Chintex is a solvent based acrylic glaze which has been manufactured specifically for the reglazing of repairs to antique pottery and porcelain.

Chintex is the preffered glazing medium amongst many china an ceramic restorers as it is a easy to use and very reliable glazing medium.

Unlike many porcelain repair glazes such as Sylmasta Cold Glaze, Tor Life or Rustins Ceramic Glaze Chintex does not require the addition of a hardener to cure. Chintex cures by heating the coated object in an oven to a minimum temperature of 95 degrees centigrade for 1 hour. Because Chintex does not have the harmful ingredients found in many 2 part glazes it is possibly one of the safest restoration glazes available.

Chintex is completely colourless and does not change colour over time, it is manufactured from the best quality non-yellowing resins.

There are 2 types of Chintex, Clear and White. The white Chintex has a slightly different formula to the clear but just like the clear it has to be heated to give a very hardwearing finish.

When purchased Chintex will be the consistency of thin honey, a thinner is needed to bring it to a consistency where it can be sprayed with an airbrush. It is important for good results and a long lasting finish that only the Chintex thinner is used. Chintex Thinner is a blend of solvents which will give the correct evaporation rate to ensure a good spray, prevent bubbling or cratering of the glaze and to ensure the glaze will reach its maximum hardness.

Both the the Clear and White Chintex can be coloured to match any ceramic body or decoration. Many porcelain restorers find using artists quality oil colours are a convenint way to colour Chintex. Oil colours can be used, however it is impotant to try and remove most of the oil from the colour prior to use. This can be achieved by putting the oil colour onto an absorbent surface such as blotting paper to try and draw out at least some of the oil. The linseed oil found in many artists colours can cause Chintex to yellow or prevent it from reaching full hardness. Another colouring medium used by restorers is dry powder pigments, these have the advantage of no contaminating oil and a much srtonger tinting power than oil colours. The modern day porcelain restorer now uses commercial liquid paint tints to tint Chintex, these have the advantage of being ground extremely fine, no oil contaminate an very strong tinting power.

Technical Data For Chintex

DESCRIPTION

Heat curing modified acrylic resin enamel coating formulated for the restoration
of antique ceramics.
Application by spray or brush.

TECHNICAL INFORMATION

Flashpoint Between 22 and 32 degrees centigrade.
Storage Approximately 2 years in original sealed containers.

APPLICATION AND USAGE

Preparation
The surface to be coated must be dry and free from grease or dust.

Thinning
Only the thinner supplied by us should be used. There are no hard and fast rules
as to how much thinner should be used. Application temperatures, nozzle sizes,
etc. etc will have a bearing on the amount of thinners needed. Tests have shown
that up to 60% of thinner can be used with little detrimental effect to the gloss or
adhesive properties of the glaze.

Tinting
Both clear and white can be intermixed and tinted with artist’s oil or alkyd paints.
This type of artists colourant contains oils and resins that may discolour or if used
in large amounts. Oils can also prevent the glaze from fully curing. Therefore it is
recommended that if you wish to use artist’s pigments they are in the dry-ground
form. Commercial paint tints (such as those we sell) have much stronger tinting
power, are much more finely ground giving a finer spray and will not contaminate
the glaze with oils or non-lightfast resins.

Overcoating
Can be overcoated at any time during the curing process. After stoving the glaze
must be abraded to ensure subsequent coats will adhere.

Blending
The overspray halo left around the edges of your final coat can be blended into
the original glaze by the use of the thinner. A very fine mist coat of pure thinner
should first be sprayed onto the halo, this first spray may only soften the halo, a
further heavier spray should eliminate the halo completely.
This blending can be done within 1 hour of spraying your glaze coat.

Drying
Both white and clear will be touch dry within 20 minutes. To extend the touch dry
time or to allow colours to bleed retarder should be added to the mix.
Unless an excessive amount of glaze has been applied or the application
temperature is too low the object can be handled within 1 hour .
Thick layers and low application temperatures have a severe effect on the drying
and curing of the glaze. Coats should be built up slowly allowing sufficient time
for solvents to evaporate.

Stoving
It is important to leave coated objects to “flash off” before stoving as solvent
trapped in the glaze is likely to cause bubbling or other defects. The longer the
flash off period the less likely bubbling will be a problem. A minimum of 30
minutes should be allowed before stoving.
Chintex will only cure when heated, if it is not heated to sufficient temperature for
a long enough period of time the coating will remain soft. Chintex can be heated
to over 180 degrees centigrade without discolouring. The higher the temperature
used, the harder the coating will cure. A minimum temperature of 95 degrees for
1 hour is needed to give a hard wearing glaze.
It is recommended to leave the object in the oven until it is cool, this not only
eliminates the risk of thermal shock but also fully cures the glaze.

Cleanup
Thinner can be used to clean airbrushes or equipment. Acetone, standard
cellulose thinner or gun wash can also be used or cleaning. Once the coating is
fully cured only a commercial paint stripper such as Nitromors will remove the
coating.