest not putting your glass on the floor because someone may step or fall on it, break it, and injure themselves. As shown in Figure 10-4, I put mine on the spare bed close to my work table. Its not pretty, but its functional and doesnt require expensive shelving.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 11 - Cutting and Adhering Tesserae
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Chapter 11 - Cutting and Adhering Tesserae

Ever wonder what glass actually is? Do we cut it or break it (is there a difference)? Why and how does scoring a line allow us to control the way glass breaks? To fully understand why we cut glass the way we do, we should first understand a bit about glass itself. There are two types of solids: amorphous and crystalline. As we learned in the chapter on Tessera Types, glass is an amorphous solid. An amorphous solid, such as glass and plastic, has molecules arranged randomly in no particular pattern. On the contrary, a crystalline solid has molecules arranged in fixed patterns, sometimes called lattices. Most solids are crystalline, such as metal, ice, and diamonds. Glass can break in a controlled manner because it doesnt have a specific molecular structure. For example, a diamond breaks cleanly along its fixed molecular structure or cleavage (more commonly understood as grain). If you dont properly align your breaking tool along the grain, the diamond can shatter. However, because glass doesnt have a grain, you can break it in any direction without it shattering. The question is how do we get it to break the way we want? Depending on the tools used, glass can either break from exceeding its tensile strength or cut from exceeding its compressive or shear strength. To control the fracture, we must define where to exceed the tensile, compressive, or shear strength to result in a controlled fracture. We do this by scoring the glass when we want to break it by applying a tensile stress or properly aligning the cutters when we want to cut it by applying a compressive or shear stress. For example, the glass tensile strength along a tiny score line is less than anywhere else on the glass, so it tends to break cleanly along that line (i.e., the break follows the path of least resistance). When a separation occurs because of tensile stress, the separation is called a break. When a separation occurs because of shear stress or compressive stress, the separation is called a cut. When using a scoring tool and running pliers on stained glass, you apply tensile stress (described in the next section) to break the glass. When using wheeled cutters with the two wheels aligned (or other tool with the cutting edges aligned, such as nippers), you apply compressive stress to cut the glass. When using wheeled cutters with the two wheels misaligned (e.g., because you dropped the tool and bent the jaws out of alignment), you apply shear stress to cut the glass. (The most familiar example of a cutting tool with misaligned cutting edges is a pair of scissors where the two cutting edges are side-by-side instead of aligned.) Therefore, you either break or cut glass depending on the tool used. Whether we, as mosaic artists, say break or cut doesnt matter much, so dont get hung up on the terms. For
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purposes of this book, lets assume cut and break are synonymous in terms of our mosaic glass work. Different tools are used to cut different tessera types. Refer to the chapter on Tools for Cutting and Grouting for pictures and descriptions of each tool. This chapter focuses on how to effectively use them.
WARNING Cutting glass results in flying shards. Always wear proper eye protection when cutting glass. Glasses dont provide adequate protection, so where wear proper eye protection over your glasses.
WARNING Use normal common sense when working with mosaic tools and materials. Use them safely and properly. Dont allow children or pets access to tools or materials. Always be safety conscious when working with mosaic tools and materials.
Cutting Stained Glass Lets take a moment to discuss how and why we can control the break when cutting stained glass. Its important to understand the basic physics of why breaks dont always go as planned so we can minimize making bad cuts and, therefore, minimizing wasted glass. Remember, when using a scoring tool and running pliers, stained glass breaks because of a tensile stress, which is a stress that pulls material apart. See Figure 11-1 for an illustration of how running pliers apply a tensile load to a piece of stained glass. The load is applied at the score line, which the break then follows because its the path of least resistance. Figure 11-1 shows a straight-on frontal view of the jaws of a pair of running pliers. Note how the glass is pulled apart by tensile stress at the score line.
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Center the score line between the two jaws of the breaking pliers. When you squeeze the handles, three things happen:
1. The bottom convex jaw pushes up on the glass in the center. 2. The top concave jaw pushes down on the glass from both sides.
3. The downward force on the outsides (2) and the upward force in the middle (1) cause the glass to
bend downward slightly. As it bends, a pulling force (3) builds along the score line, pulling it apart. When your squeezing exceeds the tensile strength of the glass, the glass breaks along the score line. The break is like electricity in that it follows the path of least resistance, so if you have a good, clean score line, the break will follow it. If you have a bad score line, the break will choose the path of least resistance, which may or may not be where you want it to go.
Figure 11-1. How Stained Glass Breaks at the Score Line Remember, most solid material has a grain and if you dont fracture the material along its grain, it can shatter. Glass is different. Its random molecular pattern means it doesnt have a grain. Another way to view it is that glass has lots of grains that go in all directions, so a break can go in any direction without shattering the glass. The key is to control the break. The Scoring Tool (a.k.a. Glass Cutter) Properly scoring glass is easy after just a few minutes of practice. Use a cheap piece of glass (e.g., a smooth blue or green sheet instead of a rolled, yellow, baroque sheet). Try not simply to break the glass but to break it where you want it to break and with good-quality flush edges.
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The scorer doesnt cut glass the way we normally understand the word cut. Instead, it creates compression lines on the top and bottom surfaces of the glass, which are called a fissure. Also, a small fracture extends down from the score line. When done properly, the score line is almost invisible. If the line is white (which results from breaking off tiny slivers of glass), you applied too much pressure that crushed and scratched the glass instead of creating the desired fissure. Crushing causes multiple fractures extending down from the score line. When you apply a tensile load, the glass pulls apart until it breaks. The break then follows the path of least resistance (i.e., it follows the parts of the glass that have the least tensile strength). If you press too hard when scoring the glass and, therefore, create multiple fractures, the break may follow a fracture that doesnt follow the score line. See Figure 11-2 for how a break can go off line by following an undesirable fracture.
Example A: Proper score line. Single fracture. Break follows the score line/fracture. Example B: Improper score line. Multiple fractures. Break may follow any one of the fractures.
Figure 11-2. A Break Follows the Path of Least Resistance within the Glass
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Sometimes even with a good score, the glass breaks off line. How is this possible with a good score line? If weaker points exist in the glass, the break follows those weaker points. Weak points are flaws, which can result from just about anything. Did you put glass on top of glass and then scratch it when lifting or moving the two pieces? Did you drop something on the glass not quite hard enough to break it but plenty hard enough to produce multiple fractures? Did you slide a container or a tool across the glass? Flaws resulting from any of these misfortunes can create a point in the glass thats weaker than where the score line is. A break follows the path of least resistance, so if the score line is close to one of those weaker points, the break goes off line to follow the weaker flaw. If youre not nice to your glass, it wont be nice to you when breaking it. Take care of it. Store it in a safe place. Dont stack stuff on it. Dont slide stuff across it. And dont drop stuff on it. Using the Scoring Tool As noted in the chapter on Tools for Cutting and Grouting, there are several different types of cutters (e.g., pistol grip, pencil, etc.). The fundamentals of scoring and breaking stained glass apply to all cutters. Use a level, steady, clean work surface. Sometimes, I put a few layers of newspaper under the glass for a softer feel (it also seems to help hold the glass in-place while scoring). Ensure the work surface is at the proper height to comfortably use the tool. If its too low, you bend over too much, which can hurt your back after a while. If its too high, you cant apply the right pressure. Position the glass so you can easily complete the entire score without interruption. For example, you may need to position the glass so you start curved cuts to the left or right instead of straight ahead. If you start straight ahead, the curve may cause you to contort your body to finish the score. See Figure 11-3 for an example of how curved cuts can get tricky. As a right-hander, its much more difficult to make a good score with the glass in Position A than it is in Position B.
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The tessera outline is drawn on the yellow piece of glass. The arrows indicate the direction for pushing the glass cutter to make the score line.
In Position A, the glass is oriented so you start the score straight ahead. If youre right-handed, you must contort your arm and wrist to finish the score as the outline curves to the right.
In Position B, the glass is oriented so you start the score to the left, which makes it easier to finish the score as the outline curves to the right.
Figure 11-3. Orient the Glass So Its Easy to Make the Score Use a good cutter. A good pistol-grip with a carbide wheel and an automatic oiling chamber costs an average of about $30. A steel-wheeled cutter costs about $10, so you save only about $20 by going cheap. A carbide wheel can last 20 times longer than steel, so in the end, youll spend more by buying cheap. Also, you can make better cuts with a good cutter so youll save glass by creating less waste. Ensure the glass is clean before scoring. Dirt or small shards disturb the score line, which can result in an off-line break. They also dull the cutter wheel more quickly. Score the smoothest side of the glass. The sides of some types of glass can have different textures. For example, rough rolled glass has a wavy texture on one side. Always cut the smoothest side to ensure the best possible score line and preserve the cutter wheel. Lubricate the cutter wheel to keep it clean and rolling freely, which results in better score lines, which results in better and cleaner cuts. With an automatic-oiling tool, just fill it and
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forget it. If you went cheap and bought a dry cutter, dip the wheel in cutting oil after every score. Use the correct size and angle of cutter wheel. The smaller the wheel, the less pressure is required to make a proper score. Also, smaller wheels are better for pattern cutting. Typical wheel diameters are 5/32-inch and 7/32-inch, and about 0.045-inch thick. Glass thickness influences the angle of the blade needed to create a proper score. Use a smaller angle for thin glass and a larger angle for thick glass. Typical blade angles and glass thicknesses are as follows (stained glass averages about 1/8-inch thick): 124 blade = 1/32-inch to 1/16-inch thick glass 134 blade = 1/16-inch to 1/8-inch thick glass 140 blade = 1/8-inch to 5/32-inch thick glass 144 blade = 5/32-inch to 1/4-inch thick glass 154 blade = 1/2 inch to 3/4 inch thick glass 160 blade = 3/4-inch thick glass.
The cutter wheel that comes standard with most good scoring tools is usually adequate for your stained-glass mosaic purposes. Refer to Figure 11-4 for clarification of blade angle. The angle is measured from the glass surface as shown in the figure.
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(Angles are relative, not true.)
Frontal View
Figure 11-4. Cutter Wheel with Various Blade Angles Dont score over the same line twice. If you routinely try to correct mistakes by rescoring the same line, youll dull the cutter wheel in a hurry--even a carbide one. Also, rescoring the same line tends to produce bad cuts because the break gets confused on which path provides the least resistance. If you make a bad score, turn the glass over, make a good score along the desired line, and then make a normal break.
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If you run into a pit or other imperfection and the cutter suddenly stops, dont panic. Simply ease the cutter out and continue with the score. Glass cutting isnt brain surgery, so the score line doesnt have to be flawless. Carefully continue the score instead of starting over. Apply the proper amount of consistent pressure. Dont press too hard! Applying too much pressure is a common mistake. When scoring most stained glass, youll hear a scratching sound like tearing paper. Some glass wont make the tearing-paper sound even with a proper score, so dont get too excited if you dont hear it. The score line should be barely visible. Sometimes to see it, you must move the glass to change the angle at which the light hits it. If the score line looks white, then you pressed too hard and crushed the glass causing flakes and slivers. If you must use excessive pressure to make a score, the cutter wheel is probably dull and needs replacing. If the score line looks like a dotted line, the cutter wheel is probably bent and needs replacing. The proper amount of pressure is between 10 and 15 pounds. You might think, How am I supposed to know how much 10 pounds is? Simply press on your bathroom scale to show 10 pounds and get a feel for how hard you pressed. Practice a few scores on a cheap piece of stained glass. If your first score line is white, then dont press so hard on the second score. It wont take long to find the right pressure. After just a few scores, youll be an old pro. Try to score the entire line at the same speed. The score speed affects the fissure depth. The faster you go, the deeper the fissure. Therefore, the faster you go, the less pressure you should apply. If you make a single score with varying speeds and pressures, the fissure depth varies, which can affect the quality of the break. Keep the cutter wheel perpendicular to the glass. Dont tilt the cutter or wobble it side-to-side while making the score. Cut with your body and shoulder, not just your arm. Some glass workers find it easier to cut standing up, but it makes no difference for me. Although I usually cut sitting down, I still push with my shoulder and guide with my arm and hand. Start the score by placing the cutter about 1/8-inch from the glass edge, and then follow the tips above to push the cutter to the other side of the glass. If you draw on the glass an outline of the tessera shape you want to cut, its easier to push the cutter than pull it. If you pull the cutter, your hand and arm block the outline and make it difficult to follow. With all the doomsday warnings discussed above about making perfect score lines, you probably think you need the skill of a brain surgeon to cut glass. On the contrary, this isnt brain surgery and, although you need to pay attention and try to make good score lines, you dont have to be precise. Notice the straight and curved score lines in Figure 11-5. I purposely pressed way too hard and gouged the glass to show what bad scores look like (the white lines are lots of tiny flakes and slivers from crushing the glass instead of cutting it).
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Figure 11-5. The White Score Lines Mean I Pressed Too Hard In Figure 11-5, I applied at least 50 pounds of pressure to severely gouge the glass. These score lines are awful and I cant imagine anyone ever making such lines as part of their normal glass-working routine. If these lines break okay, then whatever bad scores you might make should also break okay. So, the question is whether these lousy score lines result in satisfactory breaks.
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Figure 11-6. The Bad Straight Score Line Breaks Satisfactorily Success! The straight cut broke nicely without deviating from the score line. Notice in Figure 11-6 the white slivers on the left edge of the glass strip. After wiping them off, the break looks amazingly clean and chip-free. The real test is whether the curved score breaks as cleanly as the straight score.
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Figure 11-7. The Bad Curved Score Line Breaks Satisfactorily No way, I cant believe it! The curved score broke just as cleanly as the straight score (see Figure 11-7). Therefore, based on how well these two dreadful scores broke, it appears that the importance of textbook-perfect score lines is not overly important. As mosaic artists, we dont care how clean the break is on the bottom side of the glass because grout hides it. We care only about the breaks cleanliness on the top side. Generally, even with bad score lines, the top edge is fairly clean as demonstrated in Figure 11-6 and Figure 11-7. Our primary concern is to minimize the number of fractures and to avoid imperfections in the glass that could cause the break to veer off the intended path of our score line (thereby, creating waste). For our mosaic purposes, having the break follow the score line is usually more important than cleanliness of the break. Break Out the Score Break out the score means to generate a break that follows the score line. Do this several ways using whichever breaking tool is easiest for you. You can also break out the score using your bare hands, but I dont recommend it because its too easy to cut yourself. Running Pliers We already understand how running pliers work from our earlier discussion on how a tensile load breaks glass. Lets do a quick review. Running pliers have a top concave jaw and a bottom convex jaw. Always use the pliers with the concave jaw on top. When you squeeze the
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handles, the top jaw exerts downward pressure on the sides of the score line while the bottom jaw exerts upward pressure on the score line. When you exceed the tensile strength of the glass, it breaks, hopefully along the score line. Figure 11-8 shows a straight-on frontal view of a pair of running pliers.
Figure 11-8. Concave (top) and Convex (bottom) Jaws of Running Pliers Notice the setscrew on the top of the pliers in Figure 11-8. Use it to set the pliers to the glass thickness. I never bother with the setscrew because I find it more trouble than its worth. With just one squeeze after setting the screw, it moves by itself and throws off the alignment. I unscrew it almost all the way so the jaws completely close. The only reason I dont remove it altogether is because I know Ill lose it. I dont need the screw because the straight and gently curved cuts that I use in my mosaic work dont need exact pressure to properly run the break. However, for more detailed stained-glass work, the setscrew can help improve your breaks when making complex cuts. Glas-Snapper The Glas-Snapper is a variation of running pliers designed specifically for glass about 1/8-inch thick. Its a neat gadget to have in your tool inventory, but unnecessary. In my opinion, good running pliers are more comfortable to use, last longer, and work better than the Glas-Snapper. The Glas-snapper costs about $4; whereas, the pliers cost between $7 and $10. Replacement rubber tips for the pliers are available for $2 or $3. My main issue with the Glas-Snapper is that its made of molded plastic and wears out relatively quickly when breaking narrow strips of glass. Instead of concave and convex jaws, it has thin, molded ridges. The bottom jaw has a single ridge in the center to apply upward pressure on the score line and the top jaw has two ridges on the sides to apply downward pressure on the sides of the score line (the same principle as the convex and concave jaws of the running pliers). On narrow breaks, the sharp glass edges chew away those side ridges rendering the tool ineffective because it can no longer apply the proper pressures. Figure 11-9 shows how the ridges disintegrate after breaking many narrow glass strips.
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Figure 11-9. Glas-Snapper with Disintegrating Ridges on the Top Jaw Breaking Pliers Breaking pliers allow you to securely hold thin strips of stained glass at the score line without damaging it so you can then break out the score with your other hand. Align the pliers near the edge of the glass just behind the score line and parallel to it. Get the jaw tips close to the score line but dont overlap it. Squeeze the handles enough to maintain a good grip but dont squeeze too hard because you might chip the glass. Use your free hand to hold the glass near the other side of the score line. Carefully apply downward pressure with your free hand until the glass breaks. Another method is to use the end of your work table instead of holding the glass with your free hand. Position the glass so it overhangs the work table at the score line. Grip the glass with the breaking pliers as described above and hold the glass in-place with your free hand. While maintaining a firm grip with the pliers, carefully push downward on the handles until you
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exceed the tensile strength of the glass and it breaks. Dont pull on the pliers as you gently push down because pulling towards you may cause the break to run off line. See Figure 11-10 for clarification. Notice in the figure that I grip the glass at the end of the score line, not in the middle of it.
Figure 11-10. Using Breaking Pliers with the Glass Overhanging the Table Edge Grozing Pliers (a.k.a. Grossing Pliers) This is a wonderful tool to break out the score for very thin strips and inside curves. If the inside curve is too tight for the break to follow the score, use the grozers to nibble away small pieces until you achieve the desired shape. To break out the score, use the grozers with the flat jaw up. Position the jaw tip at and parallel to the score line. Get the tip close, but dont overlap the score line. Get a comfortable grip with your other hand and hold the glass where you can maintain control and so you dont cut yourself when the score breaks. Dont squeeze the grozers so hard that you crush the glass. Gently press the handles downward to apply just enough tensile load to break out the score. Figure 11-11 shows the final cuts needed to finish two pieces of tessera so they fit properly in their places (the black guide lines show where I need to cut). One tessera needs a straight, narrow strip trimmed off and the other needs a tight, inside curve cut out. Notice in the figure the flat and curved jaws of the grozers. Remember, for breaking out the score, the flat jaw goes on top.
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Figure 11-11. Use Grozers for Detailed Work Lets do the straight break first. Position the flat jaw on top so its close and parallel to the score line, as shown in Figure 11-12. The score line is just to the left of the black line, so notice how close I put the jaw but I dont overlap it. I get a good, safe grip with my left hand and then gently move the handles downward to break the score.
Figure 11-12. Grozers Properly Positioned to Break Out the Score

