Making wonderful glass mosaic tile art is easy! Let me show you how.
Ever wonder how to sign your indoor glass mosaic art so the signature won't rub or wear off? Nothing seems to stick permanently to glass. Permanent marker isn't permanent. Acrylic and enamel paint rub, chip, or flake off. Nothing works!
Until recently, I signed my indoor glass mosaics with enamel paint. I covered the entire mosaic (except the signature) with old rags and towels, and then lightly sprayed on two light coats of clear acrylic sealer to protect the paint. That method works okay, but it doesn't seem to be as permanent as my new idea.
I had an epiphany a while ago and I've been signing all my indoor glass mosaics with this method ever since. Try it and see how it works for you. Use this method only for indoor mosaics. Do not use this method for outdoor mosaics or mosaics that will be displayed in a wet environment (e.g., a sauna or shower area).
CAUTION: Try this method on a piece of scrap glass before trying it on your mosaic art. Trying it on scrap glass first will let you know if this is how you actually want to sign your mosaic art. It will also give you practice before doing it on your mosaic art.
Using a fine-tip permanent marker, sign your name on the glass. I usually put my signature on the bottom-right corner of my indoor mosaics. Put yours where you like it best. I find a piece of tessera big enough to hold my entire signature so I don't have to write on any grout lines. If I have to write small to fit it on a single piece of tessera so I don't cross any grout lines, then I write small.
Lay your indoor mosaic art on a flat surface. Do this so the wet glue won't run or drip. If your mosaic is flat, the glue is thick enough so it stays where you apply it (i.e., it won't run or drip). With your indoor mosaic lying flat, carefully apply plain white Elmer's Glue-All over your entire signature. Don't touch the tip of the glue bottle to the signature or the ink might smudge. Slowly squeeze out enough white Elmer's Glue-All to cover the entire signature. (White Elmer's Glue-All is the stuff we all went to school with. I can usually buy a big 7.625-oz bottle at Walmart for about $1.50.)
Allow the glue to thoroughly dry overnight. White Elmer’s Glue-All dries clear. When wet, the glue doesn't absorb or blur the ink. Instead, the ink stays intact and the signature looks good after the glue is dry and clear. The glass color also shows through so the glue doesn't affect the mosaic's appearance. The ink is entombed in the glue and the glue provides strong, permanent protection for my signature on my indoor mosaics.
Don’t try to get cute by using a cotton swab or other tool to spread out the glue evenly. While trying to spread out the wet glue, if you press just a hair too hard and touch the ink, it will smudge. If you leave the ink alone, it won’t smudge or blur, but it will with the slightest touch. Therefore, I suggest that you don't try to even out the glue lines. Instead, hold the tip of the glue bottle close to the glass and carefully squeeze out the glue. The edges will look a bit ragged (i.e., not perfectly straight and square with each other). In my opinion, that’s okay, they don't need to be perfectly smooth, straight, and at perfect angles with each other. When the glue is dry and clear, I don't notice the raggedness unless my nose is right up to the mosaic.
As noted, don't use this method for outdoor mosaics or for mosaics that will be displayed in a wet environment (e.g., a sauna or shower area).
This process is explained on my website for free with lots of pictures, so if you don’t quite understand it, go to my website and look at the pictures. Try this method on a piece of scrap glass and see if you like it. If you do, then you'll know a neat trick that allows you to sign your indoor mosaic art masterpieces and be comfortable that your signature won't rub or wear off over time.
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
วันพฤหัสบดีที่ 25 กุมภาพันธ์ พ.ศ. 2553
Glass Mosaic Tile Art: Do We Cut or Break Glass (Does it Matter)?
Making wonderful glass mosaic tile art is easy! Let me show you how.
Ever wonder what glass actually is? Do we cut it or break it (is there a difference)? Why and how does scoring a line allow us to control the way glass breaks? To fully understand why we cut glass the way we do, we should first understand a bit about glass itself.
There are two types of solids: amorphous and crystalline. (Huh? Amorphous? Wasn’t he a character in the movie series The Matrix? No, that was Morpheus.) As you’ll learn in my eBook in the chapter on Tessera Types, glass is an amorphous solid (the chapter explains what glass is to help the mosaic artist understand how to make better cuts and breaks, and to help reduce wasted glass). An amorphous solid, such as glass and plastic, has molecules arranged randomly in no particular pattern. On the contrary, a crystalline solid has molecules arranged in fixed patterns, sometimes called lattices. Most solids are crystalline, such as metal, ice, and diamonds.
