Kiln-Fired Stained Glass Painting
Techniques | Recipes | Mastery - written and presented by Williams & Byrne
These two demonstrations are amazing. I can say this without embarrassment because it’s another person’s work I’m talking about.
Yes, it’s such a joy to get this insight into how another glass painter lives and earns their living – the techniques they use to get incredible results.
So now it’s your decision whether to stop what you’re doing and see what you find out. Watch the first part here. And then you’ll find the second part right here.
All about using dark, thick paint
In a moment – like the post I wrote last week – you’ll find another excellent video demonstration for you to watch.
And like last time, it’s a clip from a documentary I’ve just made.
I filmed this documentary between 8 a.m. and 10.10 a.m. one morning.
So it’s shot in real time. Which means you see everything as it happens, minute by minute, technique by technique and – layer by layer.
I promise you a great video in a moment – how to mix your tracing paint.
But just let me tell you first about a funny thing which happened at the airport. (Thank goodness David likes dogs.)
How to look after your paint
You know how we recommend you paint with a lump of glass paint (not a teaspoonful) because that way you can just cut off a slice or two at a time and dilute it to any consistency and density you want?
OK, so let’s spend time today considering your whole palette and how to care for it.
Specifically, how to leave it when you’ve finished painting for the day.
And pay attention here because if you’re not doing what I’m going to suggest you do, then you’re wasting time and/or money.
Just give me a few minutes of your time, and you’ll see what I mean
Words are great. But they can only say so much. There are many things words cannot say.
Many things you can only learn by watching.
Here now are 6 things you can read about in books …
But you’ll learn a whole lot more when you just watch and copy what you see.
Just watch these clips and they’ll show you more than words can say.
Glass painters often ask why I use oil before I fire my tracing and shading.
You’ll soon see. It’s all to do with the lovely effects that oil lets you quickly make.
All set now to paint the fierce lion tomorrow: tracing (outlining), then flooding. And once the flooding is dry, I’ll pick out his highlights using “the chalk method” – just like you do with stained glass lettering.
Let me tell you that the key points are: have a plan (don’t usually invent things as you go along), hold your glass firmly with one hand, work from the bridge with the other, choose your highlighting tool with care (make your own as needed), be confident (not scratchy, unless scratchy is what you really want), consider stencils (especially if you have a repeating pattern), remember how the back of the glass is also good for stained glass highlights, and use your hands as needed (just be sure they’re clean).
Right, now I’ve said my piece, will you also have a look?