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Notice in Figure 11-13 how nicely the thin slice broke. With this finish cut, the tessera is properly trimmed and now a perfect fit.
Figure 11-13. Grozers Make Thin Breaks Easy Now lets try the tight, inside curve. As shown in Figure 11-14, align the flat jaw in the center of the curve with the tip close to the score line. As before, the score line is on the left side of the black line. Get a good grip on the glass with your free hand. Notice in the figure that I must be careful handling the tessera so I dont cut my fingers on the sharp edges. After getting a good, safe grip, gently apply downward pressure to the handles until the score breaks.
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Figure 11-14. Grozers Properly Aligned and a Safe Grip with the Other Hand Figure 11-15 shows how well the score broke, resulting in another perfectly sized piece of tessera. Notice the clean edges of the final piece that Im holding in my left hand. For our mosaic purposes, the breaks and resulting edges dont need to be any better than those shown in Figure 11-15.
Figure 11-15. Grozers Make Inside Curves Easy to Break
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When the score line for an inside curve is so tight that its physically impossible for a break to follow it, use the grozers to nibble or chew away small pieces as you work your way to the guide line. First, draw a guide line and then carefully score it. Dont break out the score. Instead, in this situation, the score line simply helps to get a cleaner edge when grozing (i.e., nibbling away) the final pieces along the score. When grozing, use the tool with the curved jaw up. Combination Scorer/Breaker The combo scorer/breaker is a two-in-one tool that, as the name indicates, scores and breaks. I use this tool primarily for cutting ceramic tile but it can also be used on glass. Notice in Figure 11-16 that the tool has a wheeled cutter (i.e., round scoring blade) and wings similar to the top concave jaw of running pliers.
Figure 11-16. The Combo Scorer/Breaker is a Two-in-One Tool As shown in Figure 11-17 to break out the score, align the tool with the score line and then gently squeeze the handles. The wings apply pressure to the sides of the score line, which breaks out the score (same principle as running pliers). Notice how far out the wings extend, which determines how narrow the glass strip can be. The glass strip in the figure is about as narrow as you can get. If it were narrower, the tool wouldnt properly break out the score.
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Figure 11-17. The Combo Scorer/Breaker Breaks the Score like Running Pliers Notice in Figure 11-17 the lousy score line with lots of flakes and slivers. I badly gouged the glass so you can see the line. This score actually broke as cleanly as the bad scores discussed earlier in Figure 11-5. These results show that precision glass cutting in mosaic applications isnt brain surgery and doesnt require a brain surgeons exactness. Wheeled Glass Cutter Wheeled cutters are used on stained glass to make finish and touch-up cuts. Make the main cuts using the scorer and running pliers or grozing pliers, and then follow with the wheeled cutters to clean up and reshape the tessera. Because the wheels are aligned (i.e., not staggered, like scissors), they apply a compressive load. The compression causes the glass to fracture along the plane of the blades. In other words, the glass breaks in whatever direction you line up the wheels. Wheeled cutters work differently than the scorer and running pliers. The score line is a long weak point in the glass for the break to follow, so you can control long breaks. Remember, the break follows the path of least resistance within the glass. When making a long score line, you introduce a long, continuous path of least resistance that the break follows. However, with the wheeled cutters, you dont make a long weak point for the break to follow. Instead, the break follows the plane of the wheels for a short distance and then doesnt know where to go. Once the break leaves the influence of the wheels, it takes on a mind of its own and goes where it wants. This makes it difficult to control the break more than an inch or
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two away from the wheels. Therefore, wheeled cutters are ideal for cutting and shaping vitreous glass tiles since theyre only 3/4-inch-square. Because of the short distance, the break is complete before it gets to the point where it doesnt know where to go. Thats why you can get good, clean cuts with wheeled cutters on vitreous glass tile. Since wheeled cutters work best on vitreous glass tiles, lets continue the discussion in the next section. Cutting Vitreous Glass Tiles The best tool for cutting vitreous glass tile is the wheeled glass cutter. Scoring isnt required when using this tool. Instead, it works like tile nippers. Orient the glass between the two wheels where you want to cut to go, and then squeeze the handles. The two wheels come together to compress the glass until it fractures along the plane of the wheels. It doesnt take much pressure to fracture the glass, so you dont have to be Superman to use this tool. Lets see how easy it is to make straight and curved cuts on vitreous glass with this tool. Figure 11-18 shows the black guide lines that I need to follow.
Figure 11-18. Lets Make Straight and Curved Cuts with the Wheeled Cutters Lets do the straight cut first. Orient the glass between the wheels, centered in the middle of the cut and centered in the middle of the guide line (see Figure 11-19).
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Figure 11-19. Wheels Centered on the Cut and on the Guide Line Note the bandages on my fingertips. I use them to protect against accidental cuts when handling cut pieces with sharp edges. You tend to go slow when first learning to cut glass and speed up as you gain experience. The faster you go, the greater the chance of cutting yourself. Cup your free hand around the tile to help catch the two cut pieces, as shown in Figure 11-20.
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Figure 11-20. Cup Your Hand around the Tile to Catch Flying Pieces Note in Figure 11-20 that the tile is reversed to show the ridged back side. Well discuss why its reversed in a moment. With the wheels still properly aligned, gradually squeeze the handles to cut the glass. The result is a good, clean cut as shown in Figure 11-21.
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Figure 11-21. A Good, Clean Cut As we learned in the chapter on Tessera Types, the back side of most brands of vitreous tile is ridged to help the glue adhere better. Sometimes those ridges get in the way when using the wheeled cutters because, when you squeeze the handles to bring the wheels in contact with the glass, they tend to slide off line into one of those ridges. Note in Figure 11-20 that the wheels are perpendicular to the ridge lines. When in this orientation, you avoid the slippage and get a good cut along your intended line. The cut is just as clean perpendicular to the ridges as it is parallel to them. If your style uses loose-fitting tesserae instead of tight-fitting puzzle pieces, you dont need to be as precise with the size and shape of your tesserae. If thats the case, simply use the ridges as a guide for your straight cuts (i.e., let the wheel slide into one of the ridges and then make the cut). Now, lets make a curved cut using the wheeled cutters. Curved cuts are a bit more work than straight ones, but theyre still easy. Outside curves are much easier to cut than inside curves. Only slight inside curves can be made with wheeled cutters. If you need a piece of vitreous tile with any significant amount of inside curvature, use the scorer and grozing pliers to make the inside cut. If the piece is so small that you cant hold it with your free hand, then hold it with breaking pliers while you break out the score with the grozers.
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The curved piece of tessera in Figure 11-18 has an outside curve (i.e., the final tessera will be to the left side of the guide line; whereas, the glass on the right side of the guide line will be waste). Unlike straight cuts, outside-curved cuts must be nipped with several small cuts. Use the wheeled cutters like tile nippers. Simply orient the glass between the wheels and nip off a small piece along the guide line. Reorient the glass and nip off another small piece. Continue nipping over the entire guide line. When done, go back and make whatever tiny nips are necessary to smooth out the cut line. The resulting tessera looks good with its outside curve (see Figure 11-22).
Figure 11-22. Tessera with a Good Outside-Curved Cut Lets take another look at cutting curves with the wheeled cutters by cutting a circular-shaped tessera from a square vitreous glass tile. Remember to use the cutters like tile nippers, nipping away small pieces at a time. Dont try to cut too much off at once. Take your time and make as many nips as are needed. See Figure 11-23 for a progression of how to nip away each corner to form the circle. The resulting tessera is seldom a perfect circle, but thats okay because imperfection is what gives your mosaic character and distinction.
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Figure 11-23. Use Cutters as Nippers to Make Curves If squeezing the handles is painful or aggravates your hand, place the bottom handle on the work surface and then press down on the top handle with the heel of your hand (see Figure 11-24). Dont squeeze with your fingers. Dont use your fingers for anything except to hold the tool. Use the strength of your arm to press with the heel of your hand to make the cut. Cup your free hand around the tile to catch flying pieces.
Figure 11-24. If Your Hand or Fingers Hurt, Use This Method Another trick to minimize hand and finger pain is to hold the handles down as close to the ends as possible, instead of up by the cutting wheels. Without going into the physics of it, the further down the handles you squeeze, the less force you need to apply to make the cut. In
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other words, you dont have to squeeze as hard when holding the handles near the ends as you do when holding the handles near the cutting wheels. Dont use wheeled glass cutters on stone, ceramic tile, or crockery because the wheels can break. Instead, use tile nippers for these tessera types. Avoid using tile nippers on glass because its more difficult to make good cuts, which means more wasted glass. The next section covers using tile nippers on vitreous glass. Using Tile Nippers Use tile nippers mainly to cut ceramic tile and crockery. Notice in Figure 11-25 that tile nippers have straight cutting blades.
Figure 11-25. Tile Nippers (left) Have Long, Straight Cutting Blades If youre a dedicated old-schooler and absolutely refuse to spend $20 for wheeled cutters, then tile nippers are okay for cutting glass but its more difficult to get good cuts. Figure 11-26 shows the wrong way to cut a vitreous glass tile. Do not use the entire blade length on the tile. Using the entire blade length tends to crush the glass and causes it to fracture in multiple directions, resulting in wasted glass.
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Figure 11-26. WRONG Way--Dont Put the Entire Blade on the Vitreous Glass Tile Figure 11-27 shows the right way to cut a vitreous tile using tile nippers. Use only about 1/4-inch of the blade. Align the blade with your guide line and slowly apply pressure by squeezing the handles. The break usually doesnt follow the guide line perfectly, but its close. Wheeled glass cutters give a much straighter, cleaner cut than tile nippers, so just bite the bullet and spend $20 for the better tool.
Figure 11-27. RIGHT Way--Use Only 1/4-inch of the Tile Nippers Blades
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Make rounded edges and clean-up cuts by nipping off small pieces in the same manner as with wheeled glass cutters. Nipping with tile nippers takes practice, so dont expect to get a good, usable tessera the first time. Be patient and accept the fact that youll probably waste several pieces of tessera material before getting the hang of it. Help! Tiny Glass Pieces Are All Over My Work Table! As you break stained glass and cut vitreous glass tiles, tiny pieces of glass fall onto the work surface. Over time, they accumulate into a big mess. Dont wipe them off with your hand because you might cut yourself. They may be tiny, but theyre very sharp and will cut you. Dont blow them onto the floor because the vacuum might not get them all, which means they may cut you, the kids, or the pets. Instead, use a vacuum hose to frequently clean up your work surface. A lint roller works well, too, but I prefer a vacuum. Be careful not to vacuum up stuff you dont want vacuumed, such as scrap pieces of glass or small tools. Measuring, Marking, Cutting, and Adhering Tessera Shapes The style of most mosaic artists is to arbitrarily cut irregular shapes, sort the pieces by size or shape, and then loosely fit them together into a mosaic pattern. That style requires minimal planning, measuring, and marking of tesserae. However, as noted in the chapter on Backgrounds and Borders, my style requires a bit more sense of order. It requires measuring and cutting each piece of tessera. It takes longer to complete the work, but thats okay because Im not in a hurry to finish. The mortgage and car payments dont depend on me selling my work, so theres never any rush to finish. Friends often ask how I get the pieces to fit so tightly together like a puzzle. Theyre amazed at how glass can be shaped so precisely. I always pretend its a very tedious and challenging process without ever actually explaining it. I enjoy letting them think Im some kind of highly skilled craftsman, when in reality Im just an average Joe who figured out an easy way to create tight-fitting tesserae. I use different tools to cut different shapes. Sometimes, I use different tools on a single piece of tessera. Each side of the tessera determines the tool I use to cut it. So, for example, with a three-sided piece of tessera, I may use three different tools to cut it. Figure 11-28 shows three tessera shapes with each presenting a different cutting challenge.
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Shape A: All sides are easy to cut with the Scorer/Running Pliers and Wheeled Cutters. Shape B: The narrow portion is hard to cut with Scorer/Running Pliers. This shape is nearly impossible to cut with Wheeled Cutters, but is fairly easy to break with Grozing Pliers. Shape C: Side 1 is easy to cut with Scorer/Running Pliers or Cutters. Side 2 is easy to break with Grozing Pliers, but impossible to cut with Scorer/Running Pliers and Cutters. Side 3 is easy to cut with Scorer/Running Pliers or Cutters.
Figure 11-28. Different Tessera Shapes Present Different Cutting Challenges
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In Figure 11-28, the top shape is easy to cut using a scorer and running pliers. Simply score and break each side, one side at a time. The middle shape is fun to make because those long, narrow cuts are much more challenging than most others. If youre not careful, you can break and ruin the piece and youll have to start again from scratch. I always use a scorer and grozing pliers for these kinds of long, narrow pieces. IMPORTANT: For sharp, pointy pieces (the middle shape), be careful not to poke yourself with the point. The glass is very sharp and easily slices through the protective bandage and your skin. Ouch! Use the wheeled cutters to barely nip off the point. Dont nip so much that the point looks squared off; cut just enough to remove that razor-sharp point. Youll benefit not only by reducing the chance of poking yourself, but youll also reduce the chance of ripping your rubber grout float when grouting. The bottom shape is interesting and also fun to cut. I use a scorer and running pliers for Side A, and a scorer and grozing pliers for Side B. I rough-cut Side C with a scorer and running pliers, and then finish-cut it by nipping off small pieces using either wheeled cutters or grozing pliers. Use Tracing Paper to Define Your Tessera Shapes If your style calls for tightly fitting puzzle pieces, use tracing paper to define each tessera shape. It sounds like extra work, but in reality it saves lots of time and significantly reduces wasted glass. The following describes my process for measuring (i.e., tracing), marking, cutting, and adhering tessera shapes. Use it as a guide and adapt it to your style as needed. Step 1: Trace the Tessera Outline Lay tracing paper over your mosaic and trace the outline of where the tessera piece will fit (see Figure 11-29). Press lightly with the pencil so you dont move any freshly laid tesserae. I usually work at least three different sections of a mosaic at a time. For example, suppose I measure and cut a tessera located in the mosaics top-left corner. The next piece I measure and cut might be in the top-right corner, and the next piece might be in the bottom-center. By the time Im ready to go back and do another piece in the top-left corner, the glue holding the previous piece has had plenty of time to set. By giving the glue time to set, I dont inadvertently move any freshly laid tessera out of position when tracing.
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Figure 11-29. Trace the Outline for the Next Piece of Tessera After completing the tracing but before cutting it out with scissors, write something on the up side. I simply scribble the word up. This is important because if you drop the cutout or set it down, you might then place it upside down on the glass to trace it. If that happens, your resulting tessera is a reverse shape of what you need and it doesnt fit in its place. I remember a long time ago cutting out a tracing and then dropping it. I retrieved it, didnt think twice about it, and cluelessly continued by tracing it onto the glass. After making all the curved cuts, I dry-fitted the resulting tessera in its place. It didnt fit. Good grief. I scratched my head, and then slowly rotated the piece trying to find the right orientation. I rotated it a full 360 degrees but it just wouldnt fit. I sat puzzled for a few seconds and then realized it was reversed. I flipped it over and it fit like a glove. However, there was a problem. The bottom edge was ragged and slightly chipped. This is normal and isnt usually a problem because the bottom side is hidden by grout. Only the top edge needs to be clean and chip-free. Because I accidentally reversed the tracing cutout, the tesseras ragged bottom side became the top side when I flipped it over. So, I threw away the piece and started over. Now, I always scribble up on the top side of the cutout to ensure I place it with the proper side up on the glass. Step 2: Cut Out the Tracing and Re-trace it Onto the Glass Cut out the tracing using scissors. Use a black felt-tip pen to trace the cutout onto the glass (see Figure 11-30).
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Figure 11-30. Trace the Cut-Out Shape onto the Glass I use a felt-tip pen because it easily writes on glass, easily wipes off glass, and its easy to see. Be aware that the inside of the outline defines the exact size of the tessera shape if it were to fit flush against the other tesserae pieces. However, you need grout space, so you must score about 1/16-inch inside of the outline. I typically use 1/16-inch grout spacing, but your style may use something wider or narrower. Leave the proper spacing thats consistent with your mosaics overall grout lines. See Figure 11-31 for clarification.
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Make your score line on the inside of the tessera outline to leave space for grout. If you score and cut directly on top of the tessera outline, the resulting tessera will fit snugly against the other tesserae without room for grout. So, score and cut on the inside of the tessera outline leaving grout space thats consistent with the mosaics overall grout spacing.
Figure 11-31. Score and Cut Inside the Tessera Outline to Leave Grout Space Step 3: Cut Out the Tessera Use the appropriate tool(s) to cut the tessera shape. Remember, the tessera shape determines which cutting tool(s) to use. For the piece in Figure 11-30, I used the scorer and running pliers to cut all sides of the shape. Figure 11-32 shows the resulting tessera ready for glue.
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Figure 11-32. Tessera Cut to Fit and Ready for Glue Step 4: Wipe Off the Ink from the Tessera Wipe off any black ink that may still be on the resulting tessera. Since you cut on the inside of the outline, there shouldnt be too much ink left. Have a small water dish handy and an old, cloth towel in your lap. Dip the tessera in the water and then carefully wipe off the ink with the towel. Dont cut yourself on the tesseras sharp edges. The black ink easily wipes off as long as you dont let it sit for about 30 minutes. After the ink dries thoroughly, it takes a lot of elbow grease to get it off. Notice in Figure 11-32 that the tessera is clean without any black-ink marks. Step 5: Dry-fit the Tessera Dry-fit the tessera in its place to verify a proper fit with a consistent grout space around all sides. Dont be surprised if it needs trimming. Use a felt-tip pen to mark the trim areas and then use either wheeled cutters or grozers to make the finish-cuts. Be careful not to accidentally mark on the surrounding tesserae. If you do, remove the ink before it thoroughly dries and becomes stubborn. Step 6: Apply Glue to the Tessera Apply glue to the tessera on its down side. Dont cover every square-millimeter of the glass with glue. Smear it around a little with the tip of the glue bottle, keeping it mainly in the center of the tessera. Dont spread it on the edges. See Figure 11-33. Close the bottle cap and use paper towel to wipe off excess glue (dont let the glue dry and build up on the bottle tip). Dont use the cloth towel in your lap to wipe glue from the bottle or your fingertips. Instead, use a paper towel. If you use the cloth towel in your lap, the glue
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eventually dries and makes it hard and brittle. Also, when wiping off the black ink from the tessera, any wet glue on the cloth towel gets on the glass. So, use the towel in your lap only for wiping off black ink from the glass, and use paper towels for wiping glue from the bottle and your fingertips.
Figure 11-33. Apply Glue to the Center of the Tessera As noted, dont glop glue over the entire glass surface. Instead, apply a moderate amount in the center of the tessera. When you gently press the tessera into place, the glue spreads out to the edges. If you apply too much glue, it spreads out too far and fills in the grout spacing, which means you must then wipe it up with either a cotton swab or dig it out with a small screwdriver or bent paperclip (or some other narrow tool). To avoid that mess, simply apply the glue in the center of the tessera and dont use too much. See Figure 11-33 and Figure 11-34. Note in Figure 11-34 the small tessera piece Im holding with tweezers. For small pieces, apply a thin film of glue over the entire surface and then gently place it into position, being careful not to press too hard to avoid squeezing all the glue out from under the glass. Some glue surely squeezes out into the grout space, but if done properly, it isnt so much that you need to wipe it up.
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Figure 11-34. The Right Amount of Glue Step 7: Apply the Tessera to the Base Material Place the tessera into position and gently press it down to distribute the glue. Dont press so hard that all the glue squeezes out the sides, leaving none under the glass. Slowly slide the piece around to perfectly position it with equal grout spacing on all sides. If too much glue squeezes out into the grout space adjacent to other tesserae, dig it out as best you can using a small screwdriver, tweezers, bent paper clip, or other thin tool. Its okay to have some excess glue in the grout space, but dont leave so much that it prevents grout from filling it. Use a cotton swab to wipe up excess glue on the open side (i.e., the side not adjacent to other tesserae) (see Figure 11-35). If you dont wipe it up, it dries and gets in the way of the next tessera, which means you must use a razor-blade knife to trim away the excess dried glue. Avoid that headache by wiping it up before it sets. Use a clean cotton swab. Dont try to save a penny by using the same end of a swab several times. The glue on the cotton sets in a few minutes rendering the swab ineffective, so use a new one. If the tessera moves while wiping up the glue, carefully slide it back into position.
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Glue squeezed out the sides from using too much or pressing too hard on the tessera. Use a cotton swab to wipe up excess glue on the open side of the tessera (i.e., the "open" side is the side that doesnt have other tesserae adjacent to it). If too much glue squeezes into the grout spacing, dig it out with a thin tool (e.g., small screw driver, bent paper clip, or toothpick).
Figure 11-35. Remove Excess Glue that Squeezes Out the Sides Step 8: A Perfect Fit Sit back and admire the tesseras perfect fit. Incredibly easy, wasnt it? Figure 11-36 shows my tessera glued in its place. While the glue sets for this piece, Ill move to another section of the mosaic to measure (i.e., trace), cut, and install the next piece.
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Figure 11-36. Another Perfect Fit Dont Waste Glass Conserve glass by putting a little thought into where you trace the cutout onto the glass. Find the spot where the cutout fits to result in the least amount of wasted glass when cutting it. For example, Figure 11-37 shows the wrong way (left) and right way (right) to position the cutout. The right way results in much less wasted glass than the wrong way.
Figure 11-37. Place the Cutout in the Optimal Position to Conserve Glass
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If You Dont Like It, Fix It Sometimes, a tessera shape or color just doesnt look right after being glued in-place. You may notice it immediately, in which case its easy to replace before the glue dries. However, it may take days or weeks before you acknowledge the fact that something isnt perfect. This is when its extremely difficult to accept because the mosaic is finally finished after weeks of work and you dont want to go through the trouble of prying up the bad tesserae, installing new tesserae, and then spreading messy grout over it. Dont accept the imperfection! Bite the bullet and fix it. In the end, youll be so glad you did. If you dont fix it, youll forever look at the mosaic and think, I hate that ugly boo-boo. Figure 11-38 shows the original version of one of my pieces. Notice the birds heads and bodies are made of square vitreous tiles.
Figure 11-38. Birds Heads and Bodies Made of Square Vitreous Glass Tiles Each morning at breakfast, Id look at it and think, Those squares just dont look right, I really hate that ugly boo-boo. One day, I decided to stop thinking about fixing it and fix it. I took it to the garage, put it on a work table, and laid out my tools.
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Having made many tessera mistakes over the years that required fixing, I learned that the easiest way for me to remove a specific tessera without disturbing or dislodging adjacent tesserae is to use a star-pointed cold chisel (or star-pointed center punch) and claw hammer. A cold chisel is a hardened-steel tool that wont easily dull. See Figure 11-39 and notice the chisels pointed end.
Figure 11-39. Use a Star-pointed Cold Chisel to Remove Glass Tesserae The objective is to break the undesirable tessera and then use a small flat-tip screwdriver to pry up the pieces. Breaking the tessera provides room to work the screwdriver under the glass and pry it up without damaging or dislodging adjacent tesserae. I use the following process to remove and replace tesserae that have been glued and grouted.
WARNING Flying glass shards are sharp and dangerous. Wear eye protection when chiseling and prying up glued on glass. The glass may break and small pieces can fly in various directions. Protect your eyes. If you wear glasses, use proper eye protection over your glasses.
Step 1: Wear Eye Protection Wear proper eye protection. Normal eyeglasses are inadequate. Put on protective goggles over your eyeglasses.
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Step 2: Break the Bad Tessera Align the star-pointed cold chisel (or center punch) in the center of the tessera that you want to remove. Carefully tap the chisel once with a hammer. Dont whack it repeatedly 10 or 20 times. Instead, tap it once. The intent is to apply just enough force to break the glass. If the first single tap doesnt break the glass, reposition the chisel in the center of the tessera and tap once again a little harder. If the glass still doesnt break, continue hitting the chisel one stroke at a time, increasing the force just a little with each stroke until the glass breaks. When it does break, chunks and shards fly in multiple directions, so its important to wear proper eye protection. Step 3: Pry Up the Bad Tessera Using a small flat-tip screwdriver, carefully pry up the glued-on glass. Dont damage or dislodge the adjacent tesserae. The grout easily breaks, crumbles, and pries off. Pry off any adjacent tesserae that you want to replace. Step 4: Scrape Away Excess Glue and Grout When all tesserae that you want to replace are removed, use the flat-tip screwdriver to scrape away stubborn pieces of glue and grout. If necessary, use a razor-blade knife to cut the glue along the edges of adjacent tesserae without disturbing them. Once cut, use the screwdriver to scrape away all remaining glue. The intent is to ensure the base material is clean so the replacement tesserae lie flat and level with the adjacent tesserae. Its okay if you nick, scratch, or score the base material with the screwdriver, but dont gouge it so bad that the replacement tesserae wont lie flat and level with the adjacent tesserae. Step 5: Install New Tesserae Measure (i.e., trace), cut, and install the new tessera pieces as described earlier in this chapter. Allow the glue to dry at least 24 hours before grouting. Step 6: Prepare the Mosaic for Grouting Use a vacuum hose to remove any remaining glass, grout pieces, or chunks of glue. Grouting is messy. The last thing you want to do is splash grout on the frame or mosaic somewhere that you dont want it. Use painters tape and old towels to protect the frame and mosaic. Step 7: Grout and Clean the Newly Installed Tesserae Grout the new tesserae as described in the chapter on Grouting. Allow the grout to dry 24 hours. Slowly remove the painters tape (dont yank it off). Buff the entire mosaic with a clean, dry towel.
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Step 8: Hang the Mosaic Hang the mosaic in its place on the wall, step back, and let out a reassuring sigh that you did the right thing by taking time to fix the blooper. You think, Wow, it looks so good, Im so glad I fixed it. Figure 11-40 shows my piece after the fix. Notice that I replaced the birds square, vitreous-tile bodies and heads with stained glass. I think they look much better. Now, I enjoy looking at the mosaic without that nagging feeling gnawing at my gut reminding me of how unsatisfied I was with the square tiles.
Figure 11-40. Birds Heads and Bodies Replaced with Stained Glass
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 12 - Creating Your Masterpiece
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Chapter 12 - Creating Your Masterpiece

