This document provides information on producing specialist finishes for decorative work, specifically broken color effects using glazes. It defines glazes as either a protective clear coating or the materials used to create effects. It describes how to make oil-based glazes using linseed oil, white spirit, driers and colorants. It provides tips on selecting glaze materials based on working time, potential for yellowing, area size, number of workers, and temperature. It also offers guidance on glaze consistency, application techniques, preparing the work area, cleaning tools, waste disposal, and storage of painting materials.

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PowerPoint
presentation
Unit 218: Producing specialist finishes for
decorative work
Producing broken colour effects

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Common materials

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What is glaze?
Glaze can mean two things:
• A final protective coating; normally clear
• The actual materials you use to create an effect

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Making your own glaze
Oil-based glaze can be ready prepared or you can make your own,
using the following ingredients:
• boiled linseed oil
• white spirit
• driers
• colourant
Whiting can be also added to improve body.

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Using glaze
You need to consider the following when selecting the materials to use:
• The working time of the material.
• The chances of yellowing.
• The size of the area you are working on.
• The number of operatives needed to carry out the work.
• The temperature of the area.
• Durability of the finished product.

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Level 2 Diploma in Painting and Decorating
Working time
The working time of the glaze may need to be extended or decreased
to allow for factors that need to be considered in the previous slide.
• Extend the working time of a glaze with oil or water-based paint
conditioner, which is a colourless liquid that is mixed with the glaze.
• Decrease by adding driers. This has to be done with care – too
much drier will lead to a defect called crazing.

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Consistency of glaze
The consistency/viscosity of a glaze is important:
• Thin glaze will run and/or sag.
• Thick glaze can run and/or sag and will not be easy to work.
• This is not an exact science – always experiment and test the mix before
beginning work on an area.

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Good planning
• Check the base coat for misses or defects.
• Always have everything ready before you start.
• Make sure the area is cool, with no draughts.
• Plan your breaks around the work.

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Getting it on the wall
• When applying glaze to a large area, work in a team of three: one
applying the glaze, one stippling the glaze, one working it.
• Prime stippling brushes and rags before you first use them otherwise they
will take too much glaze off the surface.
• Work the shortest way across the wall in order to maintain a wet edge.
• Always apply the same amount of glaze at a time, stipple it the same
amount of times and manipulate it for the same amount of time.
Tip: Never swap roles in the middle of a job; everyone has their own
technique and it will lead to an inconsistent finish.

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Preparing the area
• Clear the area of moveable items.
• Use protective sheeting.
• Use masking materials for items that cannot be removed.
• Put up wet paint signs before you start (not when you have finished).
• Erect barriers if needed.
Tip: Don’t leave masking material on a surface any longer than needed
and remove it slowly and carefully.

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Types of masking materials
How many can you think of?
• Standard masking tape
• Low tack masking tape
• Clean edge tape
• Packaging tape
• Duct tape
• Sticky edge masking paper

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Cleaning up
It is essential that the tools and equipment used are cleaned correctly:
• always clean tools and equipment thoroughly
• allow them to dry before storing
• store in a way they cannot be damaged
• wash solvents out of brushes with soapy water
• spin brushes to fan the bristles out.
Tip: Rags soaked in oils and solvents can spontaneously combust; open rags
out completely and allow to dry. When dry, cut them into small pieces and
dispose of as hazardous waste.

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Maintenance
• Specialist brushes and tools used in oi- based materials should be washed
out in white spirit/turps substitute, and washed in detergent and warm water,
rinsed and allowed to dry.
• Brushes should be spun out and hung up in a dry place so the bristles or
filaments are not damaged.
• Clean artist brushes in the same way and wipe some petroleum jelly over
the bristles to help them keep their shape.
• Rollers should be washed the same way, spun out and left upright or
hanging on a hook, so the pile is not damaged.
• All other painting equipment should be dried and stored away in such a way
that it cannot fall or be damaged.

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Disposing of waste
Always dispose of waste/dirty solvents etc correctly – contact your local council
to find out where they can be disposed. Failure to do this can lead to damage
to the environment, fines or even imprisonment.

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Storage
• All paint materials should be stored as per the manufacturers' instructions –
these can be found on product data sheets, product guides and on the back
of paint containers.
• Always ensure the lids are firmly in place to avoid fumes, spillage and the
product spoiling in the container.
• Oil and spirit-based paints should be stored away from heat and sources of
ignition.
• Water-based paints should be stored away from extreme cold and protected
from frost.

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Task
Complete Worksheet 5 using information from textbooks,
manufacturers' product guides and the internet.