Glass can break in a controlled manner (e.g., along its score line) because it doesn’t have a specific molecular structure. For example, a diamond breaks cleanly along its fixed molecular structure or cleavage (more commonly understood as “grain”). If you don’t properly align your breaking tool along the grain, the diamond can shatter. However, because glass doesn’t have a grain, you can break it in any direction without it shattering. The question is how do we get it to break the way we want?
Depending on the tools used, glass can either break from exceeding its tensile strength or cut from exceeding its compressive or shear strength. To control the fracture, we must define where to exceed the tensile, compressive, or shear strength to result in a controlled fracture. We do this by scoring the glass when we want to break it by applying a tensile stress or properly aligning the cutters when we want to cut it by applying a compressive or shear stress. For example, the glass’ tensile strength along a tiny score line is less than anywhere else on the glass, so it tends to break cleanly along that line (i.e., the break follows the path of least resistance).
When a separation occurs because of tensile stress, the separation is called a “break.” When a separation occurs because of shear stress or compressive stress, the separation is called a “cut.”
When using a scoring tool and running pliers on stained glass, you apply tensile stress to break the glass. When using wheeled cutters with the two wheels aligned (or other tool with the cutting edges aligned, such as nippers), you apply compressive stress to cut the glass. When using wheeled cutters with the two wheels misaligned (e.g., because you dropped the tool and bent the jaws out of alignment), you apply shear stress to cut the glass. (The most familiar example of a cutting tool with misaligned cutting edges is a pair of scissors where the two cutting edges are side by side instead of aligned.)
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
Ever wonder what glass actually is? Do we cut it or break it (is there a difference)? Why and how does scoring a line allow us to control the way glass breaks? To fully understand why we cut glass the way we do, we should first understand a bit about glass itself.
There are two types of solids: amorphous and crystalline. (Huh? Amorphous? Wasn’t he a character in the movie series The Matrix? No, that was Morpheus.) As you’ll learn in my eBook in the chapter on Tessera Types, glass is an amorphous solid (the chapter explains what glass is to help the mosaic artist understand how to make better cuts and breaks, and to help reduce wasted glass). An amorphous solid, such as glass and plastic, has molecules arranged randomly in no particular pattern. On the contrary, a crystalline solid has molecules arranged in fixed patterns, sometimes called lattices. Most solids are crystalline, such as metal, ice, and diamonds.
Glass can break in a controlled manner (e.g., along its score line) because it doesn’t have a specific molecular structure. For example, a diamond breaks cleanly along its fixed molecular structure or cleavage (more commonly understood as “grain”). If you don’t properly align your breaking tool along the grain, the diamond can shatter. However, because glass doesn’t have a grain, you can break it in any direction without it shattering. The question is how do we get it to break the way we want?
Depending on the tools used, glass can either break from exceeding its tensile strength or cut from exceeding its compressive or shear strength. To control the fracture, we must define where to exceed the tensile, compressive, or shear strength to result in a controlled fracture. We do this by scoring the glass when we want to break it by applying a tensile stress or properly aligning the cutters when we want to cut it by applying a compressive or shear stress. For example, the glass’ tensile strength along a tiny score line is less than anywhere else on the glass, so it tends to break cleanly along that line (i.e., the break follows the path of least resistance).
When a separation occurs because of tensile stress, the separation is called a “break.” When a separation occurs because of shear stress or compressive stress, the separation is called a “cut.”
When using a scoring tool and running pliers on stained glass, you apply tensile stress to break the glass. When using wheeled cutters with the two wheels aligned (or other tool with the cutting edges aligned, such as nippers), you apply compressive stress to cut the glass. When using wheeled cutters with the two wheels misaligned (e.g., because you dropped the tool and bent the jaws out of alignment), you apply shear stress to cut the glass. (The most familiar example of a cutting tool with misaligned cutting edges is a pair of scissors where the two cutting edges are side by side instead of aligned.)
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
Glass Mosaic Tile Art: Mixing Grout
Making wonderful glass mosaic tile art is easy! Let me show you how.
The amount of grout for your mosaic project depends on two basic variables: 1) the size of your piece, and 2) the width of your joints. Obviously, smaller joints require less grout. It’s important to mix more than you think you’ll need to ensure you don’t run out. This is especially true when using colored grout to ensure color consistency unless you intend for your piece to have varying shades of grout.