Now that we know about base materials, adhesives, tools, color, and cutting, lets get to work actually making a mosaic wall-hanging. This chapter applies what we learned in previous chapters by walking you through everything from preparing your base to gluing the tesserae. Later chapters go into detail about grouting, finishing, and hanging your finished masterpiece. My favorite home improvement store has 3/4-inch cabinet-grade plywood pre-cut into 2x4 pieces (each piece costs about $15). I prefer cabinet-grade because its already sanded and isnt warped, and the cheaper grades usually have gouges and nicks. As shown in Figure 12-1, I place the 2x4 plywood on two sawhorses.
Figure 12-1. Measure the Base and Square It The standard pre-cut size of 2x4 limits me to a maximum mosaic width of two feet. I like this limitation because it prevents me from going crazy and creating gigantic mosaics that take forever to finish. Over the years, Ive found that 24x30 is a good size for just about any subject. I use a carpenters square to ensure my final piece is square so the custom-frame people dont have to create a funky-shaped frame. First, I check the pre-cut side to ensure its square. Then, I measure and draw the cut line.
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I use a circular saw to cut the wood. Figure 12-2 shows the 24x30 cut piece ready for sanding. Cabinet-grade plywood is already smooth, but I sand the side edges to remove sawing burrs. I also briefly sand both sides (even though theyre already smooth) to ensure the primer can grab hold really well.
Figure 12-2. Base Cut to Size, Squared, and Ready for Sanding When sanding is complete, use an old towel to wipe away all sawdust. Wipe both sides and all four edges. Be careful to avoid splinters while wiping. Prepare the painting area so you dont slop primer on your garage floor or driveway (refer to Figure 12-3). IMPORTANT: If you use translucent tesserae, I suggest using white primer (not gray). The white primer keeps the translucent tesserae bright when the light shines through it. Gray primer makes the tesserae look dark and dreary.
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Figure 12-3. Use White Primer and a Drop Cloth IMPORTANT: Do not use treated or exterior-grade plywood. Do not use a water sealer containing ingredients that produce a protective layer to which adhesives wont stick (e.g., solvent naphtha (petroleum) medium aliphatic). Primer not only seals the wood to help prevent warping, it also gives the back and side edges a more-finished look than bare wood. Also, primed wood is easier to draw on than bare wood because the pencil point gets caught in the grain of unpainted wood. Apply at least two thick coats to the back side and all four side edges. Apply at least one coat to the front side (i.e., the side on which youll draw and apply tesserae). If one coat doesnt adequately cover the dark shades of the wood, then apply a second coat. Remember, you want the base for the tesserae to be pure white so translucent glass looks bright and cheery instead of dark and dreary. Some mosaic artists like to seal their base material with a mixture of PVA glue and water instead of primer (refer to the chapter on Adhesives for information on PVA glue). Recipes vary from 1:1 glue-to-water, to 5:1 glue-to-water. In my opinion, the thicker, the better. A 1:1 mixture is too watery for me, so I suggest a 5:1 mixture of glue-to-water. I dont normally seal my wood base material this way, but when I do, I use the cheapest white glue available, which is usually Elmers Glue-All. You do not need a fancy, expensive brand of PVA glue for sealing purposes (refer to the chapter on Adhesives for reasons why). Squeeze out about five tablespoons of glue into a plastic party cup, then add one tablespoon of water and mix thoroughly with an ice-cream stick.
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Use an old paintbrush to slop the solution all over the wood base material. Im a neat-freak so I make smooth brush strokes, but its unnecessary because the solution settles and smoothes itself. The solution soaks into the wood and, as the water evaporates, the glue remains embedded in the wood to seal it. Since PVA glue is water-soluble, the paintbrush cleans up easily outside with plain hose water. This technique is a great way to cheaply and effectively seal your wood base material. However, the reason I seldom use it is that I prefer white base material as a background for translucent tesserae. The PVA glue dries clear leaving the natural wood color exposed. Therefore, after sealing the base material with PVA glue, I end up priming it anyway to make it white. After the primer is thoroughly dry, lightly sand the side to which youll apply tesserae (i.e., the front side). Sanding removes the ridges in the paint from the brush, which makes it easier to draw on because the point doesnt get caught in the ridges. Sanding also gives the adhesive something to grab onto really well. If both sides feel equally smooth after sanding the front side (i.e., if you cant tell which side you sanded), then put a tiny tick mark on the sanded side so youll know which side is which. Draw on and apply tesserae to the sanded side. Figure 12-4 shows my finished base material. At this point, I get really excited about starting another project. Its so much fun to cut and glue each little piece of tessera, slowly creating something that looks so beautiful. Lets take the finished base inside to our work table.
Figure 12-4. Base Material Ready for Drawing and Gluing
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Place the base material on your work table, front side up. Remember, the front side is the sanded side. As shown in Figure 12-5, my desk lamp and tools are in place, and Im ready to draw. When drawing, be gentle with the pencil. Dont make thick, dark lines. Instead, draw the lines so you can barely see them. When using translucent tesserae, you dont want the pencil lines showing through. Dont be fooled into thinking that the white glue covers the lines. When first applied, the glue does, indeed, cover the lines. However, the glue dries clear and the pencil lines then show through, ruining the look of your mosaic. Can you see the drawing outline in Figure 12-5? If not, then thats good. Figure 12-6 has a better angle that makes it a bit easier to see some lines of my drawing.
Figure 12-5. Draw the Outline Lightly--Avoid Thick, Dark Lines Now comes the fun part! Arrange your tools and glass on the table so theyre handy. Its okay to put stuff on the base material so everything is convenient. Notice in the following figures that theres more stuff on my base material than on the table. Be careful not to make marks on the base because theyll show through translucent tesserae. Avoid smudging the pencil lines of your drawing. I try to use opaque glass whenever possible but sometimes the only color that works in a particular spot is translucent glass. And just my luck there always seems to be a big pencil smudge or dark scratch on the base material in the exact spot where the translucent glass goes. If thats the case, take the time to paint over the mark so the base is pure white again. With every project, I pull out the primer can at least three times to touch up accidental marks or pencil smudges on the base. Work in another area of your mosaic until the touch-up is thoroughly dry.
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Dont rush by using an opaque piece thats a different color than it should be for that spot. Use the right color. If the right color is a translucent piece that the mark shows through, then take the time to paint over the mark. Dont rush! Do it right. In the end, youll be glad you did. Notice in Figure 12-5 and Figure 12-6 that my desk lamp rests directly on the mosaic base. Then, in Figure 12-7 and beyond, theres a piece of paper between the lamp and base. The paper protects the base from marks and scratches when I slide the lamp to adjust the light. Theres no secret to my decision on where to begin. I just pick a spot and start. Although Im excited to begin a new journey, every time I glue that first piece, I think, Good grief, this is going to take forever. Its okay to have that thought as long as it doesnt keep you from making progress. If you average one or two hours per day working on your mosaic, then, yes, its going to take what seems like forever to finish. So what? What else are you going to do? Its fun, its relaxing, and it feels so good when the project is done. Take your time and enjoy it. Take pictures as you progress. Three or four months later when you finally glue that last piece, look at those pictures and admire how you started with literally nothing and finished with something so beautiful. Figure 12-6 shows the first step of my long journey with about 15 pieces of tessera glued in-place, which means I have only a ga-zillion pieces to go.
Figure 12-6. The First Few Pieces Glued In-Place Notice in Figure 12-7 that, as I cut, I save scrap pieces. I dont throw away much glass after each cut. I even save tiny pieces because I know Ill eventually use them. Also, notice my glass strips. I dont keep the whole 12x12 sheet of stained glass on my work table. Instead, for each color, I cut two or three strips of varying widths. For this project using relatively small tesserae, one strip is about 3/4-inch wide, another is about 1-inch wide, and another is about
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1 1/4-inch wide. If I want a small tessera, I make it from the narrow strip. If I want it a bit bigger, then I make it from a wider strip. This helps reduce waste, making my glass go a long way.
Figure 12-7. Progress after 12 Hours Figure 12-7 shows my progress after about 12 hours. I dont know if thats fast or slow. Maybe professionals can make similar progress in half the time. I go slowly and enjoy it because its not a business for me. I dont hurry to finish so I can sell it to make the mortgage payment. Theres always some kind of interruption that slows me down, such as a big play in the ball game so I have to watch the replays, the dogs want to come in or go out, the cat pushes her way onto my lap for a back scratch, my wife needs help in the kitchen, and the list goes on. I work about an average of 1.5 hours per day on a project. Some days I dont work at all and some days (e.g., weekends) I may work five or six hours depending on how many chores my wife has planned for me. So, a 180-hour project usually takes me three months to complete; whereas, a pro might complete it three weeks. Figures 12-8 through 12-15 show my progress over time. It was so much fun creating it and watching it change day to day!
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Figure 12-8. Progress after 30 Hours
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Figure 12-15. Cutting and Gluing Complete after 180 Hours Whew, finally! Cutting and gluing are complete after about three months. Now were ready for the part that always makes me nervous--grouting. Dont fret! Its easy and it always
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turns out looking wonderful, but it still makes me nervous thinking about slopping globs of cement all over the beautiful mosaic that just took me three months to finish. Lets get busy learning about grout and how to apply it.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 13 - Grouting
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Chapter 13 - Grouting
The long, tedious part of cutting and gluing glass is finally done. Now comes the scary part--grouting. I say scary because I get nervous every time I stand over my work thinking about slopping that yucky goop all over it. I always wonder, What if the grout dries too quickly and I cant get it off the glass? However, my fear is always unfounded because the grout always comes off the way its supposed to and the final results are usually quite nice. The three basic types of grout are cement-based, epoxy, and furan-resin. Epoxy grout is strong, water resistant, stain resistant, and expensive. Furan-resin grout is alcohol-based (instead of water-based) and highly resistant to chemicals. Cement-based grout is the most common type and the kind youll likely use for your mosaics. The three basic types are further broken down into sanded and unsanded. Sanded grout is typically used for spaces 1/8-inch or larger and unsanded grout is used for spaces 1/8-inch or less (for spaces exactly 1/8-inch wide, use either sanded or unsanded). Sanded grout shrinks less and is stronger and more durable than unsanded. Unsanded grout is easier to squeeze into and fill thin spaces between tesserae. Also, unsanded grout wont scratch soft tesserae. I always use unsanded grout for mosaics, even if some of the joints are wider than 1/8-inch. I prefer thin grout lines so most of my joints are less than 1/8-inch. For me, unsanded grout seems easier to work than sanded. This isnt brain surgery and doesnt have to be precise, so if some of your mosaic joints exceed 1/8-inch, you can still use unsanded grout. The earth wont stop turning and the sun wont stop shining if you use unsanded grout in a 1/4-inch mosaic joint. Keep in mind that were grouting mosaic wall art that remains indoors, not a ceramic-tile floor, a pool, or outdoor mosaic project. So, for indoor wall art, unsanded grout is plenty strong enough. When using unsanded grout for my indoor projects, the only thing I ever wonder about is shrinkage, which can lead to cracking, but Ive never had a problem it. Even the mosaic chair rail in our dining room hasnt cracked or shown any shrinkage problems, and it has joints as wide as 1/2-inch (refer to the Gallery chapter for pictures of my mosaic chair rail). I often read the doomsday warnings about using unsanded grout in joints wider than 1/8-inch. But remember, were not grouting a kitchen floor or an outdoor tabletop; were grouting an indoor mosaic that hangs on a wall with limited forces acting on it to weaken the grout. So, if you use properly mix unsanded grout for an indoor mosaic where some joints are more than 1/8-inch wide, youll be okay. If youre nervous and prefer to heed the doomsday warnings, then, by all means, use sanded grout if some of your joints are wider than 1/8-inch. If you decide to use sanded grout and your joint spacing is inconsistent with some spaces less than 1/8-inch, dont fret. You can still use sanded grout, but itll be a bit harder to force into those thin joints. If youre worried about the strength and durability of unsanded grout for your indoor mosaic art, then mix the powder with an acrylic latex admixture instead of plain water.
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Admixture is usually found in the grout section of your favorite home improvement store. I never bother with it; I always use plain hose water. Those who have the left brain/right brain thing going might be interested in knowing what grout actually is. Yes, its cement, but whats cement? Even if you couldnt care less, as a mosaic artist, you should understand the materials used in your work. So, lets take a moment to discover just exactly what cement is.
FYI: The Left Brain/Right Brain theory says the brain has two sides, with each side controlling a different kind of thinking. The theory says the left side controls the objective, logical, rational, and analytical kinds of thought; whereas, the right side controls the subjective, random, and spontaneous kinds of thought. The theory says most people favor the types of thought of one side over the other, but some people are whole-brained. For example, engineers tend to be left-brainers, while artists tend to be right-brainers. If you like both engineering and art, then consider yourself a whole-brainer. Now you know!
Portland cement is the most common type of cement. Did you know that Portland cement is a generic type of cement, not a trade name? Many different cement companies make Portland cement. Joseph Aspdin, a bricklayer in England, invented and patented Portland cement in 1824. He named it Portland cement because it resembled the limestone from the Isle of Portland (a 4.5-mile long by 1.5-mile wide limestone peninsula extending into the English Channel). He heated a coarse mixture of crushed limestone and clay in his kitchen stove. The resulting concoction hardened after he added water. Although it may contain small amounts of various elements, cement comprises four basic components: calcium, silicon, aluminum, and iron. These elements are commonly found in limestone (source of calcium), clay, and sand (sources of silica, aluminum, and iron). Raw chunks of these ingredients are crushed and measured to get the correct mixture (limestone is by far the main ingredient). The crushed materials are then heated to more than 2500-degrees F (thats hot!). The extreme heat causes a chemical reaction and turns the materials into calcium silicates. The resulting material is called clinker. The clinker is then cooled, crushed, and manufactured into a fine powder. The gray powder that we know as Portland cement is so fine that one pound of cement contains more than 100 billion grains, which is fine enough to pass through a sieve that can hold water. Thats right! Finished Portland cement can pass through an extremely fine sieve but water cant. Isnt that amazing? So, now that we know what cement actually is, the next question is why and how does it harden when water is applied? Cement hardens because of hydration, a chemical reaction caused by water resulting in a new compound. The reaction forms chemical bonds with water molecules that are called hydrates. The calcium silicates react to release calcium and hydroxide ions. When the reaction process saturates the material, the calcium hydroxide crystallizes. At the same time, calcium silicate hydrate forms. As time proceeds, the calcium silicate hydrate grows (i.e., the cement hardens) and the process continues until there are no more water molecules and un-hydrated compounds. The resulting substance is rock-hard cement.
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Grout adds strength to your mosaic, keeps out dirt, and helps protect your mosaic, especially outdoor projects. Grout is not an adhesive, so dont try to adhere tesserae to the mosaics foundation using grout. Grout color can improve or aggravate the look of your mosaic. We talked about color in another chapter, so lets not go into it again here (refer to the chapter on Color and Contrast). The point is to choose the right color and shade of grout. Although its critically important to choose the right color, youre not doomed if you end up hating it after it has hardened. If you dont like it, change it. Yes, you can change it. The trick is to simply grout it again (i.e., grout directly over the first grout job). As you re-grout, you may find spots where the original color shows through because you wiped away too much of the second coat, so just add more grout and be more careful wiping it from the tile face. The Grouting Process Lets start by summarizing each step in the process. Then, well look at the details for accomplishing each step. Summarized steps: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. Wait for the adhesive to dry Seal porous tesserae Gather your tools and materials Prepare your work area Prepare your mosaic Mix the grout Let the grout slake Apply the grout First wiping cycle Second wiping cycle Third and final wiping cycle Clean up your work area Help, the grout shrunk! Now what?
Step 1: Wait for the Adhesive to Dry Dont grout until the adhesive securing the tesserae has thoroughly dried. Wait at least 24 hours from the time you adhered the last piece of tessera.
CAUTION If you used porous tesserae in your mosaic (e.g., stone or unglazed tile), seal the porous tesserae before grouting; otherwise, the grout may stain it.
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Step 2: Seal Porous Tesserae Before grouting, seal porous tesserae, such as stone or unglazed ceramic tile, to prevent the grout from staining it. If you used glass tesserae (e.g., vitreous glass or stained glass), skip this step because glass is nonporous and grout wont stain it. Grout stains porous tesserae by getting into the pores, which causes the material to appear dull or hazy. Apply sealer to the tesserae using an old paintbrush or cloth (follow the label directions). Allow the sealer to thoroughly dry before grouting (read the product label for drying time). Step 3: Gather Your Tools and Materials Gather all your tools and materials to ensure you have everything close at hand. See Figure 13-1.
Figure 13-1. Grouting Tools and Materials
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The following list identifies the items shown in Figure 13-1. Unsanded grout (or sanded if you prefer) Grout float Mixing stick (I use a paint-stirring stick) Scoop (the green tool in the figure) Mixing container Container for water Paper towels (an entire roll) Garbage can with plastic liner (i.e., mine is at the immediate right side of the work table in Figure 13-1) Blue painters tape Old towel Drop cloth covering your work table (i.e., mine is the pink sheet over the table top) Table or workbench (avoid working on the garage floor so you dont hurt your knees or back).
Step 4: Prepare Your Work Area Before mixing anything, prepare your mosaic and work area. Once you start spreading grout, you want to focus only on the grouting process. You dont want any distractions, so gather everything you need and have it handy. Clear off your work table and ensure the drop cloth completely covers it. I use a folding card table as my grouting bench and an old sheet as a drop cloth. A plastic shower curtain is a good drop cloth because grout easily hoses off. Grouting is messy work, especially when doing the mosaics edges. No matter how careful you are, youre going to slop grout on the surface of your work table, so use a drop cloth. Put a plastic liner inside a trash can and position the can next to the work table. You need this to throw away the ga-zillion paper towels youll use wiping away the grout. Dont grout in direct sunlight because the sun accelerates the hydration process, which can weaken and crack the grout. The best place to grout is a cool, dry environment. I grout in my garage in the early morning before it gets too hot. So, set up your work table in a shady area, such as the basement, garage, or covered patio. Put drop cloths on the floor if youre nervous about slopping grout all over the place (its better to be safe than sorry). Preparation includes ensuring you have enough time to grout. Plan on at least three hours, maybe more. You must be around long enough to complete the third wiping cycle. For example, dont get up at 6:00am, spread grout all over your mosaic, sloppily wipe away the
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excess, and then go shopping at the outlet mall. If you do, your mosaic will be ruined by the time you return. Its important to dedicate enough time to finish all steps of the grouting process. Step 5: Prepare Your Mosaic I like to keep the side edges of my mosaic clean, so I cover them with blue painters tape. I use painters tape instead of regular masking tape because it sticks well and comes off easily. If you dont care about staining the side edges with grout, then dont bother taping. Im a neat freak, so I tape, which leaves a nice-looking, straight grout line on the side edges. If you later frame the piece, it wont matter if the edges look terrible because no one ever sees them. Although I frame all my work, I still use tape because I like the nice finish.
WARNING The edges of your mosaic are probably very sharp because of the exposed cut glass. Be careful when handling your mosaic and dont cut yourself. Dont slide your hands along the edges of your mosaic. Wear leather gloves when handling your mosaic to help protect against cutting your hands on the sharp edges.
Place a roll of painters tape on your work table so its easily accessible, and then carefully lift your mosaic onto the table. Dont cut your hands on the edges of your mosaic. If you cant safely handle the mosaic by yourself, get help to hold it while you apply tape to the side edges. I rest the mosaic on an edge and let it lean against my chest while I apply the tape. Leave about 1/8-inch of the edge uncovered so the grout can completely fill the gaps. See Figure 13-2.
Figure 13-2. Apply Blue Painters Tape to the Side Edges for a Clean Finish
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Notice in Figure 13-2 theres about 1/8-inch of edging exposed all the way around the mosaic. Also notice the sharp edges of the cut glass. Those glass edges are sharp, so be careful. Before mixing grout, examine your entire mosaic to ensure the surface and joints are clean and free of loose debris. If any dried adhesive is sticking up above the level of the glass, use a razor-blade knife to carefully cut it away. Use a vacuum-cleaner hose to suck out all loose debris. Step 6: Mix the Grout The amount of grout needed depends on two basic variables: 1) the size of your piece, and 2) the width of your joints. Obviously, smaller joints require less grout. Its important to mix more than you think youll need to ensure you dont run out. This is especially true when using colored grout to ensure color consistency unless you intend for your piece to have varying shades of grout. If you have a brand new box of grout, youll probably use only a small portion of it. Dont dump the whole box into a bucket of water! To get an idea of how much you need, consider my piece that were grouting today. Its 24x30, and the joints are an average of only about 1/16-inch. Notice in Figure 13-3 that I mixed a fairly small amount for this project, and Ill have plenty leftover when Im done. If this is your first time grouting a mosaic, put what you think is enough into your mixing container and then add at least half that amount (i.e., mix about 1.5 times what you think you need). When youre done, observe how much you throw away so you can better estimate how much youll need for your next project.
Figure 13-3. Mix the Right Amount of Grout with the Right Consistency
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The first rule of mixing grout is to follow safety precautions. The second rule is to read and follow the label instructions.
WARNING Grout is caustic and can cause skin irritation, chemical burns, and serious eye damage. Wear protective eye glasses and rubber gloves when mixing grout. Dont breathe in the grout powder. Wear a respirator or dust mask.
Somewhere away from your mosaic so you dont splash grout on it while mixing, scoop enough grout powder into your mixing container. Slowly add small amounts of water and mix using a paint-stirring stick. Some grout brands are polymer modified, which means acrylic latex has already been added to the powder. If the grout already contains the additive, the bag says in easy-to-read print, polymer modified or similar words. If the grout doesnt already contain the additive, then you may choose to mix the grout with an admixture instead of water. As noted previously, I never bother adding acrylic latex for my indoor mosaics. Plain hose water works just fine for me. Add small amounts of water at a time and thoroughly mix it. Dont pour in all the water at once. Dont make the grout too runny by adding too much water. Take your time and mix in a little bit of water at a time. When its almost at the right consistency, just a teaspoon more water can be too much. So, take your time. Dont make the grout too runny. This is important so lets say it again together, Dont make the grout too runny. I use thick, pasty grout because its easier to wipe off without digging into the joints. The technical reason for not making it runny is that too much water makes the grout weaker and more susceptible to staining. So, thicker is better. My favorite consistency is like thick toothpaste or cookie dough (thats thick toothpaste, not runny toothpaste). Some books say to make it like pudding or mayonnaise, but thats too thin for me. After thoroughly mixing the grout, I use the paint-stirring stick to scoop some up and hold it over the container. If it drips off the stick into the container, then its way too thin. I like it so it stays in place on the stick and doesnt droop or sag. If you accidentally pour in too much water and make the grout too runny, simply add a little more grout powder to thicken it. Add just a teaspoon of grout powder at a time. A small amount of grout powder can change it from runny to just right. If you add too much grout, itll be too thick and then youll have to add a few drops of water to thin it. Youll be caught in an endless loop of adding grout to thicken it, then adding water to thin it. So, add small amounts. After your first grout job, youll get a feel for how much to add, so itll be easier the next time you do this. When you get the right consistency, thoroughly mix the grout to ensure theres no remaining powder and no lumps. I like to wipe the sides of the container with the paint-stirring stick to get all the powder off the sides. I dont like any unmixed powder anywhere in the container.
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Step 7: Let the Grout Slake Now that the grout is thoroughly mixed and at the right consistency, leave it alone. Yes, thats right; let it stand for about 10 minutes. Read the instructions on the bag so you know whether to let it stand for 5 minutes, 10 minutes, or whatever the bag says to wait. This is called letting the grout slake. Remember earlier when we thought we were learning useless trivia about the chemical reaction that occurs when adding water to cement? It turns out not to be so trivial after all. Waiting gives the grout time to start the chemical reaction. This isnt rocket science, so you dont need a stopwatch to measure exactly 10 minutes to the second. After the recommended wait time as defined in the mixing instructions on the bag, remix it for about a minute. Dont add more water at this point (more water weakens the grout). Simply remix it and then itll be ready to apply. Step 8: Apply the Grout Invest in a good grout float with soft rubber bonded to a dense rubber backing, like the one in Figure 13-1. It looks like a margin trowel and is about 2x6. I suggest not using a standard 4x9 grout float because its too big. Another neat tool that works well is a grout squeegee. I prefer the narrow grout float because its easy to scoop grout and I can spread it with either the 2-inch side or the 6-inch side. The 2x6 rubber-coated float is only a couple dollars more than the economy plastic version. Dont scrimp on your grout float; buy a good one. Grout the edges first, all the way around the mosaic. Using your float, scoop a glob of grout and plop it onto your mosaic. Hold the float at an angle (30 to 40 degrees) and spread the grout along the edges, forcing it into the joints. Scoop more grout as necessary, plop it onto your mosaic, and squeeze it into all the joints. Spread the grout over the joints from the left, right, top, and bottom (i.e., spread in different directions). Your individual glass pieces wont be perfectly level, so youll notice that the grout wont go into some joints as you spread in a certain direction. Simply spread in the opposite direction to fill the joints. After the entire mosaic is grouted, carefully skim away excess grout using the edge of the float. I tilt the float almost completely on its edge (i.e., not quite 90-degrees) when skimming away excess. Dont press so hard that the float digs into the joints. Simply skim the surface of the mosaic to remove excess grout. After each pass over the mosaic, wipe the float on the edge of the mixing container to remove the grout so you have a fairly clean float for each pass. Dont try to precisely remove all excess grout from the mosaic at this time. See Figure 13-4 and notice that the grout is smeared in places (i.e., the mosaic isnt perfectly cleaned of grout). Skim away as much of the smearing as you can without digging into the joints, but dont try to make it perfectly clean yet. Dont forget to skim away excess grout from the mosaics taped side edges.
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Figure 13-4. First Pass: Carefully Skim Away Excess Grout Using the Float Dont worry about making a mess, especially when grouting the taped side edges. Thats why you put down a drop cloth. You can minimize the mess but you cant completely avoid it. If you drop big globs of grout onto the drop cloth (which you probably will), simply pick them up and reuse them. Read the bag instructions again to find out how long you should wait before the first wiping cycle. The grout needs time to set a bit so you dont inadvertently wipe it away from the joints. The wait time is typically about 20 minutes, but make sure by reading the bag instructions. Use this wait time to clean the grout float. Dont accelerate the hardening time by putting the mosaic in sunlight or blowing hot air on it from a hair dryer. Youll only make the grout weaker and increase the chance of shrinkage and cracking. The grout label instructions typically say to mist water onto the grout at certain times to keep it from drying out while curing. I never do, but if it makes you feel better, then go ahead and mist according to the label instructions. If you mist, ensure its a mist; dont leave big water drops on the surface of your mosaic. Again, I dont mist and Ive never had a problem with shrinking or cracking grout in my mosaics. Clean your float outside. Dried grout comes off easily by holding the float under hose water and carefully rubbing it with your fingers. Be careful not to cut yourself when rubbing the metal parts of the float. Dont clean your tools in the sink and dont ever put grout down the drain. Grout hardens anywhere, even underwater (the chemical reaction causes cement to harden, not dry, so it can harden even underwater). If you put grout down the drain, you risk clogging your pipes. Dont do it.
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Dont throw away your unused grout yet. You can put a towel over the container to give yourself a comforting feeling that youre delaying the hardening process, but covering it doesnt have any meaningful effect. Grout hardens without air (remember, cement hardens even underwater). In contrast, white glue doesnt dry without air. White glue remains in liquid form as long as you prevent air from causing the water to evaporate. A long time ago, I learned by accident that grout can harden without air. I tried saving leftover grout by sealing some in an air-tight plastic bag. I came back two hours later and found the grout hard as a rock, still sealed in the plastic bag. Because grout hardens without air, putting a lid on the container or covering it with a towel doesnt delay the hydration process. After the second wiping cycle (described in the steps below), youll closely inspect your mosaic for small areas with missing grout that result from not spreading it properly, wiping too hard, or from shrinkage. If you come back later and need more grout to fill gaps or make repairs, maybe some of your original batch will still be workable. If not, you must mix a small amount from scratch. The point is that you cant delay the hardening process so dont bother trying. Use Different-Colored Grout As noted in the chapter on Color and Contrast, different colors of grout can produce wonderful results. Notice in Figure 13-5 that the dragonfly wings and the butterfly are done with black grout, while the rest of the work is done with light gray. Also notice how the black grout in the butterfly actually makes it look like a real Tiger Swallowtail. If I had used gray grout for the butterfly, the effect would not have been as striking.
Figure 13-5. Use Different Colors of Grout for Dramatic Effects

