Flicking Water on Untroubled Oil

Hello again!

Yes, remember it’s a case of …

  1. Doing all your water-based painting as usual
  2. Doing all your oil-based painting as usual
  3. Loading a soft toothbrush with a watery solution of water-based paint
  4. Flicking spots of water onto the oil-based paint, especially where there is a good covering of oil

This creates texture and the appearance of age.

A large part of the effect is outside of your control, so it’s a good idea to practice on a test piece first.

Remember: less is often more.

Here’s a close-up which I’ve taken from the picture top-right:

Remember - less is often more

Remember - there's a lot of chance here, and less is often more

And why did this come to mind today?

Well, David and I had tea with a tycoon, and he loved our glass painting, but he wanted us to paint something that looked 18th or 19th century and as if it had come out of one of the world’s finest auction houses …

Actually, his exact expression was: “I don’t want anything that a footballer’s wife would chose”.

Note: in this country, footballers are paid an extraordinary amount of money which is not matched by the taste of their (very temporary) wives whose responsibility it is to spend it all.

Sincere apologies to any footballer’s wife who happens to read this. Rest assured, we can paint you something that looks brand new

P.S. Doing all this work on the front of your glass means that the back of the glass is nice and clear and clean for all your silver staining. And yes, you can also use this technique on the on the back of your glass where your silver staining is – provided (of course) you learn to stain with oil (not water or vinegar, which just waste your time and money).

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9 thoughts on “Flicking Water on Untroubled Oil

  1. Can you please tell me, Is there anything such as “silver stain #465”? You see, I bought a few samples of Reusche glass paints sight unseen. I didn’t know what was going to be in the samples when I bought them and this stain was. The reason I ask is that this alleged silver stain does not look rosy as your silver stain in the videos I’ve been watching. It is more of a golden yellow color. So I just wondered if perhaps the person I bought this from was trying to pass something off to me since I am so ignorant about glass painting.

    One other quick question. Why do you use lavender oil and sandalwood oil? Would not any oil do?

    Warm regards,

    • Hello Donna,

      Don’t worry – Reusche #465 is in fact the most expensive stain there is. We use it a lot, as well as #1833 (Orange #2) and #1834 (Yellow #3) which you see in the video. It mixes fine with Sandalwood Amyris and Lavender, just like in the videos.

      You ask whether any oil would do. My answer is, many oils will certainly do. But you of course must be wary of oils which might combust in your kiln. On a positive note, Sandalwood Amyris makes a wonderful thick paste, and Lavender makes a wonderful thinner. In other words, as a team, they work together well to give you any consistency you might wish for.

      I hope this helps.

      All the best,

  2. I bought the silver stain booklet, and have devoured it several times. Thank you for this wonderful information!

    I do have a question: what specific type of sandalwood oil are you using? My son searched for it online and brought up that pure oil is exceedingly expensive, and may become difficult to procure, as the sandalwood trees are in some danger of becoming too few to harvest from.

    Do you have an alternative that you trust to be nearly as good, but that is more readily available?


  3. Hello Terry,

    Thanks for your question. Yes, indeed, Sandalwood Amyris is what we use, and it’s much cheaper than the pure (and real) Sandalwood. Here’s what looks like a good price for oils in the United States: check out the Ananda ApothocarySandalwood Amyris and Spike Lavender.

    In the UK and across mainland Europe, people can also check out Julia Lawless Aqua OleumSandalwood Amyris and Lavender.

    We’re thrilled you like the guide, Terry. It’s great how we can all work together to solve the silly and unnecessary mistakes that otherwise easily happen with silver stain.


  4. “I see!” said the blind man. Thanks for the information. It never dawned on me that oil in a hot kiln might catch fire. I learn something new every day at this site. How stimulating is that?

    Thank you!

    • Hi Donna! Thanks for your comment. I must say that not all oils are equal – and some will indeed combust. All the same, things are fine with the oils we mention. It’s also essential to allow the fumes to vent properly, and also for there to be a firing step during which the oils are allowed to dry.

      Happy experimenting (with the oils we mention …),

      • My first question – I’m a COMPLETE beginner doing an art school class and have been doing lots of experimentation while following as much as I can on my ancient computer which won’t play videos. (Soon to be replaced!).

        David, you mention a “firing step during which the oils are allowed to dry”. Is this actually a low-temperature firing or is it a pre-firing drying process?


  5. stipple, matte, when painting on glass… to get the desired areas easy to remove…spots of paint? is that paint with the oil and then with a brush of little water, flick water spots on to remove the paint easier? after dry of course? does that sound right? unable to find the directions in the Painting On Glass book.