If you have a brand new box of grout, you’ll probably use only a small portion of it. Don’t dump the whole box into a bucket of water! If this is your first time grouting a mosaic, put what you think is enough into your mixing container and then add at least half that amount (i.e., mix about 1.5 times what you think you need). When you’re finished grouting, observe how much you throw away so you can better estimate how much you’ll need for your next project. (You’ll learn from my eBook the approximate amount of grout you’ll need for your project.)
The first rule of mixing grout is to read and follow safety precautions on the bag and then read and follow the label instructions. After reading the bag’s label, go somewhere away from your mosaic so you don’t splash wet grout on it while mixing (e.g., go outside or to the opposite end of the garage). Scoop enough grout powder into your mixing container. Slowly add small amounts of water and mix using a paint stirring stick. Some grout brands are “polymer modified,” which means acrylic latex has already been added to the powder. If the grout already contains the additive, the bag says in easy-to-read print, “polymer modified” or similar words. If the grout doesn’t already contain the additive, then you may choose to mix the grout with an admixture instead of water. As noted in the eBook, I never bother adding acrylic latex for my indoor mosaics. Plain hose water works just fine for me.
Add small amounts of water at a time and thoroughly mix it. Don’t pour in all the water at once. Don’t make the grout too runny by adding too much water. Take your time and mix in a little bit of water at a time. When it’s almost at the right consistency, just a teaspoon more water can be too much. So, take your time.
Don’t make the grout too runny. This is important so let’s say it again together, “Don’t make the grout too runny.” I use thick, pasty grout because it’s easier to wipe off without digging into the joints. The technical reason for not making it runny is that too much water makes the grout weaker and more susceptible to staining. So, thicker is better. My favorite consistency is like thick toothpaste or cookie dough (that’s thick toothpaste, not runny toothpaste). Some books say to make it like pudding or mayonnaise, but that’s too thin for me.
After thoroughly mixing the grout, I use the paint stirring stick to scoop some up and hold it over the container. If it drips off the stick into the container, then it’s way too thin. I like it so it stays in place on the stick and doesn’t droop or sag.
If you accidentally pour in too much water and make the grout too runny, simply add a little more grout powder to thicken it. Add just a teaspoon of grout powder at a time. A small amount of grout powder can change it from runny to just right. If you add too much grout, it’ll be too thick and then you’ll have to add a few drops of water to thin it. You’ll be caught in an endless loop of adding grout to thicken it, then adding water to thin it. So, add small amounts. After your first grout job, you’ll get a feel for how much to add, so it’ll be easier the next time you do this.
When you get the right consistency, thoroughly mix the grout to ensure there’s no remaining powder and no lumps. I like to wipe the sides of the container with the paint stirring stick to get all the powder off the sides. I don’t like any unmixed powder anywhere in the container.
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
The amount of grout for your mosaic project depends on two basic variables: 1) the size of your piece, and 2) the width of your joints. Obviously, smaller joints require less grout. It’s important to mix more than you think you’ll need to ensure you don’t run out. This is especially true when using colored grout to ensure color consistency unless you intend for your piece to have varying shades of grout.
If you have a brand new box of grout, you’ll probably use only a small portion of it. Don’t dump the whole box into a bucket of water! If this is your first time grouting a mosaic, put what you think is enough into your mixing container and then add at least half that amount (i.e., mix about 1.5 times what you think you need). When you’re finished grouting, observe how much you throw away so you can better estimate how much you’ll need for your next project. (You’ll learn from my eBook the approximate amount of grout you’ll need for your project.)
The first rule of mixing grout is to read and follow safety precautions on the bag and then read and follow the label instructions. After reading the bag’s label, go somewhere away from your mosaic so you don’t splash wet grout on it while mixing (e.g., go outside or to the opposite end of the garage). Scoop enough grout powder into your mixing container. Slowly add small amounts of water and mix using a paint stirring stick. Some grout brands are “polymer modified,” which means acrylic latex has already been added to the powder. If the grout already contains the additive, the bag says in easy-to-read print, “polymer modified” or similar words. If the grout doesn’t already contain the additive, then you may choose to mix the grout with an admixture instead of water. As noted in the eBook, I never bother adding acrylic latex for my indoor mosaics. Plain hose water works just fine for me.
