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Home > Rheni Tauchid
 

Recent Reviews for Rheni Tauchid


The New Acrylics Essential Sourcebook (Book) - 3/1/2010 9:54:18 AM
I've gotten to page 154 and I love this book. It was just what I needed for the technical processes of using acrylics. I had previously used acrylics a few times on mouse pads and tee shirts, and am working (slowly) on a new approach to building and decorating electric guitars. Finding digital printing on adhesive vinyl film too expensive, with questionable impact on guitar value and sound, I go interested in airbrushing with non-solvent paints, i.e., water-based acrylics. I've found a few things not covered in this book that might be considered for future editions: 1) Warping masonite - Ordinary masonite(not mentioned explicitly on pp 58-59) warps badly on the application of gesso. For that matter, so does canvas on cardboard on the application of very wet acrylics. I found that sealing masonite with shellac first cuts down on warping significantly. But if it's in the book, I missed the part that discusses shellac and acrylic. 2) The book does not mention interactions with other common materials, like denatured alcohol (solvent for shellac), latex paint (whiter and more flexible than gesso), fabric paints (like Tulip and Paseo Setacolor), water-based polyurethanes, dilute ammonia (good for cleaning acrylics out of brushes), methanol 3) There is no discussion about water-based acrylic lacquers used on guitars (like Stewart-McDonald Colortone), or the fact that they are apparently waterproof. They are said to "burn-in" (redissolve) between layers, to be hard on curing, and will melt under the heat of buffing. This would seem to be a possible hard topcoat for acrylic paintings. Supposedly the acrylic resin beads melt together in the non-water co-solvent as the water evaporates, then consolidate as the co-solvent evaporates at a much slower rate. That might seem to preclude the water leaving pores as it evaporates, since the co-solvent would tend to fill them. 4) I don't recall using isopropyl alcohol, but unlike the comments of benign reactions using it on p138, denatured alcohol seems to make admittedly inexpensive acrylics (Walmart craft paints, and even Tulip fabric paint) clump up enough to make airbrush spraying problematic, and even result in curdling. It deserves a warning. 5) For what it is worth, the old formulation of Formula 409, with propylene glycol n-butyl ether, is an aggressive solvent and thinner for acrylics. A bit caustic for humans, though, which may be why it is no longer available. And be sure to clean ammonia (glass cleaner or stronger) off brass airbrush parts directly after use - it is corrosive to brass. 6) The discussion of matte versus glossy visual depth is spot on. Back in photography class, the grainless 5x7 B&W contact prints others made on glossy paper looked as if one could walk into them. But color also works that way, I think because of the difference in focal points inside our eyes. Or possibly hardwiring in our brains. Blue looks much farther away than red. The difference in refraction between air and thick polished plexiglas also provides an illusion of depth. Otherwise, it's a great book and I'm glad that I found it.

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