Ah ha! But only for subscribers to the newsletter.

There’s even a free and exclusive 15-minute video demonstration on using solder and patina to decorate and strengthen the lead.

All in edition #13 of your technique-packed e-mail newsletter.

It’s free. Sign up here.

A colleague from Australia – wanting the smoothest possible surface for his kiln-fired painted stained glass – wrote and asked us how we prepared our trays …

We ourselves use whiting (calcium carbonate).

To stop hot glass sticking to the surface of a kiln, whiting is a far simpler solution than, for example, kiln spray, fibre board or kiln paper. And, generally, for a craft which has been going as long as stained glass, the simplest and least technical solutions are best.

Now the important thing is to make sure the whiting is really compressed.

You must squeeze out all hidden pockets of air, and the surface must be smooth.

Now why on earth go to all this trouble?

This is how to stop your glass from sticking when it heats, and how to leave its underneath as smooth as silk.

So turn on your speakers and take a look at this video on your right: you’ll see what we do. It’s me (David) doing all the hard work, while my inestimable colleague (Stephen) does the voice-over …

As always, your comments and questions are welcome and will be helpful to all the other glass painters who visit here.

Postscript in answer to Bill Wrobel

Our trays are made from mild steel. They are each made from four L-shaped bars which are duly welded together to make a tray with a large hole in the middle. To cover this hole, we insert a neatly fitting piece of fibreboard. The whiting is sprinkled and compressed on top.

Thank you, Bill!

Essential Glass Painting Check-List

Here’s a check-list for anyone who’s starting out as a stained glass painter:

1. Keep in touch with us
2. 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
3. Keep in touch with us, yes!

Stained Glass Paint

Use what you want, but we use glass paint made by Reusche. If you use glass paint made by Reusche, then we can usually help you if you meet problems or have questions.

Get their catalogue here. (For suppliers, see page 14.)

We’d advise a minimum of 3 ounces of Tracing Black (DE401) and 1 ounce Bistre Brown (DE402).

Some folks get anxious about the up-front expense of “this much” glass paint.

That’s fine. Just get over it. Use it as we suggest in Part 1 of our e-book, and this quantity of paint will last for a long time. By contrast, paint with a teaspoonful at a time, and you will waste glass paint quickly! It’s your choice.

A ceramic bowl is useful for mixing paint in before you transfer it to the palette for a final grinding.

As for enamels and silver-stains: you can choose to leave these to later. The most important thing is to make a start.

Gum Arabic

Added to water-based glass paint so that, before it’s fired, it isn’t excessively fragile once you’ve applied it to the glass you’re painting.

It comes as liquid or powder. We prefer liquid as used by water-colour painters. Ours is made by Winsor & Newton. One bottle lasts for years.

Tip: wipe the top clean and dry before you screw the lid back on – it is glue, after all.

Stained Glass Painting Media

The simplest medium is water. Start there. For an excellent recipe and mixing method plus video demonstration, see our e-book (which also explains the use of oil).

Light Box

We make our own. Here’s our specification:

• At least 22 inches by 16 inches. Can certainly be larger – make sure the glass is strong enough – but not much smaller. (Size is important.) You must allow for the size of your glass (possibly several pieces at one time), plus some/all of your design (which will be as large as it is), plus your palette (because it’s sometimes useful to illuminate your glass paint from beneath)
• 3 mm toughened glass on top which is sandblasted on one side to diffuse the light. Our glass rests on a narrow internal ledge. (It’s possible to use plastic instead of glass, but the main disadvantage is its flexibility when you lean on it to paint.)
• Lit by a low-heat, movable light source, such as a standard bathroom wall-mounted light. Painted white inside to reflect the light
• Mounted on legs which allow the air to circulate and also permit the electric cable to pass underneath

Stained Glass Painting Palettes

Used as surface on which to mix glass paint. Toughened glass, at least 8 inches by 14 inches. (Don’t waste time with smaller palettes.) For very granular paint, it’s useful if sandblasted on one side. Useful to have several for different media and pigment. Also useful to have a rack for storing palettes when clean and not in use.

