CERAMIC
PROPERTIES
· colours: opaque and high brilliance. Can be mixed with each other. Very good lightfastness.
· diluent: Ceramic/Vitrail thinner.
· cleaning the brushes: Ceramic/Vitrail thinner.
· surfaces: earthenware, ceramic, metal...
· drying: by oxidation in air, touch dry in 3 hours, completely dry in 48 hours.
caring: when dry, colours resist to scratching and to washing in cold water without soaking.
APPLICATIONS
Pébéo Ceramic colours are ideal on ceramic, earthenware, stoneware, glass and metal. Porous bases must be sealed with a Pébéo Filler Undercoat before colours are applied in order to maximize the brilliance.
On rounded surfaces, do not overload, to avoid runs. Ceramic colours can be applied with brush, sponge, screen, bath... A sufficiently thick layer of colour can be combined with other material like sand or engraved with a stick.
Objects painted with Ceramic colours are for decorative use only.
Pébéo Iris brushes are ideal to paint with Ceramic.
PEBEO DECO
PROPERTIES
colours: acrylic, intense and luminous, gloss, matt or pearlized, excellent covering power. Ready to use and can be mixed with each other.
auxiliaries: to be used alone or mixed with the colours to change the texture, the transparency and to obtain stunning effects.
diluent: water.
cleaning the tools: soapy water.
surfaces: wood, plaster, earthenware, metal, salted dough, cardboard, stone, paper...
drying: tack-free in a few minutes, 24 hours completely.
caring: when dry, colours are indelible ; decorated objects can be cleaned with a damp sponge.
complies with the European toy safety standard 7.1.
APPLICATIONS
THE COLOURS
The Pébéo Déco colours are very easy to use and adapt to all techniques. Once dry, they are indelible and have a glossy, matt or pearl finish.
All Pébéo Déco colours can be applied on various surfaces, which should have been previously cleaned and can be used with equal ease with a brush, a foam roller or a sponge... Rich and intense, the colours lay perfect foundations and their creamy consistency easily reproduce traditional and contemporary designs. The large and various colour range makes it easy for any style : the « antique » half-tones are ideal for rustic and traditional painting on wood, as for the tonic colours, they are better suited for updating your objects to the trends in style.
THE AUXILIARIES
These simple to use products will ease the application of the colours, but most of all, will allow you to create unique and surprising effects.
Filler undercoat: This primer is to be applied on porous objects (terra cotta, wood, plaster...). The Pébéo Déco paints that you apply later will not be absorbed by the object and will then appear in all their brightness !
Black or white granite: These grained bases are to be mixed with the Pébéo Déco paints to obtain material effects and unique textures. Choose the black or white, according to the colours to be mixed with, to play on contrasts or blends ! Before drying, clean the tools with soapy water.
Gloss staining medium: This medium is particularly recommended for glazes and wood staining. Mix this medium with the Pébéo Déco paints : the colours will then become more transparent while keeping their consistency and brightness. This medium can be diluted with water.
Relief stencil paste : This paste, with a very dense texture, can be coloured as wished with Pébéo Déco paints and is applied with a painting knife to make superb relief stencils. It keeps its volume perfectly and does not crack while drying. Wait 24 hours for complete drying and clean the tools with soapy water before they dry.
"Fissured" effect medium: A very simple way of obtaining a spectacular "fissured" effect : apply a coat of Pébéo Déco paint, then a generous and undiluted coat of medium and finally cover it again with another coat of Pébéo Déco paint (different from the first one). Allow to dry between each step. The "fissures" will appear in 5 minutes. Before drying, clean the tools with soapy water.
Decoupage: Cut out your chosen design. Divide it into two and only use the printed part. Spread an even layer of "Découpage" on the support and immediately position the design. Smooth using a soft brush and leave to dry for two hours. Apply a second, protective layer. Leave to dry for two hours.
Transfer-Transprint: Tranfer paper documents to your chosen object ! Apply three successive coats of Transfer-transprint on your chosen picture (magazine page) at 30-minute intervals and allow to dry for 2 hours. Soak it for a few minutes in warm water and then delicately remove the reproduction with your finger. Then restick this transfer to your chosen object with a water based varnish from the Pébéo Déco range.
Crackling kit: This kit contains two 45ml bottles and two 20ml tubes of patina, as well as instructions for use : everything required to achieve magnificient crackled effects very simple on wood, terra cotta, plaster, cardboard, metal ... The Crackling effect bottles are also availble by one in 45ml and 250ml.
Matt or gloss varnish: These colourless varnishes, which can be diluted with water, allow objects decorated with Pébéo Déco paints to be effectively protected. They dry within 1 to 2 hours and are waterproof once they have dried.