Add small amounts of water at a time and thoroughly mix it. Don’t pour in all the water at once. Don’t make the grout too runny by adding too much water. Take your time and mix in a little bit of water at a time. When it’s almost at the right consistency, just a teaspoon more water can be too much. So, take your time.
Don’t make the grout too runny. This is important so let’s say it again together, “Don’t make the grout too runny.” I use thick, pasty grout because it’s easier to wipe off without digging into the joints. The technical reason for not making it runny is that too much water makes the grout weaker and more susceptible to staining. So, thicker is better. My favorite consistency is like thick toothpaste or cookie dough (that’s thick toothpaste, not runny toothpaste). Some books say to make it like pudding or mayonnaise, but that’s too thin for me.
After thoroughly mixing the grout, I use the paint stirring stick to scoop some up and hold it over the container. If it drips off the stick into the container, then it’s way too thin. I like it so it stays in place on the stick and doesn’t droop or sag.
If you accidentally pour in too much water and make the grout too runny, simply add a little more grout powder to thicken it. Add just a teaspoon of grout powder at a time. A small amount of grout powder can change it from runny to just right. If you add too much grout, it’ll be too thick and then you’ll have to add a few drops of water to thin it. You’ll be caught in an endless loop of adding grout to thicken it, then adding water to thin it. So, add small amounts. After your first grout job, you’ll get a feel for how much to add, so it’ll be easier the next time you do this.
When you get the right consistency, thoroughly mix the grout to ensure there’s no remaining powder and no lumps. I like to wipe the sides of the container with the paint stirring stick to get all the powder off the sides. I don’t like any unmixed powder anywhere in the container.
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
วันอังคารที่ 23 กุมภาพันธ์ พ.ศ. 2553
Glass Mosaic Tile Art: Andamento (Huh? What's That?)
Making wonderful glass mosaic tile art is easy! Let me show you how.
Andamento (Italian for “flow”) is the visual movement of your mosaic created by placing tesserae in specific patterns to achieve the desired image (a.k.a. “coursing” your tesserae).
Opus (Latin for “work of art or literary work”) is any work in any creative field, such as literature, architecture, music, and fine art. In our world of mosaic art, opus refers to how we arrange our tesserae. Different opera (the plural of opus) result in different flows. Understanding the various opera allows you to properly plan your work to ensure you achieve the desired look.
The following opera terms are based on Latin. Few people I know, including me, remember two minutes after rading about them what each term means. It doesn’t matter what you call each style. For example, instead of saying “Opus Regulatum,” you can call it “squares aligned like a brick wall.” The point is to be aware of the types of opera, then plan which types give the results you want, and then create your masterpiece accordingly.
This articles merely describes the basic andamento types; whereas, the eBook provides visual examples. Don’t get hung up on the names; simply be aware of the various styles and how your eyes react to each. Plan your work to give the desired flow and effect. I won’t try to describe in art-speak the effect that the eyes see in each opus because your eyes may interpret something completely different than mine. Besides, I never understand so called connoisseurs when they use words like energy, strong, sharp, dynamic movement, and dynamic power to describe a particular opus. I remember a pretentious guy who once told me, “Your lines are crisp and intense, and give the piece a provocative personality.” I confidently responded, “That’s exactly what I was going for,” although I had no idea what he was talking about. I felt I had to acknowledge what sounded like a compliment by pretending to understand his art-speak.
Surf the Internet for mosaic artists, study their work, and note the flow of their tesserae. Pay attention to how each type of flow makes you feel. Associate the flows with the feelings they stimulate in you. Then, plan your own work using the flows for the feelings you hope to evoke in others. Try mixing several types of opera into your work. For example, try using Opus Regulatum for the border, Opus Palladianum for the background, and Opus Sectile for the focal point.
Opus Tesselatum is a square or rectangle pattern with grout lines aligned, such as a checkerboard.
Opus Regulatum is also a square or rectangle pattern but with grout lines staggered like a brick wall. I sometimes use a variation of this opus as a background by enhancing the effect using light tesserae in the center and gradually darkening the tone to the border.
