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Lorenzo Petersson
- Posts: 33
- Joined: Fri Mar 23, 2012 12:11 pm
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by Lorenzo Petersson » Wed Apr 02, 2014 1:47 pm
Hello fellow Hand Letterers!
Im still going strong, my one man operation of learning and working simultaneously is slowly growing and i have my third reverse glass lettering job lined up for next week, yay
I was hoping that maybe someone might have some input or experience in doing reversed glass jobs on sealed double and triple glazed windows, im not sure i've found the correct english term, but i mean those windows that have several sheets of glass in a single frame for energy saving purposes.
I have a client who asked me to do their studio logo (white, lapis lazuli blue and antique red so its pretty somber) and they have the aforementioned type of frame and its not possible to access the outermost sheet.
I was wondering wether i should brighten my colours a little to compensate for the extra layers of reflective surface in front of the paint, im pretty sure it will come out with slightly less "oumpf" if i dont, not drawing the eye quite as well.
Any thoughts are welcome!
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BruceJackson
- Posts: 231
- Joined: Mon Sep 06, 2004 7:28 am
- Location: Melbourne, Australia
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by BruceJackson » Sat Apr 05, 2014 3:49 am
only one way to know...put a smear of paint on the back and go outside and take a look...only way to assess if you need to adjust the color.
I sometimes do this with pale colors, especially white, and will sometimes adding a little extra red to counter the green cast of standard float glass.
You can't control a shop window, but for studio work and paintings on glass, i will choose low iron glass for high value projects or ones that have white areas.
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Lorenzo Petersson
- Posts: 33
- Joined: Fri Mar 23, 2012 12:11 pm
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by Lorenzo Petersson » Sat Apr 05, 2014 12:53 pm
BruceJackson wrote:only one way to know...put a smear of paint on the back and go outside and take a look...only way to assess if you need to adjust the color.
I sometimes do this with pale colors, especially white, and will sometimes adding a little extra red to counter the green cast of standard float glass.
You can't control a shop window, but for studio work and paintings on glass, i will choose low iron glass for high value projects or ones that have white areas.
Of course, wouldnt have thought of it but it seems so obvious now. Im going to need a pair of glasses for my brain i suspect.
Yes, a dash of red it is! Im going in a few days and will do a field test.
Good advice on the low iron glass too!
Thanks!
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Lorenzo Petersson
- Posts: 33
- Joined: Fri Mar 23, 2012 12:11 pm
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by Lorenzo Petersson » Tue Jul 29, 2014 8:49 am
Sorry guys, forgot to post how it actually turned out. We agreed to make the blue a bit darker for contrast.
Tried adding red in the white and i thought it looked a little more subdued somehow, and the standard white wasnt affected as bad as i thought by the greenish tint of the glass so i opted for unmixed white, turned out nicely.
The original design was made by the customer and was available in about a fourth of the size i needed, i'm not sure if it's a font originally, but i had to tweak the proportions of the M and T a bit to make it work like a monogram.
Im a poor photographer and an even worse photo-editing-person so the white outline looks a little gray here, but walking by its really popping!
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Dan Seese
- Posts: 313
- Joined: Tue Apr 13, 2004 11:29 pm
- Location: Fort Collins, CO
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by Dan Seese » Thu Jul 31, 2014 7:42 pm
Looks great, Lorenzo! Nicely executed.
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