Mixed correctly and with the appropriate medium, it’s perfectly possible for you to trace long and beautiful lines with silver stain. Photo over here …
From the category archives:
Stained glass painting techniques
There’s a fascinating article in the History Of Psychiatry (Volume 1, No. 2, 191 – 206, 1990 to be precise) about a type of delusion that was widely reported in the 15th to 17th centuries but rarely occurs in modern times.
Since the writer’s purpose is always to entertain and educate the reader, let me immediately tantalize you with a choice collection of words – they all belong in the story you are about to hear:
- Glass
- Buttocks
- Rene Descartes
Here’s a useful link to 17 glass painting strategies you can use right now. From undercoating to softening and from blocking in to modelling. You’ll find the 17 insider strategies right here.
How many do you use each time you paint stained glass?
They’re all right here.
A colleague from the Netherlands asks us something really useful:
“As a novice, I have a burning question.
Say I experiment with your technique: so I paint an undercoat and then copy-trace the main lines from the design.
Now what if I make a mistake during tracing. What is the best procedure for correcting this mistake without ruining the work I’ve already done?”
This is such an excellent question, we’ll approach the answer from several different directions.
First, though, let’s step back a bit and give some context to the question. [click to continue…]
Following on from David’s provocative tip about painting with darkness, I’m going to make my own contribution with some clips I filmed while he was painting St. Martha’s head. Click here to watch the video demonstration
James Hogan – a designer and glass painter who worked on many windows in Liverpool Cathedral – made this observation:
“Stained glass painting has no relation whatsoever to picture painting.
It is an art of its own, dealing with the transmission of light through coloured material, whilst painting is the application of a coloured pigment on a flat surface upon which light is reflected.”
"Oi, girls, let's get Hogan - he's disqualified us!"
A neat, analytical distinction, this.
As you would expect, it risks disqualifying substantial quantities of painting on glass.
But never mind that for now. I am sure that the ladies on my left will set dear Hogan straight.
And also never mind Hogan’s assumption that stained glass painting is an art. Ah, “art” is such a slippery word – especially in these post-modern times of ours.
Instead, join me on a journey to the Dark Side.
This way, please. Click to continue – if you dare …
Our ever-collecting client, just because he liked it, had bought a 19th century window from an auction house in Paris, France.
The trouble was, it was the wrong shape and too short by 10 inches for the particular place he had in mind within his ornate lakeside villa. [click to continue…]
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…]
