She blinded me with science
Let's take our glaze discussion to the lab, shall we? In my last post I outlined the different products in the line of glaze mediums from Faux Effects International. This time I set up my own experiment:
First I selected one color, Van Dyke Brown, that is found across all the color mediums in the line. It is available in Faux Creme Color, Faux Color, Stain & Seal, and the Concentrate. Then I selected a brown paint color in a flat sheen with a clay base (along the lines of Aura or other low VOC paints)
Each of these colorants, except the concentrate which I will address later, was then mixed in with a different glaze medium in the same ratio and applied in the same method: by a brush and pounced with cheesecloth.
Then I sat at the DMV all day
to get my damn driver's license updated to allow my swatches to dry. When I was finally released from hell granted the privilege of driving another few years, I came back and sanded the surface to check dry times/bonding.
First up: Aquaglaze. Yes, the Aquaglaze looks funny like a fermented cheese. But lots of things look funny but still have a purpose:
Even if that purpose may be hard to define!
Next I mixed Faux Creme Clear with the flat paint:
The mixture tightened up pretty fast. But I was able to brush it on the Setcoat and pounce it out.
Then I mixed Faux Creme Clear with Van Dyke Brown Faux Creme Color.
As expected, this made for a blended mix of light density that was fairly sheer when applied to the Setcoat.
The Faux Cream Clear and Faux Color mix above created a very creamy mixture with a thicker consistency that I actually like when glazing. This mix had more body when brushed on the Setcoat.
Next up is Aquacreme (which I admit, I really like). When I mixed the Aquacreme with the flat paint it actually made a very creamy spreadable glaze. This may be due to the nature of the clay based paint.
Again, the Aquacreme and the Van Dyke Faux Creme Color produces a very creamy glaze with dark but translucent color.
The above picture is Van Dyke Faux Color and Aquacreme. What is interesting to note is not the consistency but the color. Compare this color to the same mix made with Faux Creme Clear. The more opaque nature of the Faux Creme Clear dilutes the color slightly but enough to notice a difference between the two glazing mediums.
And, then I mixed Aquacreme with Van Dyke Stain & Seal. This is a favorite mix for wood graining because the thicker texture holds the graining tool shapes well:
The last glaze I tested was FX Thinner which is usually for thinning Stain & Seal. This is the only glaze medium I feel comfortable mixing with the Concentrate Colors based on my own field experience, so I didn't try mixing the Concentrate Colors with other glazes.
The FX Thinner and the Faux Creme Color did not want to blend well but I was able to brush it over the surface.
Now some conclusions:
The above board is Faux Creme Color mixed with the different glaze mediums. The Aquaglaze (upper left square) is the most sheer because I had to brush out the clumping. The Faux Creme Clear mix had the most open time while the Aquacreme mix had the most even coverage. The color did not want to blend as well in the FX Thinner mix (lower right color)
This board is Faux Color mixed with the glaze mediums. The Aquaglaze medium took over night to dry (upper left). The Faux Creme Clear mix and the Aquacreme mix gave very even coverage that stayed open longer then the FX Thinner (lower left). The FX Thinner mix stayed on heavier.
This board is Stain & Seal mixed with the glazes and is the most consistent in final color. This is most likely due to the concentrated color nature of Stain & Seal. The Aquaglaze square (upper left) was the only one where the stain bit into the surface. Both the Faux Creme Clear and the Aquacreme mixes needed to be very dry before applying any more layers because the surface would re-wet. The FX Thinner dried faster then the Faux Creme Clear and the Aquacreme but didn't re-wet when more color was applied an hour later.
All the glazes did mix with the different mediums and did bond to the Setcoat surface. The biggest differences were:
Spread Time (how fast did the glaze grip the surface). Faux Creme Clear and Aquacreme mixed with Faux Creme Color was easy to brush and remove. FX Thinner was in the middle with most colorants except paint where it dried fast. Aquaglaze and Faux Color moved well but took overnight to dry.
Mixability. Aquaglaze didn't blend smoothly with any of the colorants and took a little more brushing out but it did work. Faux Creme Clear and paint created a mix the consistency of sour cream but again it did brush out and bond. Aquacreme actually mixed the best with all the colorants tested.
Dried Color: This was the biggest suprise. The actual density of the glaze material had an impact on the final color with the more opaque glazes having a bigger change then Aquacreme which is very translucent. Even between the Faux Creme Clear and the FX Thinner there is a color difference probably due to the looser nature of the FX Thinner. Next time someone calls with a question about why a color is different then a sample I will be sure to ask what glaze medium they used. This may be the reason and not the colorant.
The final blog on this is about glaze application. We all get hung up on product and color forgetting about how important the application choice is to the final outcome. I call application the third wheel of Faux Finishing. So I will leave you today with another third wheel:
At least you get to take your shirt off-a lot!