Another way Bruce can change the density of paint is by inserting light-transmitting holes into it. This process, called spotting, consists of repeatedly rubbing the brush into a wet mat. On the other hand, the paint can be applied by rubbing a wet brush into a clean glass to form a similar porous mat. You can use their badger for punctuation, but the preferred brush is an English bull tail styler. Most often another set of brushes, called scrubs, is used to further modify the mattress. A typical set of scrubs can be seen in the photo at the bottom of the page. These brushes are usually made of pig bristles. Many artists will change them, cutting them to different lengths and shapes to fit their style of work. Glass artists usually have a large collection of scrubs modified in different ways. Shortening the bristles makes them stiffer and more aggressive when removing dry mats. Longer bristles are better for stroking or staining painted surfaces. Bristles can be ground or burned to make them more or less flexible. You can also change the charm in the area of influence by changing the direction of the brush stroke sideways or in length. For fine work, such as ballooning, you will naturally use smaller brushes, usually in the range of 0 to 2. Bruce likes a short, stiff brush with a small dome. Before you start adding glare by removing some of the dried matting paint, it can sometimes help to run your hand over the paint or apply it lightly to break, say, the paint. Then switch to scrubbing and walk through each selected area one by one. First, work with softer scrubs to get smoother transitions from dark to medium tones. Then switch to tougher brushes, moving on to the main points where you remove almost all the matting paint. When you're working with a mattress, you can either rub it or stroke it, depending on what kind of mattress you're trying to achieve, stroking creates faster transitions as well as leaving traces of the brush, creating a sense of movement in the transition. When working with finer reflections, you can switch to a needle or wooden skewer to get smaller scratches on the matting paint. When working with your glare, keep in mind that it will expand when viewed in passing light. After making changes to the black trace and completing each layer of matt finish, Bruce launches them to freeze them in place. He launches his black mark up to 1300 * F for the parts he will later fuse. He launches his first mattress, usually flat, up to 1250 * F and then up to 1235" F. Different colors ripen at different temperatures. Always start at the highest temperature first and work down. Some enamels burn up to 1050 * F.
Paint Mixing
In this section, Bruce shows how to mix the colors for dyeing glass. These paints are highly fluid and contain many toxic metals, so they should be handled with care to avoid inhalation and ingestion. So wear a respirator when handling dry powders and wipe well with a damp cloth when done. To understand the potential risks, remember to ask for MSDS when buying them, Bruce first measures a little black on his glass palette, as in the photos on the left. He does this by tilting and tapping a jar of paint powder to allow the powder to slide before removing the lid. Now he pulls out a pallet knife to get some powder and builds a small hill on his palette. He then puts the lid back on the jar before he lifts it up to avoid the formation of powder dust. He makes a small well in the barrow with his masticatory. He then adds enough paint to the well to completely wet the powder. Thus, it does not lift the dust as long as it mixes the paint. In this case, he uses clove oil because of the way it flows out of his handle. The mixture also does not dry out at room temperature, and if it is coated it remains good almost forever, but the smell of clove oil can disturb some and even cause palpitations. Mixing now starts as in the photos that go through the bottom and up the right side of the page. Bruce starts by folding the dry powder around the edges of the well. If more clove oil is needed to wet all the powder, it adds more. Then he adds the rest of the powder until everything becomes wet. At this stage, the paint is still pretty granular, so it needs to be mixed well with a trowel to break it down and soak the grains completely. It does this by combining side to side and circular movements, causing the paint to flow under the spatula pressure. Sometimes it scrapes the paint back into the center and repeats the process until the paint becomes smooth and creamy. This can take from ten minutes to an hour for everything to go smoothly.