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| We're all just wild about Harry (Clarke) |
or get down and dirty and trace into that rough stuff, but
keep the images "registered"...
WWKLD??
WWHCD????
A: Well, Harry Clarke would acid etch the flash with hydrofluoric acid leaving the surface brilliant and eminently paint-able. I mix it up. If the panel is going to be viewed at very close range and I am concerned with "registration" then I put the flash to the inside sandblast it off and fire polish it in my kiln. What is fire polishing you ask? Getting the glass hot enough to melt down the rough surface left over from sandblasting. Usually 1350 with a 20 minute hold will do the trick. Watch out for shrinkage. The result is not as nice as acid etching but a lot more manageable in my studio step-up. (Read - Sigh, I would prefer to acid etch). When registration is not a concern then I put the flash to the exterior, sand blast and paint on the smooth, non-flashed side.
Kenneth,
ReplyDeleteI'm working on a figurative window that gets direct morning sun. I've already done quite a bit of painting on it using cathedral glass, but much of the shading gets completely "blown out" by the sun. I would prefer to salvage the work I have invested rather than start over with opals. I'm considering sandblasting the back, then fire polishing, but not all the way back to clear so that I get an opal look. Going up to 1350 could make a mess of the front side of my glass. Any suggestions?
I used to use hydrofluoric acid about 30 years ago and then have not done stained glass since. I was looking for a source of this acid and can’t seem to find any. Is it now a “restricted” item?
ReplyDeleteWow! Such an amazing and helpful post this is. I really really love it. It's so good and so awesome. I am just amazed. I hope that you continue to do your work like this in the future also Interior and exterior painting
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