You’ll find inconsistencies with the definitions of tesselatum and regulatum in that some believe they’re reversed. Those who believe as I do have sound justification. For example, the Latin “tessella” means “small square piece of stone.” The Latin “tessellatim” means “in a checkered or tessellated form.” The modern “tessellate” means “arrange in a checkered pattern.” Therefore, I’m comfortable being in the group that defines the two terms as noted above. However, there’s another discrepancy, which is with the spelling of “tesselatum.” Does it have one “l” or two? I use one "l" to stay consistent with the other “...latum” opera described below. Again, it doesn’t matter what you call them or how you spell them as long as you understand that the two styles exist and they each can arouse different feelings when used in mosaics.
Opus Reticulatum is similar to opus regulatum or tesselatum but with slanted lines.
Opus Sectile is either a piece of tessera cut to one specific shape or several tesserae of varying sizes cut to shapes that fit together like puzzle pieces.
Opus Vermiculatum is typically a single row of tesserae following the outline of a focal point or main feature of the mosaic. Some artists use several rows to create the halo effect and add emphasis to the focal point. The background is usually done with a contrasting opus, such as opus regulatum. “Vermis” is Latin for worm, so think of opus vermiculatum as a worm surrounding your focal point.
Opus Musivum is opus vermiculatum extended out to fill the background, either all the way to the borders or to secondary focal points.
Opus Classicum combines opus vermiculatum with opus regulatum or opus tesselatum.
Opus Palladianum uses similar shapes laid in an irregular pattern. In my opinion, triangle like shapes with relatively equal grout spacing works best for this opus.
Opus Circumtactum uses interlocking fan like patterns for the background.
Remember, the eBook gives visual examples of each type of andamento described above, making it so much easier to understand its associated flow.
Making mosaic art is easy. You can do it. Yes, you can! Let me show you how.
by: Bill Enslen
Andamento (Italian for “flow”) is the visual movement of your mosaic created by placing tesserae in specific patterns to achieve the desired image (a.k.a. “coursing” your tesserae).
Opus (Latin for “work of art or literary work”) is any work in any creative field, such as literature, architecture, music, and fine art. In our world of mosaic art, opus refers to how we arrange our tesserae. Different opera (the plural of opus) result in different flows. Understanding the various opera allows you to properly plan your work to ensure you achieve the desired look.
The following opera terms are based on Latin. Few people I know, including me, remember two minutes after rading about them what each term means. It doesn’t matter what you call each style. For example, instead of saying “Opus Regulatum,” you can call it “squares aligned like a brick wall.” The point is to be aware of the types of opera, then plan which types give the results you want, and then create your masterpiece accordingly.
This articles merely describes the basic andamento types; whereas, the eBook provides visual examples. Don’t get hung up on the names; simply be aware of the various styles and how your eyes react to each. Plan your work to give the desired flow and effect. I won’t try to describe in art-speak the effect that the eyes see in each opus because your eyes may interpret something completely different than mine. Besides, I never understand so called connoisseurs when they use words like energy, strong, sharp, dynamic movement, and dynamic power to describe a particular opus. I remember a pretentious guy who once told me, “Your lines are crisp and intense, and give the piece a provocative personality.” I confidently responded, “That’s exactly what I was going for,” although I had no idea what he was talking about. I felt I had to acknowledge what sounded like a compliment by pretending to understand his art-speak.
Surf the Internet for mosaic artists, study their work, and note the flow of their tesserae. Pay attention to how each type of flow makes you feel. Associate the flows with the feelings they stimulate in you. Then, plan your own work using the flows for the feelings you hope to evoke in others. Try mixing several types of opera into your work. For example, try using Opus Regulatum for the border, Opus Palladianum for the background, and Opus Sectile for the focal point.
Opus Tesselatum is a square or rectangle pattern with grout lines aligned, such as a checkerboard.
Opus Regulatum is also a square or rectangle pattern but with grout lines staggered like a brick wall. I sometimes use a variation of this opus as a background by enhancing the effect using light tesserae in the center and gradually darkening the tone to the border.
You’ll find inconsistencies with the definitions of tesselatum and regulatum in that some believe they’re reversed. Those who believe as I do have sound justification. For example, the Latin “tessella” means “small square piece of stone.” The Latin “tessellatim” means “in a checkered or tessellated form.” The modern “tessellate” means “arrange in a checkered pattern.” Therefore, I’m comfortable being in the group that defines the two terms as noted above. However, there’s another discrepancy, which is with the spelling of “tesselatum.” Does it have one “l” or two? I use one "l" to stay consistent with the other “...latum” opera described below. Again, it doesn’t matter what you call them or how you spell them as long as you understand that the two styles exist and they each can arouse different feelings when used in mosaics.
