Kiln-fired stained glass painting: the bridge
Maybe it’ll feel awkward at the start, but the painting bridge soon becomes a natural, indispensable part of you when you’re working with glass paint, enamel or silver stain.
As with any tool, the painting bridge is not “one size fits all”: different lengths, different heights. So start simple (we mainly make our own from framing timber): work with it for a while: then adjust it or make a new model.
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.
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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, actually, none at all is best. At least before.)
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 …
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Here’s a check-list for anyone who’s starting out as a stained glass painter:
- Keep in touch with us – many articles and videos on this site, and we also answer questions
- 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
- Read this e-book about 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 [click to continue…]