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I'm learning how to paint plaques for a friend who builds stained glass windows. I'm using the Reusche paints (tracing black, enamels, etc). Things have gone pretty well, but I have a question I'm hoping someone can answer...

When I fire the plaques, some of the painting on them has a matte appearance and some has a semi-gloss appearance. The only possible factor that I have found that may be causing the difference is which shelf they are placed on when firing. I didn't pay attention in the first several firings as to the position, but in the last few, it seems the ones on the top shelf have the semi-gloss finish (which is what I want) and the ones on the lower shelves have the matte finish.

Any ideas or suggestions? I have the space to fire at least 6 plaques at a time - but don't want to end up with 2 glossy and 4 matte.

karnor wrote: clip
Any ideas or suggestions? I have the space to fire at least 6 plaques at a time - but don't want to end up with 2 glossy and 4 matte.

I don't think the issue is any more complicated than what you suspect. Or that theres an easy resolution like flux overspray. I think you'll just have to increase either heat or time or both and be alert for excessive burn-off of pigment on the upper shelves. I'd try a 10 minute soak after the top layer looks right.

I just finished a big SG project that involved painting some of the pieces. I used Fuse Master transaparent paints and fired to the recommended temp (1175 *F). When I applied black patina to the piece the paint was attacked and much of it came off. It didn't make my day!

I have never had that happen before so I must assume it's the Fuse Master paints.

You can bet I'll be using something else in the future.

The Hobbyist......................Jim

ps. Here's the panel (52 x 38 in.):

I'm a novice at this - but I haven't had any trouble with the Reusche paints once I figured out my own formula for ratio of paint / gum arabic / vinegar.

I think that I'm going to experiment with some of the matte pieces by refiring after using the clear coat overglaze by Fuse Master. Maybe it will help me salvage some of the pieces that have the matte finish and cover up some of the pieces where the glass is not reacting well and losing its gloss as well.

karnor wrote:I'm a novice at this - but I haven't had any trouble with the Reusche paints once I figured out my own formula for ratio of paint / gum arabic / vinegar.

I think that I'm going to experiment with some of the matte pieces by refiring after using the clear coat overglaze by Fuse Master. Maybe it will help me salvage some of the pieces that have the matte finish and cover up some of the pieces where the glass is not reacting well and losing its gloss as well.

If you're willing to refire the matte ones, why not just put them on the top shelf toattain gloss? I wouldn't put a low-fire overcoat like fuse master on top of Reusche paints. I think you're asking for trouble with that. Sure would do a test first.

Also, the low fire fuse master overcoat isn't going to be as durable as a gloss fired regular paint. And one last thing: if the paints going to be in a window, nobody's going to notice how glossy it is.

The man I'm doing them for said that they are fine with him, and they are for windows. I guess I just wanted a little uniformity. °Ü°

Thanks for the input!

Jim Wolverton wrote:I just finished a big SG project that involved painting some of the pieces. I used Fuse Master transaparent paints and fired to the recommended temp (1175 *F). When I applied black patina to the piece the paint was attacked and much of it came off. It didn't make my day!

I have never had that happen before so I must assume it's the Fuse Master paints.

You can bet I'll be using something else in the future.

The Hobbyist......................Jim

ps. Here's the panel (52 x 38 in.):

Jim

Black patina is nitric acid. Nitric will attack any enamel on the market. They are primarily alkaline resistant so that dishwasher soap will not dissolve them. They are also somewhat acid resistant, but it is more for vinegar not nitric.

I experienced the same thing on the most important stained glass window I made in my leaded glass career. Fortunately I saw the stencil black disappearing, figured out what was going on and stopped it with water and baking soda before it was all gone.

I used acid to my advantage when trying to match enamels that had pretty much dissolved over the years when doing a repair. I enameled and dissolved it until it matched the existing colors.

Don't give up on the Fusemaster enamels, just be very careful using black patina.

Just a quick comment.... sorry I haven't answered sooner. I'm in the midst of a writing project and haven't had time to visit. If you've bought the Reusche paint recently, we've been having some problems with some of the black not wanting to fire out... just what you describe with the matte areas. Even Michael who has painted for 30 years with Reusches is perplexed. I suspect we got a batch that was a little "off" or their formula changed.... less lead maybe? Haven't contacted Jon Rarick at Reusche about it yet. Just my two.... hi to everyone! I'll check back in a couple of weeks. I haven't even thought about my mags much less started them! Sheesh, you hotdogs.

Dani wrote:Just a quick comment.... sorry I haven't answered sooner. I'm in the midst of a writing project and haven't had time to visit. If you've bought the Reusche paint recently, we've been having some problems with some of the black not wanting to fire out... just what you describe with the matte areas. Even Michael who has painted for 30 years with Reusches is perplexed. I suspect we got a batch that was a little "off" or their formula changed.... less lead maybe? Haven't contacted Jon Rarick at Reusche about it yet. Just my two.... hi to everyone! I'll check back in a couple of weeks. I haven't even thought about my mags much less started them! Sheesh, you hotdogs.

Dani

Try adding some flux or overpainting with flux.