Opus Reticulatum is similar to opus regulatum or tesselatum but with slanted lines.
Opus Sectile is either a piece of tessera cut to one specific shape or several tesserae of varying sizes cut to shapes that fit together like puzzle pieces.
Opus Vermiculatum is typically a single row of tesserae following the outline of a focal point or main feature of the mosaic. Some artists use several rows to create the halo effect and add emphasis to the focal point. The background is usually done with a contrasting opus, such as opus regulatum. “Vermis” is Latin for worm, so think of opus vermiculatum as a worm surrounding your focal point.
Opus Musivum is opus vermiculatum extended out to fill the background, either all the way to the borders or to secondary focal points.
Opus Classicum combines opus vermiculatum with opus regulatum or opus tesselatum.
Opus Palladianum uses similar shapes laid in an irregular pattern. In my opinion, triangle like shapes with relatively equal grout spacing works best for this opus.
Opus Circumtactum uses interlocking fan like patterns for the background.
Remember, the eBook gives visual examples of each type of andamento described above, making it so much easier to understand its associated flow.
Making mosaic art is easy. You can do it. Yes, you can! Let me show you how.
by: Bill Enslen
Glass Mosaic Tile Art: Hanging Your Heavy Mosaic Masterpiece
Making wonderful glass mosaic tile art is easy! Let me show you how.
You’re so anxious to hang your first masterpiece that it seems like the frame store is taking forever finish the frame. Finally, they call to tell you it’s ready for pickup. Wow, they did a great job and the frame makes your mosaic look even better. You can’t wait to hang it on the wall and show it off.
It weighs a ton and you’re nervous wondering whether a 10-penny nail in flimsy drywall can hold all that weight. You wisely decide that the nail must instead go into a wall stud. The last thing you want is your heavy mosaic crashing down, popping off tesserae, breaking the custom frame, and cracking the ceramic floor tile. You find the exact spot for the nail and poke around hoping to find a stud somewhere close to that spot. Oh, no! The nearest stud is six inches to the left. If you install the nail in that stud, the mosaic won’t be centered on the wall and will look terrible. Good grief, now what? Relax. This is easy. In my eBook, we walk step-by-step through the process of adding a solid support system in the wall that’s plenty strong enough to hold your heavy magnum opus. This isn’t rocket science so don’t panic. You can do it. Yes, you can!
If your masterpiece has any size to it, it’s going to be heavy. For example, one of my projects is only 27”x32” but it weighs a whopping 24-pounds. Always be safety conscious. Never create a safety hazard. You must always ensure the support system is adequately strong enough to bear the load of your heavy mosaic.
Some artists don’t hang their pieces because they don’t want to risk a falling hazard that can harm people or damage the piece. They commonly use free standing easels made of sturdy wood, low to the floor, and well-balanced to minimize the risk of tipping. Typically, these easels are used in galleries, but some people use them in their homes. Personally, I’d rather see my mosaics on the wall. To me, they look better and make the home feel cozier. Besides, who has room for several free-standing easels throughout the house?
The complexity of the support system depends on several factors, such as the mosaic’s weight, location of the lag bolt with respect to a wall stud, and safety concerns for your children. For example, if you find that the lag bolt location is just to the side of a wall stud, you may not need an elaborate support system like the one we install in the eBook. Instead, a small piece of 2x4 attached to the side of the stud may be sufficient.
What we install in the eBook is probably the most complex support system you’ll ever need for a hanging mosaic, so once you learn that method, you should be able to install any simpler support system that you might dream up. Remember, this is easy! You can do it. The eBook walks you through each step of the process as if I’m right there in your living room with you. Relax! Don’t worry about cutting a big hole in your drywall. You’ll learn how easy it is to measure, cut the drywall, install a 2x4 support system to the existing studs, replace the drywall, patch it, and paint it--like a pro! It’s easy. You can do it. Yes, you can! Let me show you how.
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
You’re so anxious to hang your first masterpiece that it seems like the frame store is taking forever finish the frame. Finally, they call to tell you it’s ready for pickup. Wow, they did a great job and the frame makes your mosaic look even better. You can’t wait to hang it on the wall and show it off.