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All you need are blue painters tape, a razor-blade knife, and patience. Lets consider the dragonflys wings as an example. I decided to apply the gray grout around the wings first, and then do the wings in black. Lets walk through the process.
CAUTION Use this technique only when your tesserae are hard glass. Soft tesserae are susceptible to scoring and scratching with the razor blade knife.
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Test how susceptible your tesserae are to scoring and scratching using the razor-blade knife. Dont test your finished mosaic; instead, test an unused piece of tessera. Apply painters tape to the test tessera. Using the razor-blade knife, cut the tape by applying light pressure (i.e., just enough to cut the tape). Then, make another cut by applying heavier pressure. Remove the tape and observe if you scored or scratched the glass with either the light-pressure cut or the heavy-pressure cut. If you dont see damage resulting from either cut, then you should be able to cut the tape on your glass mosaic without scratching the glass. Cover the wings with blue painters tape. Dont be precise with the tape by aligning it perfectly with the outline of the wings. Simply cover the entire area of the wings with tape. Put a new blade in the razor-blade knife. Nows not the time to try to get the maximum mileage from an old blade. If you want the outline of the wings to be black grout, carefully cut the tape using the razor-blade knife on the outside edge of the joint around the wings. If you want the outline of the wings to be gray grout, cut on the inside edge of the joint around the wings. Lets assume you want the outline around the wings to be black, so cut the tape on the outside edge of the joint around the wings. Work slowly and press just hard enough to cut the tape. Dont score or scratch the glass. Carefully peel off the tape around the wings. Leave the tape covering the wings. Carefully use your finger to press the edges of the tape to ensure its stuck down all the way around. Apply the gray grout normally. Although the grout is wet, the painters tape resists the moisture long enough to finish spreading, skimming, and wiping the grout. Leave the tape in-place until after the second wiping cycle, and then carefully peel it off. With all the tape off, notice how the wings and the outline around the wings are un-grouted. Let the gray grout dry overnight. The next day, apply tape over the wings again. This time, extend the tape well beyond the boundaries of the wings. You dont want to get black grout on your beautiful gray grout, so apply enough tape to cover an area about 12-inches all the way around the wings.
2. 3. 4.
5. 6. 7. 8.
9. 10.
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Remember, grouting is messy, so dont risk slopping black grout where you dont want it. After taping, you may want to also use newspaper or towels to cover the entire mosaic. 11. 12. Replace the razor blade again. I like a fresh, new blade every time I do this kind of intricate work. Since you decided earlier that the outline around the wings will be black grout, carefully cut the tape using the razor-blade knife on the outside edge of the joint around the wings. Work slowly and press just hard enough to cut the tape. Its sometimes difficult to find the exact cut-line. It takes patience and a willingness to pay attention to detail. Trust me, all your hard work will be well worth it. Sometimes, the blade doesnt cut the tape as easily as you want. Sometimes, you think youre on the correct cut-line, but youre not. Sometimes, the knife slips and you cut away too much. These things happen. Dont fret and dont give up. Simply apply a new piece of tape and cut again until you get it right. Carefully peel off the tape over the wings. Leave the tape covering everything else except the wings. Carefully use your finger to press the edges of the tape around the cut lines to ensure its stuck down all the way around. Apply black grout to the wings. Be careful not to slop grout on areas you dont want black grout slopped. Leave the tape in-place until after the second wiping cycle, and then carefully peel it off. Stand back and marvel at how beautiful the dragonflys black-grout wings look against the gray-grout background. Uh, oh! Suppose you step back, stare at your work, and realize you hate the multi-colored grout or the transition lines from one grout color to the other isnt clean (e.g., maybe one grout color bled into the other). Dont fret. As we discussed earlier in this chapter, if you dont like the grout color, then change it. For example, after grouting the wings black, if you later decide you want everything gray, simply re-grout the wings with gray. The trick is to carefully skim and wipe the excess grout from the glass face without removing it from the joints. Its always easier to grout over a light color with a dark color. Re-grouting over a dark color with a light color requires experience and patience. So, as emphasized in the chapter on Designing and Drawing, plan your project well and try to be sure of your colors.
13. 14. 15. 16.
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Mix and Create Your Own Grout Color If you decide to use colored grout (i.e., red, blue, yellow, green, orange, purple, etc.), you probably wont find it at your favorite home improvement store. If youre lucky, you might find the color you need at an online specialty store. If not, you must make your own. Depending on the desired shade, use either white or light-gray grout and then mix in acrylic paint (typically available at hobby stores). You must experiment before going off willy-nilly deciding to use white or gray grout and guessing how much paint to mix in. Prepare a few swatches using leftover tesserae glued to a piece of wood, with each swatch about 4 inches square. If you think you want a relatively bright shade, use white grout. If you want a duller shade, use light-gray grout. Mix in some paint (dont add too much yet). Apply the grout to one swatch, and skim and wipe away the excess.
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Then, mix in a bit more paint and apply that to another swatch. Then, mix in more paint and apply that to third swatch. Let the swatches dry overnight and then see if any of the grout shades suit your needs. If they dont, try using a different grout color (e.g., white instead of gray or vice versa) and make three more swatches. Experiment until you find the perfect shade for your mosaic. Its important that you dont rush this process. Take your time and create as many swatches as you need to find the right grout color. Dont grout your mosaic with colored grout until you find the perfect shade and know how to re-mix another batch to yield the same color. You must know which color grout to start with (white or gray) and how much paint to mix in. Review the chapter on Color and Contrast, understand how grout color affects your mosaic, and ensure the color and shade that you select is right for your mosaic. When mixing acrylic paint into grout, keep a few things in mind: 1) Paint changes the composition of the grout so its strength and drying time are affected; 2) It takes more paint than you probably think to affect the grout color; 3) Changing grout color with paint never results in a bright color, such as bright yellow, red, or blue; instead, the resulting color is like a muted pastel; 4) Mix more than enough colored grout because if you run out in the middle of your project, you probably wont be able to exactly match the original mix; and 5) Let your swatches set overnight as a test to see how well the grout dries and how much the color changes as it dries. Dry grout is typically lighter than wet grout, so dont decide which shade is best until the swatches are completely dry. My first experience with coloring grout is amusing. I once replaced the toilet flange in our master bathroom. To remove the broken flange, I also had to remove a small 2x3 piece of ceramic tile. After fixing the flange and installing a new piece of tile, I realized that I didnt have any leftover brown grout. Uh oh, now what? I needed to know how much of the grout line would be visible with the toilet reinstalled. I estimated only about one inch. I lucked out because the tile repair was on the side of the toilet facing the wall out of view. With only an inch of grout line exposed and hidden from view, I decided not to buy a whole new box of grout. I figured that no one would know if the color didnt perfectly match the old grout. I used leftover white grout and mixed in some 15-year-old finger paint that I found hidden in the back of the utility cabinet. I thought, Hey, if it doesnt work, Ill dig it out and try something else because Im not going all the way to the store to buy 10 pounds of grout when all I need are a few tablespoons. (In other words, I was cheap and lazy.) I realized the leftover white grout was unsanded so I thought, Since its a 1/4-inch grout line on the floor by the toilet, I should probably use sanded grout for added strength. I put about four tablespoons of grout in a mixing container, then went outside, picked up two pinches of the cleanest Florida sand I could find (no leaves, twigs, acorns, pine needles, or bugs) and put it in my mixing container. After thoroughly mixing it, I thought optimistically, This wacky idea might actually work. I mixed in some water and brown paint. The color didnt look right so I added more paint. Then, I remembered that grout is typically darker when wet, so I added more paint. Still too light. More paint. More paint again. It still looked too light, but I quickly lost interest in the project, so I decided to use what I had.
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I finished the repair job and cleaned my tools. An hour later, the grout appeared to be setting nicely. Two hours later, it felt mushy to the touch. Later that night, it still felt mushy. The next morning, it was just as mushy. I thought, Oh, great, is this stuff ever going to harden? By now, my wife was bugging me to replace the toilet, but with the kids gone, the other two bathrooms were available so I wasnt in emergency mode yet. I decided to wait another day. Finally, the next morning the grout was dry. I poked it with a screwdriver to test its strength. Success! It was hard and the color looked surprisingly good. I re-installed the toilet and everything was back to normal. Step 9: First Wiping Cycle After about 20 minutes (or however long the bag instructions say to wait), carefully wipe the remaining excess grout from the surface of your mosaic. Heres where I deviate from the bag instructions. The bag typically says to use a damp sponge to remove excess grout. Instead, I use dry paper towel. I find it much easier to work with than a damp sponge. For me, no matter how well I wring it out, the remaining water in the sponge always causes the grout in the joint to smear. The more I wipe, the more it smears. Eventually, I wipe and smear so much that all the grout from the joints is gone. By using a dry paper towel instead of a wet sponge, I greatly minimize the smearing. It works just fine for me. If you decide to use a paper towel, fold it at least twice so its thick (i.e., two folds makes it four layers thick). As you run the paper towel over the mosaic, it catches on the pointy edges of the glass tesserae, which rip it to shreds. The several layers of paper help protect your fingers from the sharp glass. Therefore, fold the paper towel so you have at least four layers of paper. As you wipe and the paper shreds, tiny pieces get caught on the points of the tesserae. Simply blow them away or flick them off by gently brushing them with the paper towel. Use a clean towel (i.e., change out the paper towel often). Dont try to save on paper towels. After a few wipes, toss it into the garbage can that you set up next to your work table. Fold a new clean paper towel to get the proper thickness and start wiping again. I sometimes use half a roll just for the first wiping cycle. Dont scrimp when it comes to using clean paper towels to wipe away the grout. When wiping with the paper towel, press just hard enough to remove excess grout from the glass surface but not so hard that you dig out the grout from the joints. The objective is to remove excess grout clumps and smears from the glass without disturbing the grout in the joints. The glass (particularly vitreous glass) has imperfections that capture grout. No matter how hard you try to rub it off, it wont budge. Thats okay. The grout that gets caught in those tiny imperfections is what adds character and individuality to your piece. After you complete the first wiping cycle, closely examine the entire mosaic, including the side edges. Youll probably see small areas with missing grout or depressions in a joint from wiping too hard. Scoop out a small amount of grout with your fingertip and carefully push it down into the joint. Be careful not to cut yourself. Then, go over it with the float to pack as much grout into the joint as possible. Dont spread grout all over the mosaic just to fill a
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half-inch void. Keep the grout mess confined to the area needing repair to minimize the re-wiping. Use the float to wipe away the excess and then use a dry paper towel to clean it up. Youll see a fine haze form on the glass. Thats okay, its supposed to form. Dont wipe away that haze yet. If you do, youll dig out the damp grout from the joints. Instead, leave it alone for about 30 minutes to let the grout harden a little. Figure 13-6 shows my mosaic after the first wiping cycle, ready to sit for about 30 minutes.
Figure 13-6. First Wiping Cycle Is Complete - Now Wait 30 Minutes Notice in Figure 13-6 the messy drop cloth from slopping grout when doing the taped side edges. Theres no way to avoid that mess, so dont try. Help! A Tessera Popped Loose While Wiping the Grout! If your mosaic has small pieces of tessera, chances are one or more will break free while spreading or wiping away grout. Small means the piece is so little that you had to hold it with tweezers to apply the glue and set it in-place. In these cases, the small amount of glue securing the piece isnt strong enough to resist the forces applied when spreading and wiping grout. If a piece breaks free, you probably wont see it. Instead, youll feel it scrape against the glass while spreading the grout with the float. Dont panic. If you feel anything scrape against the glass while spreading grout, dont ignore it. Stop and find whats causing the scraping. Find the loose tessera and save it; dont throw it away. Wipe it clean (dont cut yourself) and set it aside. Use a small-tipped screwdriver or other small tool to dig out the grout so the
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piece fits properly in its space. Apply a generous amount of glue directly into the space and set the tessera in-place. Continue spreading or wiping. Be careful not to wipe over the loose tessera or youll dislodge it again. Dont re-grout the repaired area yet. Wait until the second wiping cycle to give the glue a chance to set. When its time to start the second wiping cycle (about 30 minutes later), scoop up some leftover grout with your finger and carefully push it into the joints around the piece. Dont cut your finger (the loose tessera may be small, but its probably sharp) and dont push so hard that you dislodge the piece again. Gently skim the float over the piece to wipe away excess grout. Again, be careful not to push on the float so hard that you dislodge the piece. Finish the second wiping cycle as described in Step 10 over the rest of the mosaic. Step 10: Second Wiping Cycle After about 30 minutes, the grout is fairly firm, but be careful because you can still disturb it by scraping it with a fingernail or digging too hard when wiping. Use dry paper towel (folded at least twice to give the proper thickness) and gently rub away the haze. By now, the grout is firm enough so you can use a little more pressure to remove the haze (but dont go crazy with the pressure yet). Wipe the entire mosaic, removing as much haze as you can without disturbing the grout in the joints. Change out the paper towel often. As the pointy edges of the glass rip off small pieces of paper towel, simply blow or flick them away. At this point in the process, all excess grout on the glass should be gone. Never allow grout to cure on the glass face because you wont be able to remove it. Examine the entire mosaic to ensure all joints are filled with grout. If you find a tiny pinhole or depression that needs more grout, then fix it by adding more grout with your fingertip and carefully wiping away the excess. If everything looks good, you can now discard the unused grout. Scoop out as much as you can with the paint-stirring stick and place it in a bag (e.g., a plastic grocery bag) before putting it in the garbage can. Using hose water outside, clean the paint-stirring stick and container. Remember, never throw excess grout down a drain. Step 11: Third and Final Wiping Cycle Two hours later, its ready for the final wiping cycle. Use dry paper towel folded at least twice to give the proper thickness to buff the glass and remove whatever haze may still be present. I use a fast, but gentle, back-and-forth motion to buff the glass. Change out the paper towel often. Blow or flick away the little pieces of paper towel that get caught on the pointy edges of the glass. Carefully remove the tape from the side edges, leaving a clean, straight grout line around the side edges. Figure 13-7 shows my mosaic after the final wiping and buffing.
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Figure 13-7. Results after the Final Wiping and Buffing Step 12: Clean Up Your Work Area
WARNING The side edges of your mosaic are likely still very sharp. The grout covers some of the sharp edges, but not all of them. Be careful when handling your mosaic. Dont slide your hands along the edges. Wear leather gloves when handling your mosaic to help protect against cutting your hands on the sharp edges.
Its time to clean up. Put your mosaic in a safe place out of the way. When handling your mosaic, be careful not to cut yourself on the side edges. Fold the drop cloth to catch all the dried grout and then unfold it over the garbage can so all the loose pieces fall into the garbage can instead of onto the garage floor. A few stubborn clumps of dried grout usually stick to the cloth, so shake or pull them off. Once all the big chunks are in the garbage can, shake out the cloth outside. Be careful not to get any grout or dirt in your eyes when shaking out the cloth. Put everything away except for your work table. Place your mosaic on the work table (you dont need the drop cloth anymore, unless you want to cover the mosaic overnight). Step back one more time and admire your work before going inside to plan your next project. Wow, it looks great! Youve done a superb job. Way to go!
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Leave your mosaic overnight so the grout can harden and cure. The next day, you may want to buff it with paper towel again to ensure its clean (you may notice a light haze on the glass surface). Buff it so the glass is clean and haze free. Remember, glass has imperfections that catch grout and wont come clean no matter how hard you wipe and buff. Rarely, the haze wont buff off (i.e., typically only when you do something wrong in the grouting process). Wait a week for the grout to cure, and then give the mosaic an acid wash using white vinegar (i.e., the stuff you buy at the grocery store). Vinegar is a weak acetic acid, so take care and follow all label precautions when using it. Step 13: Help! The Grout Shrunk! After the grout has cured for 48 hours, you may notice grout shrinkage. Shrunken grout lines are like little valleys where the grout sinks and is no longer flush with the tesserae. This usually happens with me when I mix the grout too runny. When I use a thick, pasty grout, I experience much less grout shrinkage. If it happens to you, dont fret! Its an easy fix. Simply re-grout the mosaic. Its a lot easier the second time, especially when using thick, pasty grout. If you need to tape the side edges again, then tape them (dont shortcut the process). Again, because the joints are already mostly filled with grout, re-grouting is easier than the initial grouting.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 14 - Finishing (Seal, Sign, and Frame)
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Chapter 14 - Finishing (Seal, Sign, and Frame)