Palette Knives

Used for mixing and grinding glass paint. Blade between 6 and 8 inches long. Springy.

Note: blade gets very sharp. Also gets worn and so can snap with age.

Paint Covers

Used to cover glass paint on palette when not in use. This slows down the rate at which the lump dries out. It also stops impurities like dust and grease from harming your glass paint. Glazed porcelaine cooking ramekins are excellent.

Painting Bridge / Arm Rest

Used when painting and highlighting. Keeps hand steady so that you can concentrate on glass paint and brush. Holds brush/stick in required position. Keeps hand away from unfired glass paint and also from glass (so no grease on surface). Make yourself with wood and wood glue. Useful to brace the underside of the legs with sticky sponge.

The new and revised introduction to Glass Painting Techniques & Secrets from an English Stained Glass Studio has a stack of useful photos which show you the best way to hold a bridge.

Jam Jars

Used to hold water, also for brushes, also to store oil-based paint and silver-stain in an air-tight condition.

A Large Badger Blender

Large blenders

Used to move wet paint around the surface of the glass. Also used to add texture to wet or dry glass paint. 3 inches wide is excellent for most purposes. Traditional model is very expensive and lasts a life-time with good care. Modern model is much cheaper, absolutely fine for most purposes, and lasts for years with good care.

The new introduction to Glass Painting Techniques & Secrets from an English Stained Glass Studio has a useful section on blending.

Wide Narrow Brushes

Used to paint an undercoat that serves as a “key” for subsequent tracing and shading. Also used to paint an overcoat that softens traced lines, allowing them to be dissolved and expanded with the help of a badger blender.

The best brushes we’ve ever found for both these jobs are called hakes (or sometimes haiks).

Our hakes are part of the “Ron Ranson” series. They are made by Pro Arte. We use the “large” size (item number is 50686452). These Ron Ranson hake brushes are also used by water-color painters. So you can ask your local art shop to place an order for you, or you can go online and find a supplier on the internet e.g. here.

We absolutely recommend this make of brush by Ron Ranson.

Tracing Brushes

Used to paint lines of various lengths and thicknesses.

• Can be natural or synthetic hair. Synthetic hair is fine for some cases e.g. thin lines made with oil-based paint. But the hairs are apt to twist and knot
• For natural hair, always choose sable. Sable is excellent for all media and all kinds of line (long/short, thick/thin, light/dark)

Regarding length: somehow the myth has got around that real stained glass tracing brushes have enormously long tips. Some brush-makers have even developed a range of “stained glass painting brushes” whose tips are 1.5 inches long (or more). But these long tipped tracing brushes are hard to use. We only ever use them when we have to trace very, very long thin lines – say lines which are 18 inches long, and we want to do this in one go.

We nearly always use tracing brushes whose tips are a bit less than 1 inch long. (What are you – a glass painter or a fetishist?)

Sable brushes come in various sizes from small to large. “Small” ones make a fine stroke, large ones make a broad stroke. The modern classification is numeric e.g. “00” to “6” for finest to thickest. The traditional classification takes its cue from the bird whose quill is used e.g. “lark” to “goose” for finest to thickest.

For most tracing, you need fine sable brushes whose tips end in a point – exactly the same kind of sable brushes as a water-color painter would use.

Make sure you get high quality brushes.

High quality is indicated by the fact that the brush doesn’t easily loose its hairs and by the neatness of the point in which the hairs end [picture].

Even with tender, loving care, daily use always takes its toll. A new brush has very little spring and takes a bit of time to come to life. It then performs well for several months or perhaps a year or two (depending on the frequency and roughness of its typical use). Finally, it will begin to lose its spring. The hairs will crumple around the ferrule. At this point, retire it to a gentler life: take a knife and sharpen its end, and use it for highlighting.

