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Lasur (borrowed from Latin lasurium , bluestone, see Lapis Lazuli ) describes a transparent or semi- transparent coating on wood , canvas , cardboard or paper as well as a thin spread of translucent paints . For ceramics and paintings , the glaze is done with other materials, such as watercolors , oil paints or tempera . The term glazing refers primarily to film-forming layers with a binder ; the same is used in aqueous technology to wash . Glaze is a relatively new term for staining .

Not to be confused with this is the glaze , the "glass-like" or "glassy" surface coating.

Glazes on wood

Thin layer glaze
is less easy to process due to its water-like consistency . After application, however, it can penetrate deep into the wood due to its consistency. Thin-layer glaze weathers on the outside by washing out and fading. Subsequent coats are absolutely necessary. Typical areas of application are fences, buildings and any wood outdoors. Inside, thin-layer glaze is rarely used due to the solvent content and the unpleasant smell as well as the uncomfortable processing.
Thick layer glaze
has a consistency like paint and has very similar properties. It rests on the surface of the wood and forms a closed layer there. It can be used outdoors, but is more often used indoors. When weathered, thick-layer glaze not only fades, but also flakes off. This makes subsequent coats much more complex. In order to achieve a perfect, even coating result, old coatings must be completely removed. Typical areas of application are windows, doors and other dimensionally stable components where a decorative appearance is desired, furniture or paneling / paneling .

Reworking thin-layer glaze with thick-layer glaze is possible and common, but not the other way around.

In the meantime, products are available on the market that form a mixed form of thin and thick layer glaze. Processing convenience and decorative surface properties are combined here with the coloring effect.

Ecological and therefore harmless to health variants are based on linseed oil and contain pigments . The surfaces treated with it have the advantage that they remain largely open-pored.

Glazes on mineral substrates

Mineral plasters, masonry or exposed concrete can be varnished in color just like wood. Most binders are film-forming, only glaze bound with silicate silicifies the substrate.

Glaze technique in painting

Real glazes can only be found here in watercolors, tempera technique and especially in oil painting, because absolutely transparent colors are required for this. In the latter case, the translucent layer (after the substrate has dried) behaves similarly to a colored thin glass plate placed over it - the resulting color mixture is ideally additive , and hologram-like effects can also arise. The only really transparent "color" z. B. in acrylic technology , however, is a transparent, colorless paste. Acrylic glazes can only be achieved if the color only partially covers the substrate (sham glaze).

Here the paint (color pigments with binding agent) is applied to the painting surface (canvas, paper, wallpaper) with a solvent, e.g. water, strongly diluted. This layer must be thoroughly dry before another is applied. The color layer below then shines through the upper one. Any number of layers can be applied. If the same color is always used, different light-dark elements are created depending on the order. The color tone becomes more intense. When different colors are applied, new colors are created.


  • Angela Weyer, Pilar Roig Picazo, Daniel Pop, JoAnn Cassar, Aysun Özköse, Jean-Marc Vallet, Ivan Srša (Eds.): EwaGlos, European Illustrated Glossary of Conservation Terms for Wall Paintings and Architectural Surfaces . English Definitions with translations into Bulgarian, Croatian, French, German, Hungarian, Italian, Polish, Romanian, Spanish and Turkish. (=  Series of Publications by the Hornemann Institute . Volume 17). Michael Imhof, Petersberg 2015, ISBN 978-3-7319-0260-7 , p. 62 ( ).

Web links

Individual evidence

  1. ^ Emil Ploß: Lasur. In: Journal for German Philology 74, 1955, p. 291 f.