Your masterpiece is almost complete! Just a few more things to do before displaying it for the world to enjoy. Seal the Grout The purpose of sealing grout is to make it water and mildew resistant, and to help keep out dirt. Many mosaic articles and books say you must always seal grout. I dont always agree. In my opinion, indoor wall-hanging mosaics displayed in dry environments dont need sealing. I simply dont bother because my indoor wall-hangings dont get wet or dirty. However, indoor mosaics exposed to dirt and moisture (e.g., tabletops and backsplashes) should, indeed, be sealed. Grout on all outdoor mosaics should always be sealed for maximum protection from dirt and weather. There are two basic types of grout sealers: 1) Penetrating, and 2) Membrane-forming. Penetrating Sealers: These sealers soak into the grout and leave deposits when the base liquid evaporates. The deposits, typically latex or silicone, fill the voids in the grout, which then helps the grout resist dirt, grease, and liquid. Penetrating sealers usually dont change the grout color, except to slightly darken it. Higher-quality sealers typically result in less grout discoloration. Membrane-forming Sealers: These sealers dont soak into the grout; instead, they stay on the grout surface and harden, usually to a glossy finish (i.e., they form a thin membrane on the grout surface). Membrane-forming sealers are typically used in grout dyes to purposely change the grout color. Note that sealers dont provide 100% protection in all conditions. Read product labels carefully under the heading of Limitations and youll notice that they typically say repel or resist, which arent the same as provides complete protection. Dont expect sealers to prevent staining in all circumstances (I learned this the hard way). Many years ago, I remember sitting with my wife for hours on the kitchen floor applying two coats of penetrating sealer to the 1/4-inch grout lines. In those days, the product label warned against getting sealer on the tile so we carefully used toothbrushes to apply it. It took forever. When we finally finished, we admired our work and felt good believing we protected the grout color from turning dirt-brown over time. Six months later, it was dirt-brown (good grief). We got back down on the hard tile floor, this time using toothbrushes to scrub the dirty grout with sudsy vinegar (some joker at the home improvement store said sudsy vinegar easily cleans dirty grout). Hours later, we realized that, too, was a waste of time. The moral of the
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story is, be aware that grout sealers only resist or repel stains and discoloration, they dont prevent them. I prefer a high-quality penetrating grout sealer on my glass mosaics. My favorite is TileLab SurfaceGard Penetrating Sealer made by Custom Building Products. Its water-based, easy to apply, cleans easily off glass tesserae, and repels dirt, water, oil, and stains. I apply it to my mosaic tabletops and trivets using a soft paintbrush to spread it over the entire surface. Two minutes later after the sealer soaks into the grout, I use paper towels to wipe excess sealer off the glass tesserae. Then, after another two minutes, I use a clean towel to buff off any remaining residue. If you wipe the sealer off the tesserae within a few minutes after applying it, theres usually no problem with it dulling or damaging the glass. Although the product label recommends two coats, I tested it and found that one coat is usually enough for my indoor mosaic tabletops and trivets. When first trying the product, I let the sealer dry for two hours and then applied a drop of water to a grout line. The water beaded instead of soaking in, indicating the grout was adequately sealed. So, I use only one coat for my indoor mosaics that need stain and water resistance. However, for all outdoor mosaics, I always apply two coats. Remember, its important to wipe off excess sealer from glass tesserae within a few minutes of applying it. Dont risk the sealer dulling your glass with a residue that may be impossible to remove if left to thoroughly dry. Also, when using grout sealer, dont forget to take proper safety precautions. Read and follow the product label. Do Tesserae Need Sealing? The many varieties of glass tesserae (e.g., vitreous glass tiles, stained glass, mirror tiles, etc.) dont need sealing because theyre non-porous. However, if you incorporate porous tesserae into your work, then you must seal them before grouting (refer to the chapter on Grouting). Examples of porous tesserae are natural stone, unglazed ceramic, and shells. As noted in the chapter on Grouting, one of the first steps in the grouting process is to properly seal porous tesserae before applying grout. Certain tesserae may be sealed after grouting to enhance their look. For example, applying a glossy sealer to pebbles can make them look wet, as if in a stream. Read product labels to find a sealer that gives the effect you want (e.g., glossy versus flat). Sign Your Masterpiece Now that the grout sealer is dry, its time to sign your work. You want the world to know you created that masterpiece! Long ago after completing my first work, I researched what might stick permanently to glass, but didnt find many options. I decided to use acrylic enamel paint. Painting small letters with a tiny brush isnt my forte, but I manage okay and my finished name is usually legible. I cover my painted-on signature with a clear, spray-on, acrylic sealer. Spray-on acrylic sealer is hazardous, so follow safety precautions written on the product label. By spraying the acrylic enamel with an acrylic sealer, my signature lasts a long time.
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If you find it impossible to legibly write your signature using a tiny paintbrush, dont fret. Instead, simply use a high-quality permanent marker with a fresh, pointy tip. Dont use an old marker with a worn-down tip because the lines will be too thick. Let it thoroughly dry and then seal it with spray-on acrylic sealer. I found that the sealed permanent marker works just as well as sealed enamel. The reason I use a paintbrush and enamel to sign my name instead of a permanent marker is to get that brush-stroke look; otherwise, Id use a marker. The following describes my process for signing my glass mosaic work. First, gather all your tools and materials to ensure you have everything close at hand (see Figure 14-1).
Figure 14-1. Signing Tools and Materials The following list identifies the items shown in Figure 14-1. Paintbrush (small size, doesnt have to be made of fancy Kolinsky sable hair; a cheap synthetic-hair brush is okay) Acrylic enamel (I use water-soluble so the brush is easy to clean, and I typically use black). Paint is hazardous, so follow safety precautions written on the product label. Remember, if you cant legibly sign your name using a paintbrush, then use a high-quality permanent marker instead. Clear, spray-on, acrylic sealer. Spray-on acrylic sealer is hazardous, so follow safety precautions written on the product label. Painters tape (I dont use regular masking tape because its too sticky) Paper towels and/or old cloth towels or rags.
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Decide where on your mosaic you want your name and wipe the tesserae clean. I like the lower-right, but sometimes I feel like a rebel and put my name on the lower-left. I look for a piece of tessera big enough to hold my entire signature so I dont have to paint over a grout line. Pick a spot where the paint color contrasts the tessera color; otherwise, your name wont stand out. For example, in Figure 14-1, my name appears barely visible on the brown tessera, but the picture is deceiving. The brown tessera appears darker in the picture than in reality. The moral is to find a spot where the tessera is light enough so the black letters stand out. Another important, but not so obvious, consideration is whether you plan to frame your work. If you frame it, ensure you leave enough space for the frame to overlap the face of your mosaic so it doesnt cover any portion of your signature. The frames on my work overlap between 1/8-inch to 1/4-inch, so I leave at least 3/4-inch between my name and the edges of the mosaic.
WARNING Paint is hazardous. Follow safety precautions written on the product label. Do not allow children access to paint containers.
If youve never written your signature using a small-size paintbrush, I suggest practicing on paper before applying paint to your mosaic. Decide whether you want to print or use cursive. Experiment with different styles and find one that you not only like, but also one thats easy to paint. When confident that youll do a good job with your chosen style, put the mosaic on a table and sit in a chair, then brace your wrist or forearm by resting it on the edge of the table. I move only my fingers when signing because I have much better control than if I move my entire arm. Dip the brush into the paint, and then wipe two strokes on paper before touching the mosaic (this removes excess paint from the brush to minimizing globs). Go slowly. If you mess up, carefully dab or wipe it up with paper towel without smearing it into a grout line. Let the paint dry thoroughly before sealing it. After the paint dries, use blue painters tape to tape off an area about 1/4-inch around all sides of your name. Ensure you tape the side edges of the mosaic so the spray-on sealer doesnt get on any part of your mosaic except exactly where you want it. Painters tape results in a clean, straight edge. If you want a more blended look, use old rags carefully placed around your signature instead of tape. Use cloth or paper towels to cover the rest of your mosaic. Dont leave any other part of the mosaic face exposed. Dont risk an accident when spraying the sealer. The wind may change direction or anything can happen, so take the time to cover the entire mosaic to prevent any spray-on sealer from getting on any part of the mosaic except exactly where you want it.
WARNING Spray-on acrylic sealer is hazardous and extremely flammable. Follow safety precautions written on the product label. Do not allow children access to the spray container. Always use spray on acrylic sealer with adequate ventilation. Avoid contact with skin and eyes. Do not breathe vapors. Use a respirator when applying spray-on sealer. Spray-on acrylic sealer is extremely flammable. Do not smoke when using spray-on sealer. Do not use near an open flame.
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Two thin coats of spray-on sealer are adequate. Allow the first coat to dry before applying the second. Dont apply more than two coats; otherwise, the sealer will build up, become too thick, and stand out too much when you remove the tape. A thin coat of acrylic spray-on sealer dries quickly, usually in about 15 minutes. Apply the first coat by holding the can about 12-inches above the mosaic. Dont hold the can too close or youll glob it, creating an uneven coat with ripples that looks bad. Dont hold the can in one place while spraying. Dont hold down the nozzle and wave the can back forth; instead, quickly press down the nozzle and release it. Shoot several squirts of spray until a thin, even coat covers your signature. Apply the sealer in thin coats and let the first coat dry before applying the second (i.e., dont try to save time by applying one thick coat). You spent lots of time creating your masterpiece, so dont start now trying to finish quickly. After squirting several short bursts of spray across your signature, stop spraying and let the coat dry. After applying each coat, go outside into open air and clean the nozzle by holding the can upside down and depressing the nozzle. Keep it depressed until spray no longer comes out. After about three or four seconds, youll hear pressurized air releasing from the can but you wont see any spray coming out. Let go of the nozzle when you no longer see spray coming out. Remember, do this outside in a well-ventilated area and dont breathe the vapors. After the second coat dries, remove all the towels and carefully pull off the tape. Dont yank the tape so hard that you disturb the dried sealer or dislodge the tesserae. If you apply the sealer too thick, the tape may peel off the sealer, which may peel off the painted letters leaving the tessera clean as if you never painted it. Yes, this happened to me (good grief). I had to start again from scratch. I re-signed my signature and then surrounded it with old rags instead of tape. Thats how I discovered that using rags to protect the mosaic from the spray sealer (instead of painters tape) results in a nice, blended look. Great job! Your signature looks wonderful and will remain there forever (unless the kids or grandkids rub it with steel wool). Frame Your Masterpiece You have three viable options for adding the final touch to your masterpiece: 1) No frame, 2) Plain homemade frame, or 3) Custom frame. I prefer a custom frame. To me, it adds so much to the finished work and it just plain looks better than a homemade frame or no frame at all. But, as Cicero once said, To each his own.
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No Frame Some people call this the modern look and contend that the exposed, unframed edges dont detract from the work. If you choose the no-frame look, I highly recommend using a glass file to carefully grind down all exposed glass edges to reduce the chances of anyone cutting themselves when handling the work. Assuming you used wood or backerboard, sand the edges of the base material. Take care not to cut yourself on the glass edges and dont dislodge the tesserae. After sanding, carefully wipe away the dust using a clean rag and then paint the base-material edges a neutral or earth-tone color, not too light and not too glossy. Homemade Frame If youre going to frame your work, why bother making it yourself unless youre skilled at woodworking and have the proper tools? Chances are that your homemade job wont look anywhere near as nice as a custom job. Custom Frame In my opinion, this is by far the best option. Even the most basic frame looks better than no frame and adds so much to the overall look of the mosaic. I found that the big hobby-store chains usually have better deals than specialty-frame stores because of their monthly 50%-off sales. For example, the plain white frames on my Birds in Palms by Front Door and Lilies in the Bedroom (refer to the Gallery chapter) each cost about $35, which includes measuring, cutting, assembling, installation, the mounting wire, paper backing, and sales tax. The frames for these two mosaics are as plain as you can get, but they truly enhance the mosaics. Contrary to the plain white frames for my Birds in Palms by Front Door and Lilies in the Bedroom, I selected a more decorative frame (but still not too fancy) for my Blue Iris in Mothers Garden (refer to the Gallery chapter). Notice how the brown frame blends well with the brown and dark-green tesserae. I think its the perfect frame for this piece. When shopping for a mosaic frame, your selection is limited because of the depth required to cover the mosaics thickness. If you use 1/8-inch-thick tesserae glued to 3/4-inch-thick plywood, your mosaic is about 7/8-inch thick. Therefore, the frame must be 7/8-inch deep to cover the mosaic; otherwise, it doesnt look right from the side because the back of the mosaics base material sticks out from the frame. You may find that most frames arent deep enough to adequately cover the 7/8-inch width of your mosaic. However, you should find a few styles and colors of sufficient depth that work well with your piece. Install Bumpers on the Back Side The typical frame store installs small, 1/8-inch-thick rubber or silicone bumpers to the bottom corners on the back side of your wall-hanging mosaic. Theyre too narrow for me. I like my wall mosaics to hang level against the wall; I dont like the top sticking out from the wall farther than the bottom.
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I use rubber or plastic bumpers between 3/8-inch and 1/2-inch thick to make the mosaics bottom stick out an equal distance as the top; thereby, leveling the mosaic against the wall. Notice in Figure 14-2 that with the 3/8-inch bumpers on the bottom, the mosaic still isnt perfectly level against the wall (the top sticks out from the wall a bit more than the bottom). I should have used 1/2-inch bumpers instead of 3/8-inch, but my favorite home improvement store didnt have any at the time. Although its not perfectly level against the wall, its good enough that no one notices.
Figure 14-2. Bumpers on the Back Help Level the Mosaic Against the Wall I call them bumpers but they have several different names: floor protectors, slipstick feet, floor guides, or chair-leg pads. I prefer to use small, plastic floor guides. I also prefer the screw-on type over the stick-on because I never have to worry about them falling off. See Figure 14-3.
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Figure 14-3. 3/4-inch Diameter Screw-on Floor Guides Used as Bumpers IMPORTANT: Use a screw thats shorter than the thickness of your mosaics plywood base. Since I use 3/4-inch plywood as base material, I use a maximum screw length of 1/2-inch. The screws that come with the bumpers in Figure 14-3 are 1/2-inch, so those are okay for my application. Ensure you measure the screw length before installing the bumpers. If the screw is too long for your plywood base, it might poke through the other side and pop off or break your tesserae. When drilling the pilot holes for the screws, dont drill so deep that you go through the plywood and drill into the tesserae. Be very careful to drill just deep enough to install the screws. I install the bumpers about three inches from the side and bottom of the mosaic (i.e., not too close the edges). Three inches is a good distance to hide them fairly well when the mosaic hangs on the wall. You have to stand to the side and consciously look to see them. Figure 14-4 shows the bumpers installed on one of my wall-hanging mosaics.
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Figure 14-4. Bumpers Installed on the Rear-side Bottom of the Mosaic
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 15 - Hanging Your Masterpiece
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Chapter 15 - Hanging Your Masterpiece