It weighs a ton and you’re nervous wondering whether a 10-penny nail in flimsy drywall can hold all that weight. You wisely decide that the nail must instead go into a wall stud. The last thing you want is your heavy mosaic crashing down, popping off tesserae, breaking the custom frame, and cracking the ceramic floor tile. You find the exact spot for the nail and poke around hoping to find a stud somewhere close to that spot. Oh, no! The nearest stud is six inches to the left. If you install the nail in that stud, the mosaic won’t be centered on the wall and will look terrible. Good grief, now what? Relax. This is easy. In my eBook, we walk step-by-step through the process of adding a solid support system in the wall that’s plenty strong enough to hold your heavy magnum opus. This isn’t rocket science so don’t panic. You can do it. Yes, you can!
If your masterpiece has any size to it, it’s going to be heavy. For example, one of my projects is only 27”x32” but it weighs a whopping 24-pounds. Always be safety conscious. Never create a safety hazard. You must always ensure the support system is adequately strong enough to bear the load of your heavy mosaic.
Some artists don’t hang their pieces because they don’t want to risk a falling hazard that can harm people or damage the piece. They commonly use free standing easels made of sturdy wood, low to the floor, and well-balanced to minimize the risk of tipping. Typically, these easels are used in galleries, but some people use them in their homes. Personally, I’d rather see my mosaics on the wall. To me, they look better and make the home feel cozier. Besides, who has room for several free-standing easels throughout the house?
The complexity of the support system depends on several factors, such as the mosaic’s weight, location of the lag bolt with respect to a wall stud, and safety concerns for your children. For example, if you find that the lag bolt location is just to the side of a wall stud, you may not need an elaborate support system like the one we install in the eBook. Instead, a small piece of 2x4 attached to the side of the stud may be sufficient.
What we install in the eBook is probably the most complex support system you’ll ever need for a hanging mosaic, so once you learn that method, you should be able to install any simpler support system that you might dream up. Remember, this is easy! You can do it. The eBook walks you through each step of the process as if I’m right there in your living room with you. Relax! Don’t worry about cutting a big hole in your drywall. You’ll learn how easy it is to measure, cut the drywall, install a 2x4 support system to the existing studs, replace the drywall, patch it, and paint it--like a pro! It’s easy. You can do it. Yes, you can! Let me show you how.
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
Glass Mosaic Tile Art: Is Weldbond Really the Best Adhesive for Mosaics?
Making wonderful glass mosaic tile art is easy! Let me show you how.
Which type of adhesive is best for mosaics? It depends on your base material, mosaic method, whether you’re working horizontally on a table or vertically on a wall, whether your mosaic is exposed to moisture, and personal preference.
Many websites and articles say Weldbond is the best adhesive for indoor mosaics and that it’s the preferred glue of professional mosaic artists worldwide. I’m the kind of guy who likes to ask, “Why?” I’m compelled to dig deeper, so my question is: What makes Weldbond so much better than other polyvinyl acetate (PVA) glues (commonly known as white glue), such as Elmer’s Glue All? If you’re like me, you wonder, “Why do so many mosaic websites say Weldbond is the best mosaic glue, but none of them fully explain what makes it better or why it’s better?” I don’t know, maybe one mosaic artist heard something about Weldbond and regurgitated it to another artist without knowing the chemical facts. Maybe a mosaic supply salesman makes a bigger profit selling a 4-ounce bottle of Weldbond for $4.50 than a 7.5-ounce bottle of Elmer’s for only $1.50.
Let’s think about it. White glues are made from PVA emulsions. All basic PVA emulsions have the same properties: water-based, odorless, easy clean-up, colorless, relatively non-toxic, water resistant (not waterproof), and not too heat resistant compared to other adhesives.
Varieties of PVA glues can be developed by adding small amounts of materials to improve specific characteristics. For example, simple clay can improve the glue’s high temperature strength. However, the differences in varieties aren’t that great because if too much extra material is added, the glue’s adhering properties unacceptably weaken.
I tried to determine the chemical properties of Weldbond and Elmer’s, but I couldn’t find anything that fully defines the ingredients. The Elmer’s website says their ingredients are proprietary, so I assume Weldbond’s ingredients are also proprietary. I also couldn’t find independent laboratory test results that define Weldbond’s shear strength, adhesion strength, and cohesion strength. (The key word is “independent.”) Same for Elmer’s. Therefore, I couldn’t compare the two to determine if one truly is stronger than the other in shear, adhesion, and cohesion strength.