Waterproofing agent: Ideal to waterproof containers in porous material. Pour thoroughly the waterproofing agent inside the perfectly dry container. Allow to dry 10 hours.
Antique varnish: This solvent varnish has a very glossy and slightly amber finish : the object varnished with this product looks as if it has acquired a patina with time. It is applied thickly with a brush, can be diluted with white spirit, dries in 24 hours and is water resistant once it has dried.
PORCELAINE 150
PROPERTIES
colours: in bottle, tube and marker, which can be mixed together, deep and glossy, transparent or opaque, with a superb enamelled appearance after baking. Excellent light stability.
thinner: Porcelaine 150 thinner.
cleaning of brushes: with soapy water.
surfaces: porcelain, earthenware, ceramic...
drying: tack free in a few minutes, fully dry in a minimum of 24 hours.
baking all colours and auxiliary products in the range: 35 minutes at 150°C (300°F) in domestic oven, after minimum 24 hours drying.
caring for all colours and auxiliary products in the range: remarkable resistance to dishwashing and to normal detergents after baking.
storage: store the markers flatwise.
conforms to toy safety standard 71.3.
APPLICATIONS
Porcelaine 150 can be applied to all heat-stable bases that are able to withstand a temperature of 150°C (300°F), such as porcelain, china, glazed earthenware, terracotta, metal, enamelled sheet steel, copper and glass. The choice of base enables numerous effects to be produced and experiments to be made with the transparency and intensity of the colours.
Many applications are possible with Porcelaine 150 : with brushes and also with sponge, stencil... The Porcelaine 150 outliners, in tube with nozzle, can be used for outlining work. The markers are recommended for lines and writing.
Colours can be fluidized with the Porcelaine 150 thinner. To produce a matt finish, add a few drops of matt medium to the colour before application. The gloss medium can be used to lighten colours without thinning them.
The colours are applied directly to a perfectly degreased base with alcohol or soapy water. After observing the required drying time (minimum 24 hours), place the decorated object in a cold oven. When the temperature of the oven has reached 150°C (300°F), bake for 35 minutes. Colours have then a real enamelled look and resist dishwashing.
The Iris brushes are suitable for the application of these paints.
VITRAIL
PROPERTIES
· colours: transparent, intense and very bright. Solvent based, ready to use and can be mixed together. Good light solidity.
· thinner: Ceramic/Vitrail thinner or white-spirit.
· cleaning the brushes: Ceramic/Vitrail thinner or white-spirit.
surfaces: glass, polyester, acetate, metal...
APPLICATIONS
Pébéo's Vitrail is applied with a brush to all carefully degreased transparent surfaces : glass, acetate, polyester, plexiglas and also on metal and engraving metal. The 18 "antique" Vitrail colours are dense and very transparent. The decorated surface has good hardness and resists to gentle washing with cold water.
To imitate stained glass, use with Pébéo's Cernes Relief outliners. They are applied directly from the tube with nozzle before applying the Vitrail colours. The Vitrail colours may also be used with bowl technique.
Objects decorated with Vitrail colours are intended for decorative purposes only and should not be considered for practical usage.
The Iris brushes are suitable for the application of these paints.
VITREA 160
PROPERTIES
· colours: in bottle, tube or felt tip marker, can be mixed together, in gloss or frosted version, remarquably transparent and bright colours. Excellent lightfastness.
· diluent: Vitrea 160 thinner.
· cleaning the brushes: soapy water.
· surfaces: glass, crystal ...
· drying: tack-free in a few minutes, fully dry in minimum 24 hours.
· baking all colours in the range: 40 minutes at 160°C (325°F) (steady temperature) in a domestic oven, after minimum 24 hours drying.
· caring for all colours in the range: remarkable resistance to use in dishwashers and to normal solvents and detergents.
· storage: store the felt tip markers flatwise.
conforms to toy safety standard 71.3.
APPLICATIONS
Applied on glass and crystal, the transparency of Vitrea 160 colours allows you to take full advantage of the light. However, Vitrea 160 can be applied on other thermostable surfaces which can withstand a temperature of 160°C (325°F).
Vitrea 160 are ready to use colours. Available in liquid, paste or felt tip markers, the Vitrea 160 colours display the same characteristics and properties. Either used alone or together, you are completely free to experiment with the effects and techniques of the paints. The glossy or frosted appearance of the colours provides an infinite variety of light and shadow effects. After baking, colours are exceptionally intense and glass seems to be bodydyed.