Youre so anxious to hang your first masterpiece that it seems like the frame store is taking forever finish the frame. Finally, they call to tell you its ready for pickup. Wow, they did a great job and the frame makes your mosaic look fantastic. You cant wait to hang it on the wall and show it off. It weighs a ton and youre nervous wondering whether a 10-penny nail in flimsy drywall can hold all that weight. You wisely decide that the nail must instead go into a wall stud. The last thing you want is your heavy mosaic crashing down, popping off tesserae, breaking the custom frame, and cracking the ceramic floor tile. You find the exact spot for the nail and poke around hoping to find a stud somewhere close to that spot. Oh, no! The nearest stud is six inches to the left. If you install the nail in that stud, the mosaic wont be centered on the wall and will look terrible. Good grief, now what? Relax. This is easy. Lets walk step-by-step through the process of adding a solid support system in the wall thats plenty strong enough to hold your heavy magnum opus. This isnt rocket science so dont panic. You can do it. Yes, you can! (Note: This process assumes your house was built with wood framing and drywall walls.) If your masterpiece has any size to it, its going to be heavy. For example, the 27x32 mosaic Im hanging today weighs a whopping 24 pounds. Always be safety conscious. Never create a safety hazard. You must always ensure the support system is adequately strong enough to bear the load of your heavy mosaic. Some artists dont hang their pieces because they dont want to risk a falling hazard that can harm people or damage the piece. They commonly use free-standing easels made of sturdy wood, low to the floor, and well-balanced to minimize the risk of tipping. Typically, these easels are used in galleries, but some people use them in their homes. Personally, Id rather see my mosaics on the wall. To me, they look better and make the home feel cozier. Besides, who has room for several free-standing easels throughout the house? The complexity of the support system depends on several factors, such as the mosaics weight, location of the lag bolt with respect to a wall stud, and safety concerns for your children. For example, if you find that the lag-bolt location is just to the side of a wall stud, you may not need an elaborate support system like the one well install today. Instead, a small 2x4 attached to the side of the stud may be sufficient. What were about to install is probably the most complex support system youll ever need for a hanging mosaic, so once you learn this method you should be able to install any simpler support system that you might dream up. Before doing anything, take the time to think about whats needed to adequately support the mosaic. Remember, safety first!
WARNING Mosaics are heavy. A falling mosaic can kill or seriously injure a person. Never create a safety hazard by improperly hanging a mosaic. Always ensure the support system is adequate to bear the load of a hanging mosaic.
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Lets start by summarizing each step in the process. Then, well look at the details for accomplishing each step. Ready? Lets do it. Summarized steps: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Gather your tools and materials. Determine where to hang the mosaic. Determine and mark where to install the lag bolt. Determine the location of the wall studs on either side of the lag-bolt mark. Sketch on the wall what you plan to do. Drill holes as starting points for using the drywall saw. Cut out the drywall using the drywall saw. Sketch on the inside wall what you plan to do. Install the support pieces for the mosaic. Install the support pieces for the drywall cut-out. Install the drywall cut-out. Install the mesh tape. Apply the first coat of drywall mud. Sand the first coat of drywall mud. Apply and sand the second and third coats of drywall mud. Apply primer to prepare the wall for painting. Paint the wall. Install the lag bolt. Hang your mosaic. Step back and admire your beautiful masterpiece.
Whew! That sounds like an awful lot of work. It isnt, and its fun and easy. If it werent for the time waiting for the drywall mud to dry, you could do it all on a Saturday morning. Even with three coats of drywall mud, you can still complete the whole project in less than two days. Lets get started!
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Step 1: Gather Your Tools and Materials Before measuring, marking, cutting, or doing anything, get your tools and materials together in a convenient location. This ensures everything is ready when you need it so you dont have to stop progress to hunt for something or go to the home improvement store. Figure 15-1 shows almost everything you need for this project (it excludes the drill and miscellaneous things like rags, extension cords, paint, paintbrush, etc.). Some items shown in the figure are required (e.g., drywall mud), some are required but you can use something different than whats shown in the figure (e.g., use a ruler instead of a paint-stirring stick), and some are simply nice to have (e.g., a stud finder). Ill explain in the detailed instructions why you need each item and what you might use in its place.
Figure 15-1. Tools and Materials The following list identifies the items shown in Figure 15-1. Mesh tape for drywall patching Lag bolt (also called a lag screw) Mixing container
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Level (small) Pencil Stud finder Lag-bolt driver (also called a nut driver) Drywall saw Paint-stirring stick Washer that fits the lag bolt Drywall mud (also called joint compound) Miscellaneous wood pieces (includes two 5-inch 2x4 support pieces and one 16-inch 2x4 cross piece) Drill bit (about 3/32-inch) Drill bit (about 5/16-inch) Drywall sanding sponge Drywall screws (1-inch or 1.5-inch) Drywall screws (2.5-inch and 3-inch) Razor-blade knife Mud knife (2-inch, cheap plastic) Mud knife (6-inch, cheap plastic) Mud knife (8-inch, cheap plastic) Finishing nails.
Step 2: Determine Where to Hang the Mosaic Theres more to it than looking at a wall and saying, Thats a good spot. Is the spot, indeed, good? The glass type (e.g., vitreous tiles, iridescent tiles, stained glass), glass color, grout color, and the amount and type of light shining on a mosaic make a big difference in how it looks. For example, my Birds in Palms by Front Door (refer to the Gallery chapter) looks wonderful reflecting the morning sunlight shining into the kitchen. It looks bright, the colors are sharp and distinct, and you can clearly see the tiniest detail from 15 feet away. However, in the late afternoon and evening with the overhead 60-watt light bulb, the piece looks entirely different. It looks relatively dull compared to how it looks in the morning sunlight, the colors seem blended, and the detail isnt as clear. Put a little thought into where to hang your piece. Hold it up at different times of the day and see how it looks in different light. Is the piece too big or too small for the wall space where you plan to hang it? Do you want the colors to complement or clash with the surrounding colors? Will it hang in a passageway where the risk of bumping into it would be greater than if it
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were hung in the living room? Is there enough room to step back and see the big picture (a 20-foot view can be entirely different than a close-up 3-foot view)?
WARNING A falling mosaic can kill or seriously injure a person. Mosaics are heavy. Never create a safety hazard by hanging a mosaic over a childs crib or bed. Always hang your mosaic out of your childs reach.
If you have children in the house, the most important consideration is safety. No matter how secure you might think your mosaic is, your child can find a way to knock it off the wall. Think about the crazy stuff you did as a kid. Regardless of whether you think your child is a sweet angel, when youre not looking, hell throw things at it or hit it with a plastic baseball bat. If you live on the West Coast, dont forget those earthquakes. Also, although my favorite local frame store uses a 60-pound wire for my 25-pound mosaics, Id still be nervous about the wire breaking if I were lying in bed looking up at the mosaic directly above my head. Therefore, I suggest that you never hang a heavy mosaic over anyones bed. I decided to hang this particular mosaic in our living room, partly because the subject matter and colors go well, but mainly because Im running out of wall space. With all the family art and photographs filling almost every square inch of usable wall space, I dont have too many other choices. Figure 15-2 shows where I decided to hang it, with my wifes permission, of course.
Figure 15-2. Location of My Hanging Mosaic
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Step 3: Determine and Mark Where to Install the Lag Bolt Now that I know the general area where to hang the mosaic, I need to define the exact spot where to install the lag bolt. This ideally requires two people; one to hold the mosaic against the wall while you step back and decide where it looks best (is it too high, too low, too far left, or too far right). IMPORTANT: I suggest using a lag bolt instead of a 10-penny nail because a screwed-in lag bolt is more secure than a hammered-in nail and a lag bolt has a large, strong head to ensure the mosaics hanging wire doesnt slide off.
FYI: Penny is an old English term that, today, represents the length of a nail from the head to the tip of the point. In England, a penny is 1/100th of a British Pound Sterling, and pence is the plural of penny. Nails got their names based on how much it cost to buy 100. For example, 100 three-inch nails cost 10 English pence, so the three-inch nail was called a 10-penny nail. Another example, 100 one-inch nails cost two pence, so the oneinch nail was called a 2-penny nail. Penny is still shown by using the English Pence sign d on the packaging (e.g., a 3d nail). Now you know!
Before holding the mosaic up to the wall, use a pencil to lightly mark the top of the frame in the horizontal center. Make a small pencil tick mark, not too dark, so you can easily erase or rub it off later. Figure 15-3 shows an example. Note that its just big and dark enough to see. This mark serves as a reference point for making your first mark on the wall.
Figure 15-3. Make a Small, Light Pencil Mark Centered at the Top of the Frame
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Holding a pencil in one hand, use your other hand to position the mosaic against the wall where you want it to hang. With the pencil, make a small tick mark on the wall lined up with the tick mark on the mosaic frame. This mark serves as a reference point for making the second mark on the wall.
WARNING Be careful when holding up the mosaic. If its too heavy to hold with one hand, get help from another person. Dont strain yourself or risk dropping the mosaic by holding it in one hand and marking the wall with the other hand.
Take the mosaic into a bedroom and place it face down on the bed so you dont damage the tesserae. Position the hanging wire as it would be if the mosaic were hanging on the wall. Pretend your finger is the lag bolt and gently pull the wire into its hanging position (i.e., gently pull up with your finger in the center of the wire towards the top of the frame). Using a ruler or measuring tape, measure from the top of the frame to the mid-point of the wire where it would hang on the lag bolt. Figure 15-4 shows an example. Notice in Figure 15-4 how the wire is bent into position as if it were hanging on the wall. Lets call this measurement the frame-to-wire distance.
Figure 15-4. Measure from the Top of the Frame to the Wire
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If you cant remember the frame-to-wire distance, write it on a piece of paper. Gently rub off or erase the tick mark from the top of the mosaic frame. Put the mosaic in a safe place, out of the way where you, your kids, and your pets wont trip over it or otherwise damage it. Lets leave the bedroom and return to where well hang the mosaic. Using the ruler, measure the frame-to-wire distance straight down from the tick mark on the wall. If you cant eyeball it well enough to go straight down, use a level. Make an X mark on the wall at this measurement dark enough so you can easily see it. This mark is where youll eventually install the lag bolt. Step 4: Determine the Location of the Wall Studs on Both Sides of the Lag-bolt Mark If youre lucky, the lag-bolt X mark is centered perfectly over a wall stud. But what are the odds of that? If youre like me, theyre between zero and none. To ensure you provide a strong, solid foundation from which to hang the mosaic, you must install additional framing between the two wall studs. Relax! Its easy. If I can do it, you certainly can, too. People have dreamed up many ways to find wall studs. In my opinion, theres only one way to do it, but Ill describe some of the more common methods just so you know. Method 1: Tap the wall with your knuckle or gently with a hammer. If using a hammer, attach a few layers of tape or other thin cushion to the hammer face so you dont damage the drywall. A better and simpler trick is to wrap the hammer with a towel. (Hint: If you want to use this tapping method, just use your knuckle and forget the hammer.) As you tap the wall, listen for hollow and solid sounds. A solid sound means youre close to a stud. When you think you found one, drive in a small test nail or drill a small hole. If youre good, youll hit the stud the first time. If youre not so good, move the nail around in small increments and drive it in until you find the stud. Some people say they can precisely determine both sides of a stud using this tapping method. I cant. Im terrible at it. Maybe Im going deaf, or maybe I cant tell the difference between hollow and solid. I know and accept my weaknesses, so I dont use this method. After youve made Swiss cheese of your drywall searching for the stud, you, too, will probably decide this isnt the ideal method. Method 2: Look for nails or nail marks on your baseboards and crown molding. In my opinion, this is completely unreliable. Youd expect an installer to nail molding into the studs, but lets get real. Chances are the installer used an air gun to pop nails at random distances along the molding through the drywall into the frame along the floor. I wouldnt bother with this method. Method 3: Use a magnetic stud finder. This tool uses a magnet to find screws or nails that attach the drywall to the studs. The problem is that they also find other magnetic objects, such as pipes, electrical conduit, and other nails and screws that arent in studs. To use it, simply slide the tool over the drywall until the magnet points to a magnetic object. Method 4: Find the electrical outlet or switch nearest your mark on the wall. Remove the outlet cover plate and you might be able to see which side of the stud the outlet box is attached. If the builder properly framed your house, studs are spaced 16-inches from center to center. Some applications use a 24-inch center-to-center spacing, but 16-inches is the most common for
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residential construction. To find the stud nearest your mark, simply measure 16-inch intervals from the stud at the electrical outlet. Youll probably have to drive a test nail or drill a small hole to ensure you have the studs exact location. For me, this method isnt any better than knuckle-tapping the wall. Its still a big guess so I never use this method. Method 5: The fastest, easiest, and most reliable method for finding a wall stud is using an electronic stud finder. This tool measures density changes in the wall. To use it, press the button and slide it along the wall until it finds a stud. As it gets closer to the stud, it detects density changes and indicates those changes with lights, tones, or a display. Do this from both sides and you can reliably find both sides of the stud from which you can then accurately determine the studs center. The typical homeowner doesnt need a lot of bells and whistles that are available on the more expensive electronic stud finders. A basic model costs between $15 and $20 at your favorite home improvement store. If you get hooked on making mosaics (which you probably will after completing your first masterpiece), make your life easier by splurging on a $20 electronic stud finder. Get an electronic model, not a magnetic one. When you buy it, check to see what kind of battery it uses. If you dont have that type at home, then dont forget to buy a pack of batteries. They typically use a rectangular 9-volt battery.
FYI: An electronic stud finder measures density by measuring the dielectric constant (i.e., how much something concentrates the electrostatic flux lines). It has a capacitor plate that looks for a capacitance differential made by differences in density. (Huh? Never mind. I dont understand it either but all I need to know is that the gizmo works great and it only costs 20 bucks.) As you slowly move the tool over the drywall, it senses changes in density, such as when a stud is behind the drywall. Now you know!
Now that youre back from the store with your new electronic stud finder, lets get to work finding those studs. First, read the instructions that came with your new toy. Mine is almost 20 years old, so yours may be a bit different. Place the tool against the drywall directly over the lag-bolt X mark. Activate the tool. If its like mine, simply press the button on the side of the tool. (If it doesnt turn on, did you forget to install the battery, or did you install it properly?) This calibrates the tool to the density of your drywall. While still holding the button, slide the tool over the drywall to the left or right. When you find a stud, mark on the wall its inner side (i.e., the side of the stud closest to the lag-bolt mark). Now, lets find the stud on the other side of the lag-bolt mark. Let go of the button and again place the tool against the drywall over the lag-bolt mark. Press the button to activate the tool (i.e., let it re-calibrate to your drywall). While still holding the button, slide the tool over the drywall in the other direction. When you find the stud, mark its inner side (i.e., the side of the stud closest to the lag-bolt mark).
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Now we know the stud locations on each side of the lag-bolt X mark. The next step is to sketch on the wall what youre going to do (i.e., where to cut, where to install the support pieces, where to install the cross piece, and whatever else you want to mark). Step 5: Sketch on the Wall What You Plan to Do Dont go off willy-nilly cutting into the drywall. Take time to sketch what you plan to do. This gives you a chance to think about it and validate in your mind that what youre about to do is, indeed, what you want and need to do. Figure 15-5a shows my sketch.
Figure 15-5a. Sketch What You Want to Do before Cutting into the Drywall In Figure 15-5a, the big square represents the hole that Ill cut out of the drywall. The left and right sides of the big square define the inner sides of the wall studs (i.e., the sides of each stud that are closest to my lag-bolt X mark). My lag-bolt mark is the X at the top of the big square. Put the 3.5-inch side of the 16-inch 2x4 against the wall, centered over the lag-bolt mark, and draw a line on the wall along the bottom side of the 2x4. In the figure, the horizontal line under my X mark is the bottom of the 16-inch 2x4. This horizontal line shows the location of
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the bottom of the cross piece when its installed. As you can see in the figure, if I do a good job and install the cross piece as shown by the horizontal line, I can then install the lag bolt into the vertical center of the 2x4 cross piece, which is what I want.
FYI: A finished 2x4 isnt really 2x4. When first cut, the rough board is 2x4, but after its dried and planed, its final dimensions are only 1.5x3.5. You might think, If they call it a 2x4, then Im not getting all that I paid for, so theyre ripping me off! I know of two common Industry explanations for calling it a 2x4 when it actually isnt: 1) Its easier to say two by four than one and a half by three and a half, and 2) The costs of drying and finishing the board are included in the 2x4 price. Huh, what kind of double talk is that? Suppose the cost of a piece of raw 2x4 wood is $2.00. But at the lumber store, you pay $2.00 for the same piece of finished 1.5x3.5 wood. The cost to dry and plane (i.e., finish the board) is $0.50. So, the cost of a finished 1.5x3.5 is the same as a raw 2x4. You get less wood with a 1.5x3.5 than a 2x4, but the 1.5x3.5 is finished, whereas, the 2x4 is raw. Clear as mud? Talk about fuzzy math! Now you know!
In Figure 15-5a, the dotted lines on the left and right sides of the big square show where the two smaller 5-inch 2x4 support pieces are installed against the wall studs. When properly installed, the two support pieces will support the 16-inch cross piece. I have a cordless pistol-type drill with a big battery, so I know the hole in the drywall has to be big enough to easily use the tool to drive-in the screws that attach the two 5-inch support pieces to the wall studs. I decided the top cut-line for the drywall hole (i.e., the top side of the big square in the figure) would be about the same height as the top of the 16-inch 2x4 cross piece. To determine the bottom cut-line for the drywall hole, I held the cordless drill (with its battery installed) against the wall as if I were installing one of the 5-inch support pieces to a stud. I marked the wall two inches below the bottom of the drill. This ensures Ill have plenty of room to use the drill to drive-in the screws that attach the two support pieces to the wall studs. Figure 15-5b and Figure 15-5c show close-up views of my sketch.
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Figure 15-5b. Close-up of Sketch, Upper Right
Figure 15-5c. Close-up of Sketch, Bottom
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IMPORTANT: Before cutting the drywall, make two reference marks to use to later reestablish the lag-bolt mark when it gets obliterated (i.e., covered with drywall mud and paint). These two reference marks should be far enough away from the square cut-line so they wont get covered by paint or drywall mud. One or two feet from the square cut-line should be okay. Make these two reference marks with a pencil just dark enough so you can find them again later, but light enough so you can easily erase them without creating eraser marks on the wall. Lets make these two reference marks before doing anything else. Using a long level (16-inches should do just fine), make the vertical reference mark. Align the level on the lag-bolt X mark and ensure its vertically level. Make a small tick mark one or two feet above the lag-bolt X mark. This tick mark should be vertically level with the lag-bolt mark. See Step 1 in Figure 15-6. Make the horizontal reference mark. Align the level on the lag-bolt X mark and ensure its horizontally level. Make a small tick mark one or two feet to the left or right side of the lag-bolt mark. This mark should be horizontally level with the lag-bolt mark. See Step 2 in Figure 15-6.
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STEP 1: Align the level on the Lag Bolt Mark vertically level, and then make a tick mark where the arrow shows. STEP 2: Align the level on the Lag Bolt Mark horizontally level, and then make a tick mark where the arrow shows.
Figure 15-6. Make Two Reference Tick Marks to Later Reestablish the Lag-bolt X Mark
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Step 6: Drill Holes as Starting Points for Using the Drywall Saw
WARNING Be careful handling drill bits and using the drill (i.e., take care not to cut or otherwise injure yourself). Drill bits are sharp. Never leave a drill and drill bits alone if children are nearby because they may pick them up and injure themselves.
Honey, sure you know what youre doing? Thats what I heard the first time I did this. Actually, I hear it every time I turn on one of my power tools inside the house. As I pulled the drills trigger quickly several times to hear the raw power at my fingertips (for some reason, guys love to rev their power tools), I joked, Not really, so get ready to call the ambulance when the wall falls on me. My wife didnt realize that I was half serious. Using a 5/16-inch bit (or a size close to 5/16-inch), drill holes in the drywall to serve as starting points for using the drywall saw. The bit doesnt have to be exactly 5/16-inch; it just has to be big enough to fit the tip of the saw blade. The trick is to drill in the optimal locations. This makes it easy to change directions when sawing so you dont have to make curved cuts. Note: If you were sawing a circular hole in the drywall, youd need only one starter hole because there would be no 90-degree angles to cut. IMPORTANT: Drill the holes on the inside of the cut-out lines; otherwise, if you drill on the outside of the lines, youll drill into the wall studs. See Figure 15-7 for an example.
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Figure 15-7. Drill Holes Inside the Cut-Out Lines as Starting Points for the Drywall Saw Notice in Figure 15-7, for the left and right sides of the square cut-out outline, I drilled on the inside of the cut-out lines to ensure I missed the wall studs. Ooops! Heres my first mistake. Notice that I didnt drill at the corners. Silly me. Oh, well, its okay to make a minor mistake like this. You might think, What difference does it make where you drill the holes as long as you dont hit the studs? Not much, but its easier to saw if your starting points are optimally positioned. If youre left-handed, you probably prefer to hand-saw by pushing from left to right. If youre right-handed, you probably prefer pushing from right to left. And regardless of whether left- or right-handed, you probably prefer pushing down from top to bottom. Its okay to make a minor mistake like this. Notice that the earth didnt stop turning and the sun didnt stop shining because of this little mistake. So, dont worry about making minor mistakes. Heres where I went wrong. The hole on the top side of the square is toward the left, which means, as a right-hander, I must either use my left hand or contort my right hand to push the saw to the right. Either way is uncomfortable for me. Also, after sawing to the right, I must finish the top cut by sawing to the left a couple of inches. Therefore, I should have drilled the starter hole for the top cut in the upper-right corner so I could use my right hand to push the saw to the left.
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The holes on both the left and right sides of the square cut-out outline are near the bottom, which means I must pull the saw from bottom to top, which is much more tiring than pushing the saw from top to bottom. I should have drilled holes for the side cuts in the upper-left and upper-right corners so I could push down on the saw instead of pulling up. The hole on the bottom side of the square cut-out outline is toward the right, which means I can comfortably push the saw with my right hand from right to left. But then I must finish the cut by pulling the saw to the right to saw those last couple of inches. I should have drilled the hole in the lower-right corner so I could push the saw with my right hand from right to left. Based on my mistakes described above, as a right-hander, I actually need only three holes instead of four. Hole #1: In the upper-right corner, inside the lines, to make two of the four cuts, which are the top cut (i.e., use my right hand to easily push the saw from right to left) and the right-side cut (i.e., use my right hand to easily push down on the saw from top to bottom). Hole #2: In the upper-left corner, inside the lines, to make the left-side cut (i.e., use my right hand to easily push down on the saw from top to bottom). Hole #3: In the lower-right corner, inside the lines, to make the bottom cut (i.e., use my right hand to easily push the saw from right to left). Step 7: Cut Out the Drywall Using the Drywall Saw
WARNING Be careful using the drywall saw. The blades are sharp and can cut you. Dont breathe in the drywall dust as you saw. Take appropriate safety precautions (e.g., use a dust mask or respirator). Dont allow children anywhere near the drywall saw.
Figure 15-8 shows how to fit the saw tip into the hole to start sawing.
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Figure 15-8. Use the Starter Hole for Sawing with the Drywall Saw IMPORTANT: When cutting the top and bottom sides of the square cut-out outline, be careful when you get close to the wall studs. Slow down and carefully saw to the line without sawing into the stud. IMPORTANT: Cut the top side of the square cut-out outline last. I suggest cutting the bottom side first, and then the left and right sides. Cut the top side last. Drywall is easy to cut using a hand-held drywall saw. Dont fret over having to buy this tool because it costs only about $5 at your favorite home improvement store (my cheap wood-handle one was only $3.95). Drywall dust makes a mess so have a vacuum cleaner handy after making your cuts. Dont breathe in the drywall dust. Dont cut into the wall studs. After making the bottom-side cut and then the left-and right-side cuts, youre almost ready to cut the top side. Wait! Dont cut it yet. At this point, youve cut three sides of the square cut-out outline: 1) Bottom, 2) Left, and 3) Right. Dont risk dropping the cut-out piece between the walls (that would be really frustrating). Lets do a simple trick to prevent losing the cut-out piece between the walls. Using the drywall saw inserted into the bottom-side cut, carefully pull out the bottom of the drywall cut-out. The drywall should be flexible enough to safely pull it out far enough to slide in a paint-stirring stick, a ruler, or other long thin object. Figure 15-9a and Figure 15-9b show details. The pressure of the drywall wanting to return to its steady state (i.e., its un-bent position) is enough to hold the stick in-place. Notice in Figure 15-9b, if you drop the cut-out piece after finishing the top cut, it falls to the floor instead of between the walls because the paint-stirring stick prevents it from falling
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between the walls. Dont drop anything between the walls. If you do, you must cut another hole in the drywall near the floor to retrieve it unless your arms are long enough to reach down between the walls.
Figure 15-9a. Use a Paint-Stirring Stick to Prevent the Cut-out from Falling between the Walls
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Figure 15-9b. Side View of Using a Stick to Prevent Losing the Drywall Cut-out Between the Walls Hold the cut-out piece with one hand and saw the top side with your other hand. As you get close to the end of the top cut (reminder: dont saw into the wall stud), ensure you hold the cut-out piece as you saw the final few strokes. IMPORTANT: Dont let the cut-out piece fall to the floor or otherwise risk damaging it. You need this piece when its time to close the hole. Its important not to ruin the cut-out piece. If you damage it, youll have to measure and cut a replacement piece from scrap drywall. But who saves scrap drywall? If you dont have any, youll have to buy some from your favorite home improvement store. The problem is that they probably dont sell broken or pre-cut pieces smaller than the standard 4x8 sheets. I went to the store a while ago and asked if they had any leftover pieces from sheets damaged during shipment or warehousing. No luck. They promptly clean up those kinds of messes and discard the broken pieces. So, I had to buy a whole 4x8 sheet of drywall just for a small 1-sq-ft patch. If you do damage your cut-out piece and have to buy some, ensure you get the correct thickness (i.e., measure your drywall thickness before going to the store). Typical residential drywall is 1/2-inch thick, but sometimes youll find it 5/8-inch thick. Now that the cut-out piece is removed from the wall, use the drywall sanding sponge to gently sand the rough paper from the edges of the front side. Carefully clean it up to smooth the jagged paper edge. It doesnt have to be perfectly smooth; simply make the front-side edge fairly even. Dont worry about the back-side edge because thatll be inside the wall when you replace the cut-out piece later.
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Also, gently sand the rough paper from the edges of the front side of the hole in the wall. Removing the rough paper around the edges makes it easier to later create a smooth patch when spreading drywall mud. Put the cut-out piece out of the way in a safe place where you, the kids, or the pets wont damage it. Figure 15-10 shows the resulting hole in the wall. This is probably when your spouse will start giving you funny looks or asking again if you know what youre doing. Notice in the figure that I didnt cut into the studs because my left and right cut lines were just short of the studs. Also, notice in the figure that I made my second minor mistake. Can you see it?
Figure 15-10. Resulting Hole from Sawing the Square Cut-out Piece Ooops! I completely missed the cut line on the left side of the square. Silly me, but thats okay. Once again, the earth didnt stop turning and the sun didnt stop shining because of this minor mistake. Remember, this isnt brain surgery, and youre allowed to make little mistakes. The good thing is that I missed on the correct side of the cut-line and didnt cut into the wall stud. If youre keeping score, thats two mistakes so far. (So far means more to come!)
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Working with Drywall on an Exterior Wall In this example, Im installing my mosaic support system to an interior wall, which means no insulation is between the walls. If you decide to hang your indoor mosaic on an exterior wall, be prepared to deal with insulation.
WARNING Always follow safety precautions when working with fiberglass insulation. Wear a respirator and dont breathe the fiberglass fibers. Wear gloves when handling fiberglass. Dont allow children or pets near fiberglass insulation.
The most common type of insulation used in residential homes is fiberglass, either batt-type (i.e., the familiar blanket rolls) or blown-in. After cutting and removing the drywall hole, carefully maneuver the insulation out of the way to install the 2x4 support pieces and cross piece. After the 2x4s are installed, maneuver the insulation back into position, scrunching and packing it around the 2x4s. Step 8: Sketch on the Inside Wall What You Plan to Do As you sketched on the outer wall before cutting the drywall, take a moment to also sketch on the inside wall what you plan to do. Figure 15-11 shows the location of the lag bolt, which determines where to install the cross piece, which determines where to install the support pieces.
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Figure 15-11. Sketch on the Inside Wall What You Plan to Do You might think, With the square cut-out piece and the original X-mark gone, how do you know where to draw the exact location of the lag bolt on the inside wall? Good question and Im glad that youre paying attention to detail. Heres an example of where your two reference marks come in handy (i.e., the two reference tick marks that you made at the end of Step 5). Align the level on the horizontal reference mark (i.e., the light pencil tick mark you made to side of the original X-mark) and draw a short horizontal line on the inside wall where you think the lag-bolt mark should be. Now, align the level on the vertical reference mark (i.e., the light pencil tick mark you made above the original X-mark). Draw a short vertical line where you think the lag-bolt mark should be. If everything goes right, the vertical line intersects with the horizontal line. The exact location of the lag-bolt X-mark is where those two lines intersect. Notice in Figure 15-11 that my lag-bolt mark is a plus sign (+) instead of an X as it is on the square cut-out piece. Its a plus sign because thats where the horizontal and vertical reference lines intersect. REMINDER: Dont drop anything between the walls (e.g., the level, pencil, pen, your glasses). Yes, a long time ago I somehow knocked off my glasses and they fell between the walls. I dont know how I managed to do that, but it was totally stupid and very frustrating. I had to cut a hole in the drywall near the floor to retrieve them and then I had to patch the hole and paint the patch (what a pain).
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Step 9: Install the Support Pieces for the Mosaic For this project, Ill install three 2x4 framing pieces to serve as the support system for my mosaic. For clarification purposes throughout these instructions, the two support pieces are the smaller 5-inch 2x4s that I attach to the wall studs, and the cross piece is the bigger 16-inch 2x4 that I attach to the two support pieces. Ill later install the lag bolt into the cross piece. For all three pieces, I used old, beat-up 2x4s that I found in the bowels of my garage (it took 10 minutes to clean off all the dirt and spider webs). They dont have to be new and pretty; they just need to be solid and functional, so ensure theyre not dry-rotted or half eaten by termites. Using your sketch as a guide, install the first support piece to the wall stud at the proper height. See Figure 15-12.
Figure 15-12. Attach the First Support Piece to the Wall Stud at the Proper Height Install at least two 2.5-inch drywall screws to ensure a strong attachment. Before attaching the support piece to the wall stud, drill two starter holes all the way through the support piece (the holes make it easier to drive-in the screws). Use a drill bit a little smaller than the diameter of the screw threads. Use 2.5-inch drywall screws to ensure enough of the screw goes into the wall stud. Remember, a 2x4 is 1.5 inches thick, and you want at least one inch of the screw to go into the wall stud. Can you see my next mistake (its more of an amateur foul up than a mistake)? Notice in Figure 15-12 that I used four screws. Thats because, for whatever reason, two of them didnt go all the way in. No matter how hard I pushed, my cordless drill wouldnt drive them all the way in.
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I cant figure out why Im so bad at using a cordless drill to drive-in screws. No matter what torque setting and speed I select, I always manage to cause that loud grinding noise when the bit spins around in the screw slots. Ive tried every torque setting at every speed but I still cant drive-in a screw as easily as those TV do-it-yourselfers can. So, to ensure a solid and secure attachment, I used four screws. As usual, the earth didnt stop turning and the sun didnt stop shining because of my lousy screw-driving skills. The moral is if your screw-driving skills are like mine, dont fret. The support system inside your walls doesnt have to be pretty; it just has to function properly. Notice the blue tape in Figure 15-12. I wasnt paying attention and I cut myself on a picture nail installed from the other side of the wall. Ouch! I wrapped several layers of painters tape around the nail to prevent another owie. Before installing the second support piece on the other stud, I need to know where it goes so the cross piece is level. Therefore, I must measure and mark the stud to show where to align the second support piece. Measure the distance between the inner sides of the two wall studs, then subtract about 1/8-inch. Assuming your wall studs are installed 16-inches center-to-center, the measurement from the inner side of one stud to the inner side of the other is about 14.5-inches, minus an extra 1/8-inch, which equals about 14 3/8-inches. Dont assume the builder properly installed your studs with exactly 16-inch spacing, so measure it yourself. This measurement is the length of your final cross piece, so cut the cross-piece 2x4 to this measurement. Dont forget to subtract the extra 1/8-inch from the measurement so the cross piece doesnt fit too tightly between the studs. Fit the cross piece into the drywall hole and set one end on the support piece that you just installed. Put a small level on the cross piece and hold the other end in a level position. Draw a line on the wall stud at the bottom of the cross piece. See Figure 15-13. Notice in the figure that the cross piece is level and that I drew a thick, dark line on the wall stud at the bottom of the cross piece. This dark line defines where to install the second support piece to ensure the cross piece is installed level. The cross piece doesnt have to be perfectly level; you can eyeball it if you want. Just ensure that the cross piece is fairly level so you can later install the lag bolt into the middle of the cross piece for maximum strength.