For our indoor mosaic applications, do we really care if one brand is stronger than the other by a ga-zillion Pascals? (A Pascal is a unit of pressure equivalent to one Newton per square-meter.) I don’t think so. For example, do we care that one brand might support the weight of two elephants while the other brand might support only one? Of course not. All we care about is if the glue can effectively hold a small piece of glass tessera that weighs less than an ounce to our base material without extreme external forces acting on it (e.g., forces such as walking on it or beating it with a hammer). So, in terms of strength, how do we choose whether to use Weldbond or Elmer’s for our simple, light-duty, indoor, mosaic art application? The answer is easy--perform our own unscientific experiment.
Read the eBook to see the details and results of my experiment and learn which brand performed better. You’ll be surprised at the results. The eBook also explains more about PVA glue, so you’ll understand whether it’s possible to manufacture one brand significantly better than another brand. So, the question still remains: For our indoor glass mosaic art, is it worth it to spend $4.50 for a 4-ounce bottle of Weldbond instead of $1.50 for a 7.5-ounce bottle of Elmer’s? Read the eBook!
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
Which type of adhesive is best for mosaics? It depends on your base material, mosaic method, whether you’re working horizontally on a table or vertically on a wall, whether your mosaic is exposed to moisture, and personal preference.
Many websites and articles say Weldbond is the best adhesive for indoor mosaics and that it’s the preferred glue of professional mosaic artists worldwide. I’m the kind of guy who likes to ask, “Why?” I’m compelled to dig deeper, so my question is: What makes Weldbond so much better than other polyvinyl acetate (PVA) glues (commonly known as white glue), such as Elmer’s Glue All? If you’re like me, you wonder, “Why do so many mosaic websites say Weldbond is the best mosaic glue, but none of them fully explain what makes it better or why it’s better?” I don’t know, maybe one mosaic artist heard something about Weldbond and regurgitated it to another artist without knowing the chemical facts. Maybe a mosaic supply salesman makes a bigger profit selling a 4-ounce bottle of Weldbond for $4.50 than a 7.5-ounce bottle of Elmer’s for only $1.50.
Let’s think about it. White glues are made from PVA emulsions. All basic PVA emulsions have the same properties: water-based, odorless, easy clean-up, colorless, relatively non-toxic, water resistant (not waterproof), and not too heat resistant compared to other adhesives.
Varieties of PVA glues can be developed by adding small amounts of materials to improve specific characteristics. For example, simple clay can improve the glue’s high temperature strength. However, the differences in varieties aren’t that great because if too much extra material is added, the glue’s adhering properties unacceptably weaken.
I tried to determine the chemical properties of Weldbond and Elmer’s, but I couldn’t find anything that fully defines the ingredients. The Elmer’s website says their ingredients are proprietary, so I assume Weldbond’s ingredients are also proprietary. I also couldn’t find independent laboratory test results that define Weldbond’s shear strength, adhesion strength, and cohesion strength. (The key word is “independent.”) Same for Elmer’s. Therefore, I couldn’t compare the two to determine if one truly is stronger than the other in shear, adhesion, and cohesion strength.
For our indoor mosaic applications, do we really care if one brand is stronger than the other by a ga-zillion Pascals? (A Pascal is a unit of pressure equivalent to one Newton per square-meter.) I don’t think so. For example, do we care that one brand might support the weight of two elephants while the other brand might support only one? Of course not. All we care about is if the glue can effectively hold a small piece of glass tessera that weighs less than an ounce to our base material without extreme external forces acting on it (e.g., forces such as walking on it or beating it with a hammer). So, in terms of strength, how do we choose whether to use Weldbond or Elmer’s for our simple, light-duty, indoor, mosaic art application? The answer is easy--perform our own unscientific experiment.
Read the eBook to see the details and results of my experiment and learn which brand performed better. You’ll be surprised at the results. The eBook also explains more about PVA glue, so you’ll understand whether it’s possible to manufacture one brand significantly better than another brand. So, the question still remains: For our indoor glass mosaic art, is it worth it to spend $4.50 for a 4-ounce bottle of Weldbond instead of $1.50 for a 7.5-ounce bottle of Elmer’s? Read the eBook!
Remember, making mosaic art is easy. You can do it. Yes, you can!
by: Bill Enslen
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