SET OF 9-(1OZ. DRY) OVERGLAZE PAINTING COLORS
These strongly pigmented, finely ground enamel colors can be used on a fired base coat of enamel, with or without an overcoat of transparent enamel. The 9 color selection including 913E-mixing white can be intermixed like paints to create most any color. These colors can be applied with a brush or pen for fine lines. Can be mixed with either oil or water based mediums of your choosing. 914E-white liner can be used to produce intense white lines over dark colors. Other colors can be mixed with 914E to produce the pastel range. These colors are sold in both dry powder form;to be mixed with either oil or water based medium of your choosing; or as a premixed oil (using pine oil) base color.
Overglaze Painting Kit-1 – Dry Powder
Set of 9 Colors – 906E Green, 907E Red, 908E Yellow, 909E Orange, 910E Brown, 911E Blue, 912E Black, 913E Mixing White (Antimony), and 914E White Liner (Titanium).
Overglaze Painting Kit-1 – Oil Base
Set of 9 colors as above, pre-mixed in (A-4) Squeegee Oil
Overglaze Painting Kit-2 – Dry Powder Only
Set of 3 gold bearing colors – 915E Purple, 916E Rose Pink and 917 Yellow Ochre.
The 900E series (Kit 1) of nine colors and (Kit 2) of 3 gold bearing colors, both kits in dry powder, are provided so that you can custom choose the mixing/painting medium that you prefer.
The 900E series (Kit 1) is also available pre-mixed in oil base (A-4) Squeegee Oil.
For Kit 1 and 2 in Dry Powder choose your mixing/painting mediums:
Choose from oil base mediums –
(A-4) Squeegee Oil – a viscous pine oil that holds and disperses a high percentage of powder enabling fine and sharp lines (has the odor of pine pitch). Slow Drying.
(A-5) Thinning Oil No. 5 – is similar to Squeegee Oil but is less viscous. It also disperses a high percentage of powder (has the odor of pine pitch). Slow Drying.
(A-8) Screening Oil – is the premium screen printing oil (refined pine oil) for high resolution screen printing. Slow Drying.
(A-12) Painting Oil for Miniatures – a blend of organic oils, this oil is for use with the pointillist miniature painting technique. Should only be used extremely minimally to minimize smoking and burning.
(A-14) Painting and Screening Medium is the most popular choice of mixing/painting mediums. It has the properties of an oil but is water soluble for easy cleanup and thinning. Can be thinned with water. Slow Drying.
Choose from water based mediums –
(A-1) Klyr-fire – the standard of the enameling arts. Water based gum. Mix 50/50 with water or use full strength. Thin with water for washes. Fast Drying.
(A-3) Enamel Holding Agent – Similar to Klyr-Fire but slightly more viscous. Thin with water for washes. Fast Drying.
(A-13) Acrylic Medium. Water Based. Adds body to a painting enamel during application. Thin with water for washes. Fast Drying.
Take a small amount of powder with palette knife and place on a tile or piece of window glass. Smash the powder with palette knife to remove and lumps/clumps of painting powder. With eye dropper add drops at a time of your chosen mixing/painting medium. Mix thoroughly with pallete knife. Add more mixing/painting medium as desired. For water based mediums water may also be added to thin. To thicken add more powder if too much mixing/painting medium or water has been used.
Water based mixing/painting mediums should be dried before firing. This is accomplished by putting piece under heat lamp or setting on top of the furnace. The painting enamel will look mat and visually dry when ready to fire.
Oil based mixing/painting mediums need to be ‘smoked’ before firing. First they must be dried as much as possible, following the drying methods above. The painting enamel however, may not appear to look visually dry. This requires the ‘smoking’ method to fully burn out the organic matter in the oil based mixing/painting mediums. Place piece on trivet, then on firing rack and move into the ‘mouth’ of an at-firing-temperature furnace. Hold in heat for 5 seconds. Remove and shut furnace door for 5 seconds. Open door and again move into the mouth or heat of the furnace for 5 seconds, remove again, shut door for 5 seconds. Keep repeating this procedure until you see the piece smoking and continue until it stops smoking. This ‘smoking’ procedure slowly brings the temperature of the oil medium up to the point it begins to burn out, then fully removed from the painting material. If this procedure is not followed, the oil medium may boil and move, changing your painting.
When the painted piece is fully dried and the oil material removed, place into a furnace at 1450 degrees F. Fire for 1 minute or 1 minute 15 seconds or until you see the enamel surface become glossy. Remove from heat. Painted works may have multiple applications of painting enamel and firings.