Chintex is a solvent based acrylic glaze which has been manufactured specifically for the reglazing of repairs to antique pottery, porcelain and enamels. Chintex is also widely used by artists for decorating ceramics where firing at normal kiln temperature is not possible.

Chintex Glaze was originally manufactured by Chintex of Wraxhall Bristol from 1966 until the late 1990's. We purchased the Chintex Brand in 2001 and continued production still using the original 1966 formula.

Chintex is the preferred glazing medium amongst many china and 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 reliable restoration glazes available.

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

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 Clear and coloured Chintex can be intermixed to match any ceramic body or decoration. Many porcelain restorers find using artists quality oil colours are a convenient way to colour Chintex. Oil colours can be used, however it is important 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 stronger tinting power than oil colours.