Last week when I was teaching a very promising beginner, I was reminded of this useful point.
Namely, it’s easy to take a rule (“Do it like this …”) and generalize it to an incorrect situation.
Here’s an example.
It concerns how you use your painting bridge.
In my last post I gave you 9 tips for keeping a steady hand when tracing, or – “How to stop the wobbles“.
The last tip was, not too much wine. (Well, none at all is best.) Which reminds me how David’s been teetotal for 30 years. Not a single drop. Thankfully, that’s not the secret of his amazing skill, though as I say, you’ll definitely paint better when you’re “dry”.
No, other things also count – like your painting bridge and how you treat it.
Here’s a check-list for anyone who is starting out as a stained-glass painter:
- See below for details about glass paint and mixing bowl, gum Arabic, media (water and/or oil), light box, palettes, palette knives, paint covers, painting bridge / arm rest, jam jars, badger blender, wide narrow brushes, tracing brushes, various sticks, needles, scrubs, kiln, kiln trays and kiln controller.
- There are many articles and videos on this site: see here for a quick tour.
- Download and study our hands-on guide to kiln-fired stained glass painting – it’s packed with recipes, techniques, step-by-step projects and the kind of common sense you’ll only get by working with a successful studio.
- Get the free newsletter – each week you’ll get a quick tip that will help your stained glass painting: join here now