Start with 3 tracing brushes: a fine one (that is “0″, not the finest “00″), a middle-sized (“2″) and large (“6″).

Sticks and Needles

You can improvise anything here e.g. a needle stuck into the end of an old painting brush, a knitting needle, a sharpened piece of bamboo, a cocktail stick etc.

Scrubs

Take care and singe hog-hair brushes to a short stump.

Kiln and Kiln Controller

Read around. Ask around. Try before you buy. Hire time on someone else’s kiln.

Kiln Trays

We don’t use kiln wash or kiln paper. When we fire glass in a kiln, we use whiting (calcium carbonate) as a separator. We use trays made from 1/8 inch gauge mild steel which are ½ inch deep. We fill the trays with whiting (calcium carbonate):

Take a sheet of toughened glass and press down the powder so that it is perfectly smooth on top. This is the surface on which to fire the glass. The glass doesn’t stick (not even when it’s been painted on both sides). When the compacted powder get dirty, take a spoon and lift away the dirty bits, then add more powder and press it all down again.

There’s an online video demonstration right here.

Onwards!

The main thing is not to get distracted by shopping for everything you might need when this will just just distract you from the real task – learning how to paint stained glass.

And, if you consider the hundreds of years during which people have been painting glass, it’s clear that the fundamental requirements must be fairly simple!

So get the basics.

And keep in touch with us.

Doris Cultraro, from Rhinebeck, New York, US, writes and asks us about the kinds of brushes that we use for stained glass painting.

Here’s our list to get you started.

• Wide narrow brushes for undercoats and overcoats
• Blenders – large and small – which are mostly used to move wet paint around on the glass
• Tracing brushes of various thicknesses for different kinds of line
• Scrubs and stipplers to make highlights and texture

For now, we’ll concentrate on tracing brushes and the wide narrow brushes which are so good for painting undercoats.

Tracing Brushes

Short-tipped pointed tracing brushes

We’re often asked about the length of the hairs on our tracing brushes.

Now this is a really important question, because somehow the myth has got around that real stained glass tracing brushes have enormously long tips.

Some brush-makers have even developed a range of “stained glass painting brushes” whose tips are 1.5 inches long (or more).

The plain truth is, long tipped tracing brushes are hard to use.

We only use them when we have to trace very, very long thin lines – say lines which are 18 inches long, and we want to do this in one go.

Other times we use tracing brushes whose tips are a bit less than 1 inch long.

These come in various sizes from small to large. “Small” ones make a fine stroke, large ones make a broad stroke.

Their hairs are made from sable.

For most tracing, you need fine sable brushes whose tips end in a point – exactly the same kind of sable brushes as a water-color painter would use.

Make sure you get high quality brushes.

And, to repeat, you rarely need tracing brushes whose tips are longer than 1 inch!

Wide Narrow Brushes (Also Known As “Hakes”)

Excellent for undercoats and for softening traced lines

Jackie Carey, from Malvern, England, wrote and asked about the make of our wide narrow brushes. She said:

“I’m having trouble finding decent hakes. I’ve bought several from local art shops. Some were dirt cheap, and others were not-so-cheap, but they all shed hairs all over the place. Where do you get yours from, pray?”

Let’s start by saying how we use the wide narrow brushes.

Their first use is to paint an undercoat. This is something we cover in Part 2 of our e-book. Their second use is to transform traced lines into shadows. This is something we cover in Part 3 of our e-book.

The best brushes we’ve ever found for both these jobs are called hakes (or sometimes haiks).

Now of course there are many different kinds of hakes.

Our hakes are part of the “Ron Ranson” series. They are made by Pro Arte. We use the “large” size. Their item number is 50686452.

These Ron Ranson hake brushes are also used by water-color painters.

So you can ask your local art shop to place an order for you, or you can go online and find a supplier on the internet.

These brushes are worth the weight in gold. Maybe not many stained glass painters have so far cottoned on to their excellence. All the same, if you’re serious about making it easier for yourself to do an excellent job, go get yourself a couple.