The Glass Painter's Method by Williams & Byrne
Kiln-fired stained glass painting - fire less, paint better
From the monthly archives:
OK so you know how to make your lump of paint as you discover in Part 1 as well as in a 10-minute online video demonstration.
You’ve also found out the benefits of diluting it a little at a time to make the consistency and darkness of paint that you need for your next sequence of brush-strokes.
And then it’s time to stop for the day …
When you return, your lump of paint is dry.
Really dry. Dry as a bone in fact.
What on earth do you do to bring it back to life? [click to continue…]
“Plating” is the leading up of two or more glasses of the same shape, one behind the other.
Here’s what E. Liddall Armitage has to say on the matter:
“Some artists resort to plating and even tend to boast about it, but it is best avoided” (Stained Glass, Leonard Hill Books Limited, London, 1960, p. 130).
He presents two arguments. First, that it is unsound craftsmanship. Second, that medieval glass is beautiful and never, ever plated.
Before discussing these arguments, we must make an admission of special interest here. [click to continue…]
There is a mind-numbingly irritating consensus which insists that stained glass paint should be fired between successive layers. This silly idea is found in any number of so-called instructional books on stained glass painting techniques.
It’s wrong, of course. – And here’s a short wordless video which – ahem! – proves the point! [click to continue…]
