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Would like to perfect my smaltz application. Has anyone found a tried and true method. Or is there some technique publications out there.
-------------------- Signs Solutions, Inc. Matthew Rossi Midlothian, VA, 23113 signsol@earthlink.net Posts: 139 | From: Midlothian, Virginia | Registered: Nov 1998
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Me too Matthew! Please, what is the best "glue"? love...Jill
-------------------- That is like a Mr. Potato Head with all the pieces in the wrong place. -Russ McMullin Posts: 8834 | From: Butler, PA, USA | Registered: Jan 2001
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Hello In the past, background materials supporting smaltz were generally wood. The mixture of preserving adhesive colorant was generally of the same hue and value of the smaltz with a percentage of "fat oil", (Lindsed Oil)and dryer included for wood preserving reasons, but I suspect that even flow coverage from the fat oil may be a consideration. Main objective is to spread the colorant adhesive (paint) as evenly and quickly as possible over the sealed and smooth background surface. An even coat, no build-up or puddles of paint of that application will assure an even and consistant layer of smaltz. Sprinkle the smaltz by hand, much like feeding the chickens, and shake the background for voids of coverage, dont push the smaltz with your fingers because that would increase the possibility of rotating the smaltz in the adhesive.
J.G. Kurtzman
-------------------- John Kurtzman J.G. Kurtzman Sign Shop 97 Taylor Ave. Norwalk, Ct. 06854
----------------------------------- Creative communication since 1959 Posts: 213 | From: So. Norwalk, Ct. USA | Registered: Sep 2000
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this is how I was trained and what I have always done (with a little modification) and has yet to fail for me...lets say that the area that will be covered with smaltz is black, on a primed area I apply a little heavier than normal cote of black one shot (not significantly thicker than normal just slightly) and apply the smaltz, now this is where I have changed how I do it versus how I was trained...I was trained to apply similar to "feeding the chickens" but now I have a quart can that I use to store the smaltz in and in the lid I took a nail and hammer and punched holes through that will allow the smaltz to pass through...kind of like a salt shaker, and then I shake them on.."werks for me" Now I have had problems in the past (not often) but I could notice a difference in the smaltz on a large job where I had multiples of the same sign design so after the smaltz were applied and the one shot was dry I sprayed one shot over the smaltz to ensure that the color was consistent, worked great. I would also add though that this was for a indoor application and come to think of it I can not think of a job that I have used smaltz outdoors.
-------------------- Dan Streicher Slidell, LA Posts: 445 | From: Slidell, LA | Registered: Feb 2004
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Smiths Creme is the choice I would say. It is made by Danacolors and is described as: Non-Yellowing Painting Medium for Blends, Lettering, and Glazes. We use it for smalt application only. This creme is mixed 50% with whatever color smalt you will be using. We used to get our creme through Rick Glawson at Esoteric Sign Supply. I am not sure who has continued Esoteric, but I believe someone has. The process of applying is a little tricky, but once you have applied an even but thick coat, simply shake the smalt on. I prefer the hand method, although I use my fist as an hourglass, slowly allowing the smalt to fall at a certain rate. If anyone is in the Detroit area, come on by, there will be a lot of smalt going on.
-------------------- Kevin Betz KB Sign Company 21321 Ulrich Clinton Township, MI 48036 kbsigncompany@att.net Posts: 229 | From: Detroit, MI | Registered: Sep 2003
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Smalts, Smith's creme and whatever other funky stuff ya need can be found at letterheadsignsupply.com Merchants here and Ron & Kristi are very sweet, helpful people.
-------------------- Chris Welker Wildfire Signs Indiana, Pa Posts: 4254 | From: Indiana, PA | Registered: Mar 2001
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I learned to mix equal part of white lead, raw linseed oil and spar varnish. Stir well and add maybe 30-40% color and stir. This was called "smudge." The letters were gilded, then outlined with the outline going big and wild on the edge away from the letter. Then we'd letter with this smudge to cut in the background leaving the painted outline around the gold at the desired width. The smudge went on heavy and thick and leveled OK by itself. The smalt was then sifted on, not poured. We'd apply the smalt till it was nearly a quarter inch thick and let this set for two days with the weight of the extra smalt imbedding the bottom layer into the smudge. After the setting up time, we'd lay paper down on the table or floor and try to flip the sign over rather than turn it. We'd capture the smalt on the paper and return it to the bag.
I've found the 50-50 mixture of Smith Cream and 1-Shot to work OK and be fast and there is no need to get it on real evenly. If you're applying it with a lettering brush, it can't get too thick.
I've had several failures with Holfast Oil and would not recommend it.
I've seen many smalt jobs from the depression era that are still working today. They are all on tin, not wood. I remember seeing many on oil cloth also.
-------------------- The SignShop Mendocino, California
Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that's creativity. — Charles Mingus Posts: 6712 | From: Mendocino, CA. USA | Registered: Nov 1998
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I put the smaltz in a coffee can and tape a remnant of window screen over the top and sift through that. It gives me much better control than doing it by hand.
-------------------- David Harding A Sign of Excellence Carrollton, TX Posts: 5084 | From: Carrollton, TX, USA | Registered: Nov 1998
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I've heard many different recipes for size for holding smalt. In the past I've done many projects using Holfast. It's easy...just mix color into it. But the results were also mixed. Holfast seems to want to let go of some of the smalt after time. Whatever you use needs to level well, which explains why linseed oil is good. I have also used Smith's Cream and boiled oil (or was it raw?) mixed 1 to 1. Smith's Cream has always been used for blending, of course, in pictorial work. What I like about it is that, while it keeps a wet edge for a while, when it's ready to dry it seems to speed up, at the 'back' end of the dry time. Also, I've used screen printing enamel as colorant (thick as a brick). Seems like my Atkinson book has a recipe for coloring sand, though you can buy it colored. Expect it to fade, though. Except for black. And black glass smalt seems to look good forever. Plus, it's kind of sparkly. Nothing looks cooler as a background for gold.
Once, while sand blasting with 'Black Beauty,' which I think is coal slag, I wondered whether it would work as smalt. Anybody ever tried it?
While it's good to wait till the next day to flip the sign over, sometimes it's not possible, especially if you have several pieces to do. If you flip the panel wet, try to do it quickly. If you let a lot of the loose stuff slide down the face while turning it slowly, it wants to knock off the already embedded smalt. A cloth or paper will catch what drops for reuse.
Tip: Don't drop your coffee can shaker.
Brad
-------------------- Brad Ferguson See More Signs 7931 Wornall Rd Kansas City, MO 64111 signbrad@yahoo.com 816-739-7316 Posts: 1230 | From: Kansas City, MO, USA | Registered: Nov 1998
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Now I have had problems in the past (not often) but I could notice a difference in the smaltz on a large job where I had multiples of the same sign design so after the smaltz were applied and the one shot was dry I sprayed one shot over the smaltz to ensure that the color was consistent, worked great. I would also add though that this was for a indoor application and come to think of it I can not think of a job that I have used smaltz outdoors.
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