To thin colours, use the Vitrea 160 thinner. Gloss and frosted medium are used to lighten the colours without changing their technical characteristics ; iridescent medium, when mixed with colours, produces iridescent colours. To obtain a crackle finish, first apply the crackling medium step 1, followed by the step 2 and then paint over with colour.
Before painting with Vitrea 160, simply degrease with alcohol or soapy water. Allow to air dry for 24 hours, then bake in an ordinary domestic oven. Place the decorated object in a cold oven. Once the temperature has reached 160°C (325°F), allow to bake for 40 minutes. After baking, colours are dishwasher safe and resistant to detergents and common solvents.
CANDLE MAKING INSTRUCTIONS
WARNING - SAFETY WHEN MAKING CANDLES. THE SAME CARE MUST BE TAKEN IN CANDLEMAKING AS IN COOKING. NEVER LEAVE WAX UNATTENDED OVER A HEAT SOURCE.
PREPARATION OF THE CANDLE WAX
NOTE: Ensure all surfaces are covered with newspaper before starting and clothing is covered.
PREPARATION OF THE MOULD
1. Make sure the selected mould is clean.
2. The candle will sometimes stick to the mould. This can be overcome by using a little domestic cooking oil like sunflower, corn oil or ground nut oil, dropped on a paper towel and wiped over the surface.
3. Select a suitable bowl or container to hold the mould to be used.
MELTING THE WAX
1. Take 2 old saucepans, and place a trivet (a narrow wooden block) in the base of the larger saucepan and fill one third with water. Place the smaller pan inside the larger one and turn on a low heat on the cooker.
2. Place 500g of paraffin wax in the smaller saucepan (NEVER EVER BEAT WAX ON A DIRECT HEAT SOURCE) and allow to melt slowly.
3 . DO NOT LEAVE THE WAX ONCE IT IS ON THE HEAT SOURCE! Check the water level in the bottom of the larger saucepan, and top up as necessary.
4. When the wax is melted, add the stearin using about 50g for the 500g of wax you have melted. (This is about 3 tablespoons). Stir gently with a spoon until the stearin dissolves.
5. Remove the wax from the heat source. Cut the wick to about 10cm (4") longer than the mould. Holding one end, dip it into the wax, remove and allow it to drain over the molten wax. When cold the wick can be threaded through the hole in the mould to leave 1-2cm - 1" at the end of the mould. Tie a knot and seal with mould sealer. The other end is tied to the wick rod or a pencil, placed across the top of the mould. Make sure the wick is centred.
6., Replace the wax in the larger saucepan and add dye, if required. Use a small amount of dye initially. Stir this into the molten wax with an old wooden spoon until the wax is even In colour. Check you have the colour you want by taking a few drops on a spoon and dropping this onto a container of cold water. If the colour is too light, add a little more until you reach the colour you want. Dyes are very strong so only a little should be added at a time.
7. Remove the wax from the heat source and place the mould in a suitable support. A deep container such as a mug is required for the rubber mould.
8. If you have a thermometer, check the temperature. The ideal temperature is between 80'C and a maximum of 90'C. If the wax is too cool, replace on the heat source. If the temperature is between these figures you are ready to pour your first candle.
POURING THE CANDLE
1. Move the pot away from the stove to the pouring area that has been covered with plenty of newspaper. For ease of pouring, pour the wax from the wax pot into a pyrex jug or another heat resistant jug with a lip. Pour the wax on the edge of the mould very gently until the level is just below the level of the wick rod. In case any air bubbles are trapped in the wax, tap the mould gently to, release them. This will improve the surface of the candle.
2. To ensure even cooling, add cold water to the container surrounding the mould.
3. As the candle cools, a well forms around the wick. This should be filled with more hot wax at about 90'C. The blue spherical mould needs topping up several times as it cools.
4. Do NOT attempt to remove the candle from the water for at least 2 hours. Remove from the water after this time and leave for 24 hours. Remove the mould seal, cut the knot and gently ease the candle from the mould. If the candle will not move, either leave it for a few hours more or put it in the refrigerator for 30 minutes. When the candle has been taken out of the mould level the base by rubbing is on the inside of a warm saucepan.
5. Trim the wick at the top and the candle is ready to use. If you have used the spherical mould check there is no wax sticking to the joint. If there is, carefully remove this by running a pointed knife around the mould. This candle takes much longer to set than those made in the antique mould as it contains much more wax. If you have used the antique mould, make sure the wax is fully set and then peel back the rubber.
6. If you have difficulty removing the candle from the mould even after 24 hours, hold the mould under warm water. This will melt the wax sticking to the sides of the mould and allow you to remove the candle. The candle will not have a smooth surface but at worst, you can melt it down and start again.
