Gum Arabic isn’t essential. (Patrick Reyntiens, for example, barely uses it at all.) It’s just that, without it, our dried, unfired paint would be extremely fragile.
From the daily archives:
The Glass Painter's Method by Williams & Byrne
Kiln-fired stained glass painting - fire less, paint better
Your Comments
Really enjoyed your video demos – there is nothing like seeing the techniques in action
— David Elliot (Wissett, England)Tips & Techniques – Free Newsletter
Glass Painting Techniques
Classical glass painting - how you can trace, shade, flood & highlight (front & back) in a single firing & why you need a lump of paint to do this (not a teaspoonful). Learn more about this downloadable guide to classical stained glass painting right here. Firing less saves you time and money. But it also means your glass looks better. Comes with 9 video demonstrations so you see exactly what to copy
Advanced glass painting with oil - how you can use oil to shade slowly & also easily & still do all your glass painting (front & back) in a single firing. See here for oil-based stained glass painting - that's oil on top of unfired water-based paint, it's easy and the effects are beautiful. Includes how to paint a stained glass head and 14 online demonstrations
Silver stain and oil - how you can trace, blend, shade & flood from a reliable batch that keeps for months (and why water or vinegar are no good for this). Don't waste your time and money with water or vinegar - use silver stain and oil as explained in this technique-packed guide and 8 online videosTools and Materials
Glass Painting Techniques
- How to trace with pen and oil
- Lettering and inscriptions
- Oil-painting on glass – a 3-part mini-series
- Our stained glass firing schedules
- Shading and matting – they needn't be so difficult!
- Silver stain – don't waste time with water or vinegar, try this …
- Stained glass silhouetting
- Textured paint – a really useful method
- The best and quickest way to improve your stained glass painting
- The mystery of the tycoon's casket: a step-by-step case-study
- Tracing with vinegar
Glass Painters - Your Top Posts
- A difficult stained glass supplier whom we use as rarely as possible
- A small case of stained glass forgery
- About the business of running a stained glass painting studio – part 1
- Brigitte Bardot and the eight beasts
- Ceramic paints – can you use them to paint stained glass?
- Does old glass sag at the bottom?
- Dried up glass paint – here's what you must do
- Fellow glass painters – 3 put-downs and 1 suggestion
- Glass paint – how long can you keep it for?
- Glass painting is good for the brain
- Gold lustres and other golden things
- How to choose the right glass to paint a stained glass face
- How to paint a stained glass face
- How to prepare a kiln tray
- How to prepare a water-colour design: take a look behind the scenes
- Lead-free glass paints – how do they perform?
- Leaded lights – an extraordinary set of 17th century designs
- Paint – how to mix the right consistency for tracing or strengthening
- Painting on glass vs. painting on paper
- Painting with light – or painting with darkness?
- Piet Mondrian's jaded view of painted stained glass
- Reusche's water-based painting medium D1368 – a really useful medium!
- Rushing and not Enjoying vs Treasuring the Journey
- Silver stain – even with our methods, you can never avoid tests
- Silver stain – the consensus is just plain wrong …
- Someone made a really bad mistake when re-leading this window here …
- Stained glass design – the story behind this rose window: part 1
- Stained glass design – the story behind this rose window: part 2
- Stained glass painting – what happens if you make a mistake?
- Stained glass plating – a useful technique or a lazy cheat?
- Stained glass silhouettes
- The dangers of flattery
- The Financial Times again
- The mystery of the tycoon's casket: a step-by-step case-study
- The Romance and Adventure of a Stained Glass Painter's Life
- The stained glass design for St. Martha – how it evolved
- To trace well, concentrate on your palette – and worry less about the size of your tracing brush
- Tools and materials
- Tools, the painting bridge and how to use it
- Tracing – how to cure a wobbly hand
- Tracing paint
- Tricks of soldering – but only in the newsletter!
- Undercoats – an essential tip
- Undercoats – some video demonstrations
- What is 'fire-polishing'?
- Why you must be clear about who the design is for
- You must be careful because grants can harm your health
Williams & Byrne – The Glass Painters
Williams & Byrne in the news
Copyright © 2012 Williams & Byrne - Designers, Painters and Restorers of Stained Glass - All Rights Reserved.
Williams & Byrne Techniques Limited is registered in England No. 7021287 with VAT Registration No. 978 0375 79
To re-publish any material on this site, always first get written permission from Williams & Byrne
Williams & Byrne Techniques Limited is registered in England No. 7021287 with VAT Registration No. 978 0375 79
To re-publish any material on this site, always first get written permission from Williams & Byrne