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Figure 15-13. Level the Cross Piece and Mark the Stud for the Second Support Piece You might think, In Figure 15-13, how is the cross piece staying in place without you holding it? I hoped you wouldnt notice that! Heres my next mistake. I cut the cross piece exactly to the distance between the wall studs without cutting off an extra 1/8-inch. When I fit the cross piece into the drywall hole, it was a tight fit between the two studs, but I was too lazy to go back outside and saw off another 1/8-inch. (Cutting off that extra 1/8-inch allows the cross piece to fit freely between the two studs.) Because I cut the cross piece at the exact measurement without taking off an extra 1/8-inch, it fit snugly between the two studs. So, I jammed it into position. As you know, jamming something usually isnt the best way to make it fit. I did it anyway. If youre counting, this is mistake #4. After marking the stud, I couldnt get the cross piece out. I jammed it in so tightly that it wouldnt budge. Good grief. I twisted it, pulled it, and yanked it, but it wouldnt move. Then, I banged it with a hammer trying to knock it loose. This is when my wife came in from the pool deck to check my progress. She gave me a goofy look, shook her head without saying a word, and walked back outside. I gave the cross piece another good thwack and finally freed it. The problem is, as it flew out, it damaged the drywall. Ooops! Mistake #5. I chipped off the edges of the drywall, mainly on the right side, as you can see in Figure 15-14. But, at this point, I didnt care about the drywall. I was so relieved that I finally got the cross piece out. So, what did I do next? Yes, of course, I went outside and cut off 1/8-inch from
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one end of the cross piece. After all that trouble, I wound up doing what I was too lazy to do in the first place. I messed up my beautiful drywall cut-line and now had a big chunk of drywall missing on the right side. Oh, well, whats another mistake? The earth was still turning and the sun still shining. I stared at the mess I made, wondering if I could finish before my wife saw it. Ill confess. I temporarily covered the goof with some painters tape to hide it in case she came in again. With the cross piece out and the wall stud marked, attach the second support piece to the stud the same way you attached the first support piece. With the second support piece in-place, were ready to install the cross piece. Place the cross piece on top of the two support pieces so its flush with the front edges of the two support pieces (see Figure 15-14). At one end of the cross piece, drive a 3-inch drywall screw at a 45-degree angle from the support piece up into the bottom of the cross piece. Do the same at the other end of the cross piece.
Figure 15-14. Cross Piece Secured by Screws and Nail Plates At this point, the cross piece is secured with two screws, one on each end from each support piece up into the cross piece, but I wasnt satisfied because I wanted it to be a bit stronger. This is when I realized I made mistake #6. For added strength, I wanted to drive-in screws at both ends of the cross piece at 45-degree angles from the top of the cross piece down into the wall stud, but I couldnt because
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the top of the drywall cut-out wasnt high enough (I couldnt get the drill on top of the cross piece to drive-in the screws). (I swear I didnt have any alcohol before starting this project or at any time during the project!) Now what do I do? After thinking for a moment, the light bulb flickered on. Instead of cutting away more drywall and making a bigger mess, I decided to use nail plates for added strength (see Figure 15-14). I dug around in the garage and found two nail plates leftover from some other patch job I did years ago. I figured, since the cross piece was already held fairly securely in-place by the two bottom screws, it would be easy to hammer in the nail plates for added strength. The nail plates pointed teeth are very sharp, so it didnt take much hand pressure to press them into place. Then, while firmly holding the cross piece with my free hand, I gently hammered the nail plates all the way in. See Figure 15-15 for a close-up view of the nail plates.
FYI: A nail plate, or mending plate, is a staggered-toothed metal plate with teeth punched and bent at right angles to the face. They come in various shapes and sizes. Now you know!
Figure 15-15. Close-up View of Nail Plates Notice in Figure 15-14 that the left-side nail plate isnt perfectly straight. Somehow, it bent as I hammered it in. I wont count this as a mistake because it still functions properly. Its ugly, but it works. To test the support systems functionality, I pulled down and slightly outward on the cross piece with more than 24 pounds of pressure to see if it wiggled or otherwise moved. The mosaic weighs 24 pounds, but I probably applied at least 50 pounds of pressure pulling with my
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hand. The cross piece didnt budge at all. Success! The support system is now securely in-place and its plenty strong enough hold any mosaic I may want to hang from it. Step 10: Install the Support Pieces for the Drywall Cut-out Before re-installing the square drywall cut-out, I must add support pieces to which the drywall cut-out are fastened. For this project, I used old baseboard leftover from when I ceramic-tiled one of the bathroom floors. You can use any kind of wood, such as paint-stirring sticks, old pieces of plywood, pieces of 1x2s, or just about anything with a flat surface. The wood doesnt need to be new and pretty; it just needs to be functional. Soft wood (e.g., pine) is best because its easy to drive-in the screws. The pieces must be wide enough to drive-in a drywall screw without splitting the wood. For this light-duty patch job, we need to install only two drywall support pieces (one in each bottom corner of the drywall cut-out). The 2x4 support pieces and cross piece serve to support the top two corners of the drywall cut-out. At the bottom of the square hole in the wall, carefully push in a 1-inch (or 1.5-inch) drywall screw about 1/2-inch below the cut line. This starts the screw into the drywall and holds it in-place so you can use the drill with one hand while holding the wooden support piece with your other hand. Slowly drive-in the screw with the drill. When the screw tip goes through the drywall and hits the wooden piece, push a little harder on the drill to get the screw started into the wood. Once the screw grabs hold of the wood, it easily screws the rest of the way in and tightens itself nicely. For this light-duty application, only one screw in each support piece is needed. Install the other drywall support piece at the other lower corner of the square cut-out. See Figure 15-16.
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Figure 15-16. Install Wood Pieces at the Bottom Corners to Support the Drywall Cut-out Do you see them; do you see mistakes #7 and #8? In Figure 15-16, look at the lower-left corner of the square cut-out hole. It took me three tries to properly drive-in the screw for the lower-left wood support piece. (Again, I promise that I didnt drink any alcohol before or during this project!) On my first try, I used too much drill speed and drove the screw all the way through the drywall. The drill went zzzzzip and before I knew it, the screw head was all the way through the drywall. (Stop laughing!) That was mistake #7. I reversed the direction of the drill to unscrew the screw from the wood support piece. Then, I positioned the screw a little to the left and tried again, this time, easing on the trigger to control the drill speed. Ooops, I forgot to change the direction of the drill from reverse to forward (no wonder the screw wouldnt go in). With the drill now set to the forward direction, I drove-in the screw, but for some reason, it didnt catch the wood piece properly. I dont have a clue what happened, but the screw wouldnt tighten the wood piece against the drywall. That was mistake #8. So, I backed out the screw, and got ready for my third try. As they say, the third time is always the charm. The screw went in flawlessly and tightened the wood piece nicely against the drywall. Whew! Were now ready to close the cut-out hole.
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Step 11: Install the Drywall Cut-out Place the square drywall cut-out into position, centered so the seam is about equal on all four sides. Use the drill to drive-in 1-inch drywall screws. Be careful not to drive-in the screws all the way through the drywall. Use a slow speed and take your time. Drive-in the screw heads just below the surface of the drywall so you can mud over them and make a nice, smooth finish. Remember, go slow and dont over-drive the screws. As you can see in Figure 15-17, I secured the drywall cut-out piece with six screws. The top two screws are driven into the cross piece. The middle two screws are driven into the support pieces (i.e., the 2x4s that support the cross piece). The bottom two screws are driven into the two support pieces that we just installed in Step 10. This provides a solid foundation for the drywall cut-out. Some drywall professionals might say you should use pieces of 1x2 wood all the way around the cut-out to provide a much stronger foundation, but I think what weve done here is quite adequate. Lets install the mesh tape so we can start mudding.
Figure 15-17. The Drywall Cut-out is Secured with Six Screws (2 on the Top, 2 in the Middle, 2 on the Bottom)
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Step 12: Install the Mesh Tape If you know anything about drywall, youre probably aware of the differing opinions on whether mesh tape works. Some professionals and do-it-yourselfers prefer paper tape and dont use mesh tape in any application. I dont know what all the fuss is about. I use mesh tape for all my drywall patch jobs and Ive never had a problem. So, for this project, I suggest using mesh tape. In my unprofessional opinion, mesh tape is easier and quicker to use, and does just fine. After describing the process, Ill go into detail about what people say about mesh tape versus paper tape. Mesh tape is a fiberglass mesh with a weak adhesive on one side. Unlike paper tape, you apply mesh tape directly over the seam without mud. Simply unroll the required length, cut it with scissors, apply it, and gently rub it to make the adhesive stick. When mudded, it helps make a strong, flexible bond that resists cracking. I decided to fill my major goofs with mud before applying the mesh tape. Its not required, but I wanted to ensure I squeezed in as much mud as possible before taping. I thinned the mud as described in the next step and slopped it into the damaged areas. I couldnt help myself, so I also slopped some into the screw holes in the lower left corner. Before gaining control of myself (I dont know why, but I love slopping mud), I also mudded a couple of the starter holes for the drywall saw. Again, I didnt have to pre-mud anything before applying the mesh tape, but I couldnt help myself. I used a 6-inch mud knife to wipe away all excess mud. Then, with the mud still wet, I applied mesh tape over the entire seam as shown in Figure 15-18.
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Figure 15-18. Apply Mesh Tape over the Entire Seam To apply mesh tape, unroll the desired length and cut it with ordinary scissors. Make it long enough to extend beyond the seam an inch or two on each end. Remember, this isnt brain surgery, so theres nothing exact about this process. At each corner, overlap the tape. The tape is thin, so dont worry about making an uneven buildup by overlapping it. See Figure 15-19. Gently rub the tape with your finger until it sticks to the wall. The adhesive is weak so you may have to rub several times to make it stay down.
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Figure 15-19. Close-up of Overlapping Mesh Tape on a Corner Seam If you made a big mess of your drywall with chips, screw holes, or other damage that the mesh tape doesnt cover when you tape the seam, then cut additional small pieces of tape and cover whatever else needs patching. Dont waste time trying to perfectly size the piece of mesh to fit the damaged area. For example, if you have a single screw hole to cover, simply unroll an inch or two of tape, cut it, and apply it. Dont cut it into a neat little circle or try to cover the hole so theres an equal amount of tape all the way around the hole. Just cut a piece of tape and cover the hole. Mesh Tape versus Paper Tape Paper tape is fairly robust paper without adhesive. It has a crease in the middle to make folding it into corners easy. Good quality paper tape is thicker in the center and tapers at the edges to help obtain a smooth finish. Because paper tape doesnt have its own adhesive, you must apply a bedding coat of mud to the seam, which acts as the adhesive for the tape. You must be careful to apply enough mud to ensure the entire surface of the tape is covered; otherwise, air bubbles may form. Also, when running a mud knife over the paper, you must take care not to squeeze out too much mud (if you do, bubbles may form). As noted earlier, mesh tape is a fiberglass mesh with a weak adhesive on one side. Unlike paper tape, you can apply mesh tape directly over the seam without a bedding coat of mud. If youve read any how-to-drywall Internet blogs, youre probably wondering if using mesh tape instead of paper tape is the right choice. Based on my unprofessional experience,
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mesh tape works okay for our application. The important points to remember are that were covering a simple flat seam (i.e., not a difficult corner such as a wall-to-ceiling corner), and were not patching around a door or window thats susceptible to movement, which could crack the patch. Ill summarize what the blogs say and then you can decide for yourself. If youre uncomfortable using mesh tape for this type of application, then use paper tape. Its your choice. The following are a few of the more interesting blog excerpts that Ive read regarding mesh tape versus paper tape. Im not a professional, so I dont know how valid these claims are. All I know is that Ive used mesh tape and regular drywall mud for patching all my flat seams and Ive never had a problem with cracking or bubbling. In my opinion, mesh tape is so much easier to use that paper tape. Again, decide for yourself whether to use paper or mesh. With mesh tape, you should use hot mud (fast-setting mud); with paper tape, you may use regular all-purpose mud, topping coat, or hot mud. Seams covered with mesh tape tend to crack easier than seams covered with paper. Mesh tape is too difficult to use in corners, but works okay on flat seams. The mud knife snags on the mesh tape, making a big mess. Ive never seen professional finishers use mesh tape for anything.
Step 13: Apply the First Coat of Drywall Mud Before doing anything with drywall mud, put a drop cloth on the floor. Use an old sheet, blanket, several old towels, or plastic sheets. No matter how careful you are, youre going to slop some on the floor. You just will. At a minimum, cover the floor three feet to each side of your patch, and three feet out from the wall. Youll probably slop a few globs of mud onto the wall and baseboard, but thats okay. Just wipe them off and paint over them later, if required. Theres no use trying to be careful. No matter how careful you are, youre going to slop it. Besides, trying to be careful takes half the fun out of the whole project (I love slopping drywall mud). So, put down a drop cloth. Figure 15-20 shows the kinds of globs (and probably bigger ones) that youll have especially if this is the first time you do this.
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Figure 15-20. Always Use a Drop Cloth When Applying Drywall Mud Although my patch is fairly big, Ill use a relatively small amount of mud. Therefore, I suggest using pre-mixed joint compound instead of mixing dry powder with water. Professionals on big jobs typically mix their own mud, but I think its too messy and way too much trouble for our needs. Professionals typically agree that you should thin pre-mixed drywall mud with water to get a pudding-like consistency. Thinning the mud makes it spread and finish easier, and dry quicker. I never understood why pre-mixed joint compound isnt made and sold to the correct consistency instead of making the user thin it with water. Maybe joint compound is used for things other than drywalling that require the thicker consistency. Lets talk briefly about the tools and materials you need to apply the mud. Gather them together and ensure everything is readily accessible. You need: Pre-mixed joint compound. 6-inch or 8-inch mud knife. Dont waste money on a fancy metal knife. A cheap $1 plastic knife works just fine for our purposes. Used for smoothing the mud over the patch area. Mixing container. I use an old, plastic cookie-dough container with a lid. Used for thinning the pre-mixed joint compound. Paint-stirring stick. Used for stirring the joint compound after thinning it with water. 2-inch mud knife. Used for scooping mud from your mixing container and globbing it onto the wall. Unless you use a wide mixing container, the 6-inch or 8-inch mud knife
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doesnt fit into the mixing container to scoop out the mud, so I use the 2-inch mud knife as a scoop. A cheap $1 plastic mud knife works okay. Old towel. Used for cleaning your fingers after wiping up globs of mud that fall on the wall and baseboard. Wooden or leather hammer. Used for closing the lid on the pre-mixed joint compound container. If you use a regular metal hammer, be gentle and dont hit the lid so hard that you break or otherwise ruin the plastic container. Small container of water. Maybe two or three tablespoons, depending on how much compound youre thinning.
Stirring thinned joint compound can be messy (it splashes easily) so its best to do it outside or in the garage. If you decide to stir inside, do it carefully and put down a big drop cloth to protect the floors. First, scoop out a glob of joint compound about the size of your fist and plop it into the mixing container. Put the lid back on the joint compound container and seal it closed. Dont bang with a hammer on the plastic lid so hard that you break it. Add about one tablespoon of water (this isnt rocket science so dont try to be precise). Stir the mud and water until you get a smooth, pudding-like consistency, maybe a little runnier. Hold the stirring stick above the container. If the mud is too runny and drips off the stick like water, add a little more joint compound to thicken it. Dont fret over whether its too runny or too thick. If its thin, it spreads easily, but youll glob more all over the floor. If its thick, it wont spread as easily, but you wont glob as much. Using the 2-inch mud knife (or your 6-inch knife if it fits into your mixing container), scoop up some mud and slop it onto the wall over the mesh tape. Gently spread it around over the mesh tape. Dont press too hard while spreading or youll pull off the tape. When globs drop to the floor, be careful not to step on them. Dont get mud on your shoes and then track it all over the carpet. Wives dont react well when they see drywall-mud tracks on the floor. Slop a layer of mud over the entire seam, completely covering the mesh tape. (Slop means apply a generous amount.) Use the 6-inch mud knife to very lightly smooth the mud and remove excess. Dont apply hardly any pressure. This first coat is a rough coat, so dont try to make it perfectly smooth. Its supposed to have small ridges, waves, and other irregularities. Ensure you completely fill uneven areas with mud, especially the corners of the seam. Ensure there arent any loose strings of mesh tape sticking up, and that the mesh tape is flat against the wall (you might have moved the tape or caused it to pop up by pressing too hard with the mud knife). Youll soon get a feel for how best to slop mud onto the wall and spread it to minimize the droppings. The second coat is usually easier to apply than the first coat, and the third coat is easier than the second coat (i.e., the more you do it, the better you get, and the less you drop). When finished with this first coat, your patch should look something like mine in Figure 15-21. After applying the first coat, I went outside to clean and dry my tools, which took
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just a few minutes. I came back inside and you can see in the figure that the mud is already drying on the edges (the mud turns bright white when dry).
Figure 15-21. First Coat of Drywall Mud Save your remaining mud for the second and third coats. If your mixing container has a lid, secure the lid closed and put the container out of the way so you, the kids, or the pets wont kick it or otherwise spill it. If your mixing container doesnt have a lid, heres a little trick I learned from a neighbor. Use your 2-inch mud knife to flatten (i.e., make even) the mud in the mixing container. Again, dont worry about precision; just get the mud fairly flat. Scrape the sides of the container to get as much mud as possible to the bottom of the container. Gently pour in enough water to cover the mud about 1/4-inch. Put the container outside out of the way in a safe, shady spot (in your garage is best so your pets or other animals wont find it and drink the water). When its time to apply the second coat, simply pour out as much water as possible without pouring out the mud (do this outside; dont pour drywall mud down the drain). Then, thoroughly stir the mud and it should be good as new. Repeat this process after finishing the second coat to save the mud for the third and final coat. Your hands and mud tools clean up easily with water. Do this outside! Dont clean your tools in the sink and dont put drywall mud down the drain.
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Professionals say to let pre-mixed joint compound dry overnight. I dont have patience for that so I accelerate the process by setting up a fan to blow air on the patch. This cuts the drying time down to three or four hours, depending on the thickness of the mud layer. You might think, Wont that somehow affect the muds strength or something about the muds chemical properties? I dont know. Maybe. Probably. But for this application, I dont care. All I know is, from my unprofessional experience, my patch jobs on flat seams turn out great. So far in my 30 years of patching drywall, none of my patches have developed cracks or peels. If a crack ever does appear, so what? Ill fix it. No big deal. I dont have the patience to wait overnight for each of the three mud coats to dry. Its totally up to you. If you feel better waiting overnight for each coat to dry, then wait. If youre like me and dont care if it cracks in 20 years (or whenever), then use a fan to accelerate the drying process. Figure 15-22 shows the cheap plastic fan that I aim directly at the patch. I turn it on its highest speed to get as much air as possible flowing over the patch.
Figure 15-22. A Fan Helps to Significantly Accelerate the Mud Drying Time Notice in the figure that I finally found a use for our treadmill (i.e., lean the fan against it). This is probably first time the treadmill has been used for anything (including walking) since we bought it. Step 14: Sand the First Coat of Drywall Mud
WARNING Dont breathe in drywall dust as you sand. Take appropriate precautions and use a dust mask or respirator.
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Dont sand until the mud is thoroughly dry, at which time the mud is bright white. I use a drywall sanding sponge instead of sandpaper because I think its easier and less trouble than wrapping sandpaper around a 2x4. The sanding sponge is specially made to sand joint compound and has the proper grit on both sides. It costs only $2 and seems to last forever when using it for occasional drywall patching. Unlike sandpaper, it doesnt tear when you beat or rinse it clean, and it fits nicely in your hand. Therefore, I suggest that you bite the bullet and spend two bucks for a sanding sponge instead of fiddling with sandpaper. Dry drywall mud is very easy to sand. It seems all you have to do it touch the dry mud with the sanding sponge and the mud dusts off. So, dont press too hard when sanding. Dont sand so much that you sand away the mesh tape. For this first coat, sand just enough to make it fairly smooth by removing bumps and ridges. Dont try to make this coat perfectly smooth. Again, dont press too hard and dont sand away all the mud and mesh tape. When sanding, drywall dust goes everywhere. Dont breathe in the dust! To significantly minimize the mess, use your vacuum cleaners hose attachment while sanding. Connect the long, straight attachment to the hose and hold it about six inches below the sanding sponge as you sand. As you move around with the sanding sponge, keep the vacuum hose directly under the sponge. See Figure 15-23. The suction catches most, if not all, of the dust; thereby, minimizing your risk of breathing it in, and minimizing the mess.
Figure 15-23. Use a Vacuum Cleaner Hose to Catch the Drywall Dust as You Sand
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Step 15: Apply and Sand the Second and Third Coats of Drywall Mud Apply a second coat of mud the same way you applied the first coat. When completely dry, sand it as you did the first coat. This time, sand it a bit smoother than you did the first coat. Be careful not to sand away all the mud and mesh tape. Apply a third (and final) coat of mud. When completely dry, sand it while still being careful not to sand away too much mud. Once its smooth, stop sanding. Figure 15-24 shows my third coat sanded to perfection. It feels good when you run your fingers over the entire patch and cant feel any bumps, ridges, indentations, or any texture at all. Thats what I call smooth!
Figure 15-24. Third Coat of Mud Sanded and Ready to Prime Step 16: Apply Primer to Prepare the Wall for Painting If you have leftover water-based primer lying around the garage, then take the time to prime the entire patched area before painting. Water-based primer is easier to clean up than oil-based, and oil-based smells much worse. So, for this kind of simple primer job over dry mud, I prefer using water-based.
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Sometimes, when the patch is small, I paint over the bare mud without primer. My mood at the time determines whether I use primer. However, for this project, Im definitely using primer because of the black-ink writing on the wall. I want to ensure the ink doesnt bleed through the paint so I want to seal it with primer before painting. Figure 15-25 shows my entire patch area primed with water-base primer. Notice how the ink is now completely covered so I dont have to worry about it bleeding through the paint.
Figure 15-25. Entire Patch Area Primed and Ready to Paint Step 17: Paint the Wall Hopefully, you have leftover paint lying around the garage. If you dont, hopefully you have a swatch or a copy of the color label from when you first bought the paint. If you dont, you must make a swatch, which well do later. If you have to buy new paint, ask the paint associate to print two color labels, one to put on the paint-can lid and another to file away as a spare. Then, five years later when you need more paint and the lid is so rusty and dirty that you cant read the label, take your spare color label with you to the store so the associate can mix a new can using the exact same quantities of colors as the original mix. In addition to saving spare color labels, I like to make and save swatches. I cut a 5-inch cardboard square from an old cereal box and paint it as soon as I open a new can of paint. After it thoroughly dries, I file it with the spare color label. Years later when I go back to buy more paint, I usually ask the paint associate to put the swatch under the electronic eye to see how the
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computerized results compare to the original mix as defined on the color label. The computer results are usually surprisingly close to the original mix. Its important to know if your walls are covered with water-based or oil-based paint because water-based paint doesnt adhere to oil-based paint. However, oil-based paint typically does adhere to water-based paint. If you have no clue whether your walls are water-based or oil-based, rub a small area of the wall close to your patch with a rag and rubbing alcohol. If the paint comes off gooey, then its water-based. If nothing happens when you rub, then its oil-based. Chances are that your walls are covered with water-based paint. You might think, I dont have any leftover paint, and I dont have an old color label, and I dont have a swatch, so how do I match the wall color? Relax. As with everything else weve done on this project, its easy to get a paint swatch.
WARNING Razor-blade knives are sharp. Use them with care. Dont cut yourself while using a razor-blade knife. When finished, put the knife away out of the reach of children and pets.
Get a sample of your existing paint by removing a swatch of drywall from a corner near the baseboard hidden from view. Using a razor-blade knife, carefully score a 3-inch square line into the drywall paper. Cut through the top layers of drywall paper, but dont cut so deeply that you dig into the gypsum. Youll get a feel for how deep to go. The objective is to cut into the paper just deep enough to then easily peel off a layer. After scoring the 3-inch square line in the drywall paper, use the tip of the razor-blade knife to pull back one of the corners. Then, carefully peel off the rest of the 3-inch square. Once the layer is off, the swatch curls, so uncurl it and put a heavy book on it for a while to flatten it. After peeling off the 3-inch square, you must fill the gap in the drywall. First, apply mesh tape inside the 3-inch square gap. Using a 6-inch mud knife, apply joint compound as described earlier. Apply as many coats of mud as necessary. After sanding the first coat, you may decide that one mud coat is adequate because the patch is in a corner out of view. Or maybe youll want a second coat or even a third coat. After sanding each coat, if it looks okay and feels smooth, then youre done. After the final mud coat is dry and sanded, apply a coat of primer before painting. Take the swatch to a reputable paint or home improvement store and give it to the paint associate. Tell the associate whether you want water-based or oil-based, and whether you want one quart or one gallon. The associate places the swatch under the electronic eye, presses a few keys on the keyboard, and a few seconds later the computer prints the color mix that results in a very close match to your color. Lets get to work painting. Dont paint a perfect square or rectangle over the primer. Instead, feather the edges so they blend better with the original color. If your walls havent been painted in years, the sun and everyday dirt have probably faded the color, so if you use leftover paint, it probably wont match exactly. Thats okay because the hanging mosaic will likely cover it.
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Depending on the paints quality, you may need only one coat, but I always use two. I usually apply it with a paintbrush, but using a roller makes it look better if you dont mind the trouble. Figure 15-26 shows my finished wall. Can you believe how good it looks after I made such a mess?
Figure 15-26. Finished Wall Painted to Perfection The results look so good that I wonder if you can tell the difference between before and after. Lets take a little test. The picture below on the left is Figure 15-2, and the picture on the right is Figure 15-26. Answer the following multiple-choice question: QUESTION: Of the two pictures shown below, which is before the support system is installed in the wall, and which is after the support system is installed? CHOICES: A. Picture #1 is the before, and picture #2 is the after. B. Picture #2 is the before, and picture #1 is the after. C. Pictures #1 and #2 are both before. D. Pictures #1 and #2 are both after.
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Picture #1 (Figure 15-2)
Picture #2 (Figure 15-26)
ANSWER: Im not telling! Im the only one who will ever know. I can imagine you staring and squinting at the two pictures above, trying to distinguish which is which. Youre squinting so hard that youre seeing dark streaks, splotches, and all sorts of optical illusions. If you stare long enough, you might even begin seeing a 3-D image like in those Magic Eye Hidden Image Stereograms. Were not done yet. Lets quit goofing around and get back to work. Step 18: Install the Lag Bolt Now that the wall looks as good as new, install the lag bolt. We obliterated the lag-bolt X mark, so how do we find the proper location to install the lag bolt? Either use your new electronic stud finder or use the two reference tick marks made in Step 5. At this point, you dont want to drill more test holes in the freshly patched and painted drywall, but you need to ensure you hit the cross piece somewhere near its center. Therefore, I suggest using both methods to find the proper lag-bolt location. First, use the reference tick marks to reestablish the lag-bolt mark and then verify it using your electronic stuff finder. Reverse the process described in Step 5 regarding the two lag-bolt reference tick marks. Starting with the top tick mark, align the level on the tick mark (ensure the level is vertically level). Use a pencil to lightly draw a small vertical line about where the cross piece is. Then for the side tick mark, align the level on the tick mark (ensure the level is horizontally level). Lightly draw a small horizontal line intersecting the vertical line that you just drew. Assuming everything was properly lined up and level, the intersection of those two lines is the exact location of your original lag-bolt mark. For verification, use your electronic stud finder to find the top and bottom edges of the cross piece. Using your electronic stud finder as described in Step 4, start above the cross piece and slowly slide the stud finder down until you find the top edge of the cross piece. Lightly mark that location. Now, start below the cross piece and slowly slide the stud finder up until you find the bottom edge of the cross piece. Lightly mark that location. Assuming your stud finder works and you used it properly, your lag-bolt mark should be fairly centered between the top and bottom edges of the cross piece.
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Using a drill bit with a diameter a little smaller than the diameter of the lag-bolt threads, drill a hole through the drywall and into the cross piece at a slightly downward angle. Its important to ensure the drill-bit diameter is a little smaller than the lag-bolt-thread diameter. Drilling this hole makes it much easier to screw-in the lag bolt. Although the lag bolt has a big, strong head, I always like to install it at a slightly downward angle to ensure the mosaics hanging wire doesnt slide off. Slide a flat washer over the lag-bolt threads before installing the lag bolt. I like using a washer to prevent the hanging wire from digging into the drywall. When hanging the mosaic, position the wire between the washer and the lag-bolt head. With the flat washer on the lag bolt, screw-in the lag bolt using a nut driver. Screw it in so theres about 3/16-inch of space between the wall and the lag-bolt head. See Figure 15-27. Notice in the figure that the lag bolt is at a slightly downward angle and the washer is against the wall. When you hang the mosaic, ensure the wire goes between the lag-bolt head and the washer (i.e., dont put the wire directly against the drywall).
Figure 15-27. Lag Bolt with Flat Washer Installed at Slightly Downward Angle Sometimes the washer refuses to sit flat against the wall. Rather than fight it, I use a small piece of rolled transparent tape so theres sticky stuff on both sides (i.e., rolled with the sticky side outward so it can be used as double-sided tape). Stick the tape to the wall right above the lag bolt and then press the washer against the tape. This holds the washer in-place against the wall so you can easily put the hanging wire between the washer and lag-bolt head. Now that the lag bolt is installed, carefully erase the two lag-bolt reference tick marks from the wall and whatever other pencil marks remain. Erase them gently so you dont leave
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eraser marks on the wall. If the eraser makes smudges or smears, paint over them so the wall is spotless. Step 19: Hang Your Mosaic Holding the mosaic in one hand and the wire in the other hand, lift the mosaic into position and guide the wire onto the lag bolt so the wire rests between the lag-bolt head and the washer. Carefully move the mosaic back and forth, sliding the wire on the lag bolt, until you find the center point and the mosaic hangs straight and level. See Figure 15-28.
Figure 15-28. Mosaic Hung Straight and Level Step to the side of the mosaic and notice how the two rubber bumpers at the bottom of mosaics back side hold the bottom out away from the wall so the mosaic hangs fairly straight. See Figure 15-29. Without those bumpers, the mosaic would hang much more crooked, with the top leaning further away from the wall than the bottom.
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Figure 15-29. The Bottom Bumpers Allow the Mosaic to Hang Fairly Straight Against the Wall Step 20: Step Back and Admire Your Beautiful Masterpiece Youre done! You did a fantastic job. That was fun, wasnt it? It feels good to know you did all that by yourself and you didnt knock the house down. Even after making lots of little mistakes, you now know you can still have fantastic results. You now know you can, indeed, do it. Also, if you ever need drywall repairs, you now have the basic knowledge for fixing damaged drywall so you can do it yourself instead of paying big bucks for someone else to do it. Unless your kids run into it while playing tag or they hit it with a plastic baseball bat, or unless the wire breaks, that mosaic is never going anywhere. You never have to worry about the drywall collapsing, or a nail coming out, or anything. If the mosaic ever does fall off the wall, it wont be because of an inadequate support system. Now, put everything away and clean up your mess so you can sit back and admire how beautiful your masterpiece looks hanging on the wall. Again, great job! Im proud of you.
Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists Chapter 16 - Ideas
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Chapter 16 - Ideas
This chapter shows some of my work to inspire you and arouse your creativity. I included a few of my ceramic tile works for added inspiration. After all, ceramic tiling is like mosaic tiling except that it uses bigger pieces. Whether its mosaic art, mosaic tiling, or ceramic tiling, dont think you cant do it. You can! Its easy and so much fun. Use your imagination, decide what you want to create, follow the basic principles described in this book, and just do it. So what if you make a mistake? The sun will still shine and the earth will still turn. Simply fix the mistake, learn from it, and keep going. Youll be amazed at how easy all this is. Youll be more amazed at how something so easy can turn out so beautiful.
Summer Daisy in Backyard Garden
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This is one of my favorite flowers in our garden. I love the deep reds and yellows. I tried a bit of uniqueness by doing a closeup view instead of a full view. Notice the border is done with swirling brown and white stained glass. This piece is 32Wx25H (including the frame) done entirely with stained glass on 3/4-inch cabinet-grade plywood. I used medium-gray grout.
Closeup of the Flower Head The flower head took a long time to complete, but I think it was worth the effort. My style uses tight-fitting puzzle pieces, which, in my opinion, gives it an extra wow punch.
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Closeup of the Petals The petals were fun to make, especially the long, thin brown pieces. Theyre only about 1/8-inch wide and some are about 4-inches long. It was surprisingly easy to score and break the glass that thinly.
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Blue Iris in Mothers Garden

My mothers favorite. The simple brown frame greatly enhances the browns in the background. Notice theres no border. Instead, the background blends into the frame. This piece is 32Wx27H (including the frame) done mainly with stained glass on 3/4-inch cabinet-grade plywood. A few tesserae are cut from vitreous glass and iridescent tiles. I used light-gray grout. The following closeups show the detail. Some tesserae are so small that I had to use tweezers to glue and place them into position.
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Closeup #1 of the Blue Iris
Closeup #2 of the Blue Iris
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Birds in Palms by Front Door

Birds are constantly flying in and out of the palm trees by our front door. One day, I wondered what kind of mosaic that image would make. Now I know! I saw a beautiful stained-glass window for sale online and thought how closely it resembled my own image. I used the stained-glass-window design as a basis for my mosaic. This piece is 19Wx25H (including the frame) done mainly with vitreous glass and iridescent tile on 3/4-inch cabinet-grade plywood. The birds bodies and heads are done with stained glass. I used charcoal grout.
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Closeup of the Birds in Palms Each palm frond is cut from vitreous glass tile. Some pieces are so small that I had trouble handling them even with tweezers. Several of them came loose during grouting and had to be replaced. It was time consuming, but well worth it. The background is dark iridescent tile that changes color when viewed from different angles. I hand-cut 9/16-inch tiles into quarters, so each background piece is about 1/4-inch square.
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Lilies in the Bedroom

This piece portrays the lilies that my wife potted and placed in our bedroom by the hideaway glass door leading to the pool deck. I limited the tessera shapes to mainly squares and rectangles. The blue background blends nicely with the wall color where it hangs. It enhances the bright, outdoorsy look in the part of the bedroom near the pool. This piece is 25Wx27H (including the frame) done entirely with vitreous glass tile on 3/4-inch cabinet-grade plywood. I used light-gray grout.
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Closeup of the Lilies I hand-cut 3/4-inch vitreous glass tiles into quarters for the background and intermingled the colors so it appears to fade from light to dark. The flowers and leaves are primarily rectangles that, when combined with what I consider to be wide grout spacing, give the piece an almost childlike look, which works well where it hangs.
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Peace on Destin Beach

This mural is in our TV room. I needed something big to fill the wall, so I challenged myself. My wife and I struggled to hang the plywood base material. After eight months of working on it in my spare time, I finally installed the last piece to complete it. I used door casing for the frame, painted to match the molding and trim. This piece is 4x8 (yes, thats 4 feet x 8 feet) done entirely with vitreous glass tile on a full sheet of 1/4-inch plywood. I used light-gray grout for everything except the butterflies and dragonflies, which are done with charcoal grout.
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Closeup #1 of Wall Mural
Closeup #2 of Wall Mural

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Closeup #3 of Wall Mural The closeups show how I intermingled multiple tesserae colors to create the reflection and the change in water color. Notice how the butterflys tesserae are cut to create grout lines that look like veins in the wings.
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Mid-View of Wall Mural Notice the grassy plants that I arranged to blend with the grass in the mosaic. I also inserted two white flowers in each vase that resemble the white flowers in the mosaic. (Can you see them?) The grassy plants and white flowers in the vases on the shelves add a nice finishing touch to the piece.
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End Tables As noted in the chapter on Backgrounds and Borders, we were going to replace these end tables unless I could somehow make them unique and worth saving. So, I turned them into works of art that my wife couldnt get rid of. A few weeks of mosaic work on these end tables saved me a thousand bucks by not having to buy replacement tables! Each table is 22x24 and hand-painted dark-brown with three coats of clear polycrylic.
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Closeup of End Table The borders for these tables are done with vitreous glass tiles. The sky and flowers are done with stained glass. The seven gray tesserae in the center represent a cloud. The light-blue sky transitioning to dark-blue at the edges represents the sky changing colors from far away at the horizon (which is typically a lighter color) to close by the viewer (which is typically a darker color).
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Closeup of the Flowers
A Nice-Looking Edge Thats Clean and Safe
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As noted in the chapter on Backgrounds and Borders, the vitreous glass tiles not only result in a delightful border for these tables but also provide a neat, safe edge that wont cut the kids or pets.
Kitchen Backsplash, Straight-On View The chapter on Mosaic Methods describes in easy-to-understand step-by-step instructions how I used the Direct/Indirect Method to create the flowered portion of the backsplash (i.e., the portion above the stove).
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Kitchen Backsplash, Side View Notice how the flowers above the stove blend nicely with the few individual flowered tiles scattered throughout the backsplash.
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Backsplash Closeup
Simple Backsplash Adds Charm to the Kitchen
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We wanted a relatively simple backsplash, nothing too flashy, so I used plain, 4-inch, bright white ceramic bathroom tile. Remember, ceramic tiling is much like mosaic tiling except the pieces are usually bigger. In this case, instead of using 3/4-inch vitreous glass squares, I used 4-inch ceramic squares. For a bit of distinction, I inserted 11 flowered tiles throughout the backsplash, just enough to catch the eye.
Backsplash Looking in the Opposite Direction
Our neighbors, Jim and Melodee, chose a structured alignment of 1-inch gray ceramic tiles and gray grout for their kitchen backsplash. Notice how the simple diamond designs centered behind the faucet and stove greatly enhance the overall look.
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Jim and Melodee's Beautiful Kitchen Backsplash (Sink Area)
Jim and Melodee's Kitchen Backsplash (Stove Area)
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Mosaic and Ceramic Tile Fireplace I did our fireplace wall in the TV room with ceramic tile and mosaic stone. The big tiles on the left and right sides are 16-inches wide and the matching diagonal tiles in the center are 12-inches wide. The mosaic-stone strips are 4-inches wide bordered on both sides by ceramic rope. 4-inch bathroom tiles surround the fireplace. I used bright-white grout over the entire wall.
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Fireplace Closeup, Center Its important to note that I sealed the mosaic stone with three coats of sealer before grouting to prevent the grout from staining the stone. I liberally slopped it on using a cheap, throw-away paintbrush.
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Fireplace Closeup I used 2x6 pieces of white bullnose around the fireplace perimeter. I love the rope on the sides of the mosaic stone and the side of the hearth. The diagonal 4-inch bathroom tile on top of the hearth was easy to do, yet it adds so much to the overall look.
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Fireplace Mantle, Closeup The mantle is plain and simple so it doesnt overpower the tile work. This shows a nice view of the mosaic stone. Remember, if you can mosaic tile, then you can ceramic tile and vice versa. It youre a master tiler, you can be a mosaic artist. If youre a mosaic artist, you can be a master tiler.
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Mosaic Chair Rail We wanted a chair rail in the dining room, so I went to my favorite home improvement store, bought the standard chair-rail wood, and installed it. I stepped back, stared at it, and wondered, Why stop there? I wanted something unique, something I had never seen before. Once again, I asked for the wifes permission to experiment and she gave me the go-ahead. I decided to do a subtle mosaic that, from a distance, blends into a single, solid rail along the wall. Four inches above the original wood rail, I installed a plain piece of 1-inch molding. I filled the space between the wood with 4-inch bright-white bathroom ceramic tile hand-cut into circular and oval shapes to resemble stone. I used tile nippers to cut all the pieces.
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Closeup #1 of Chair Rail
Closeup #2 of Chair Rail
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The closeups show the mosaic pattern between the original chair-rail wood on the bottom and the plain molding on top. Within about 15 feet, the mosaic pattern catches the eye. Its fun to watch visiting friends and family walk by it and stop suddenly to admire it as they realize its a mosaic.
The Master Bath Since we now know that ceramic tiling is very similar to mosaic tiling (the main difference is that ceramic tiling uses bigger pieces), Ill show you some of my floor-tile work that might give you ideas for your own projects. I finished tiling the master-bath tub area and was about to start the floor when another light bulb went off in my head. I thought, A couple of steps to the tub would look nice. After getting the wifes permission, I built the steps and laid the tile. For the steps, I used 6-inch bone bathroom tile that matches the 4-inch tile around the tub, bone bullnose, and floor tile. I used off-white grout on the tub tile and brown grout on the floor.
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Bathroom Floor This is one of the bathrooms that I did as a weekend project. I wanted something more than plain, white, 8-inch floor tile, so I inserted this simple design. It took an extra day to finish, but I think it was worth the time. Its different and unique, but not too showy.
Other Bathroom Floor

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The toilet flange in the other bathroom somehow broke, causing the toilet to rock back and forth. So, I had to remove the toilet to fix it. Since I had the toilet out, I decided I might as well tile the floor before reinstalling the toilet. The kids nagged me to hurry up and finish so they could use the bathroom again, so I didnt do anything fancy. Its plain 12-inch floor tile and light-gray with 1/8-inch grout spacing.
Kitchen Floor The kitchen floor is nothing special, just plain 12-inch tile in the standard pattern. I included these pictures to show how ceramic tiling is so very similar to mosaic tiling. Imagine a backsplash done with square vitreous glass tiles. Now, look at the kitchen floor and youll realize that theyre basically the same, except that the floor uses bigger pieces. Always remember, if you can mosaic tile, then you can ceramic tile, and vice versa. Ceramic tiling a floor is just as easy as mosaic tiling a backsplash. The only negative that you have with tiling a floor is that you must work on your hands and knees. So, when tiling a floor, ensure you buy a good pair of knee pads. Dont think you cant do it. You can! Notice my Birds in Palms by Front Door hanging by the breakfast table. The morning sun splashes the mosaic glass with light, which makes the colors glow with brilliance. The oil-like iridescent background reflects all the colors of the rainbow. I love looking at this piece in the morning sun. Its so beautiful.
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Kitchen Floor Looking in the Opposite Direction
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Mosaic Pieces: Essentials for Beginner and Professional Mosaic Artists

by William J. Enslen, Jr.

Chapter 2 - Tessera Types

Millefiori Ceramic tile (use intact or broken pieces)

Chapter 3 - Mosaic Methods

6. 7. 8. 9. 10. 11. 12. 13. 14. 15.

Figure 3-12. Progress after about 8 Hours

Figure 3-14. Progress after about 18 Hours

Chapter 4 - Base Materials

Chapter 5 - Designing and Drawing

Figure 5-1. Types of Mosaic Andamento (Flow of the Tiles) or Opera

Figure 5-5. Sunflower Tracing Ready for Grid Lines

Figure 5-6. Completed Grid on Tracing Paper

Chapter 6 - Color and Contrast

Figure 6-3. Color Wheel with Primary and Secondary Colors

Figure 6-7. Our Eyes See the Dominant Color

Figure 6-8. The Effect of Similar and Different Tones

Figure 6-9. Grout Color Changes the Look of Your Tesserae

Figure 6-12. Effect of Colored Grout

Chapter 7 - Backgrounds and Borders

Figure 7-7. Borders Add Structure to Your Mosaic

Figure 7-8. The Blunt Border is Safe to the Touch

Elmers Glue-All. Pencil or pen. Small flat-tip screwdriver. Safety glasses/goggles.

Chapter 9 - Tools for Cutting and Grouting

Tweezers Small flat-tip screwdriver Wheeled glass cutters.

Chapter 10 - Work Area

Chapter 11 - Cutting and Adhering Tesserae

(Angles are relative, not true.)

Figure 11-12. Grozers Properly Positioned to Break Out the Score

Figure 11-15. Grozers Make Inside Curves Easy to Break

Figure 11-28. Different Tessera Shapes Present Different Cutting Challenges

Chapter 12 - Creating Your Masterpiece

Figure 12-4. Base Material Ready for Drawing and Gluing

Figure 12-8. Progress after 30 Hours

Figure 12-9. Progress after 36 Hours

Figure 12-10. Progress after 44 Hours

Figure 12-11. Progress after 56 Hours

Figure 12-12. Progress after 76 Hours

Figure 12-13. Progress after 80 Hours

Figure 12-14. Progress after 120 Hours

Figure 13-1. Grouting Tools and Materials

Figure 13-5. Use Different Colors of Grout for Dramatic Effects

13. 14. 15. 16.

Chapter 14 - Finishing (Seal, Sign, and Frame)

Figure 14-4. Bumpers Installed on the Rear-side Bottom of the Mosaic

Chapter 15 - Hanging Your Masterpiece

Figure 15-2. Location of My Hanging Mosaic

Figure 15-5b. Close-up of Sketch, Upper Right

Figure 15-5c. Close-up of Sketch, Bottom

Picture #1 (Figure 15-2)

Picture #2 (Figure 15-26)

Summer Daisy in Backyard Garden

Blue Iris in Mothers Garden

Closeup #1 of the Blue Iris

Closeup #2 of the Blue Iris

Birds in Palms by Front Door

Lilies in the Bedroom

Peace on Destin Beach

Closeup #1 of Wall Mural

Closeup #2 of Wall Mural

Closeup of the Flowers

A Nice-Looking Edge Thats Clean and Safe

Simple Backsplash Adds Charm to the Kitchen