I should have know what was coming when David approached me this morning with a twinkle in his eyes, a more than customary spring in his step – and a piece of paper in his hand.
“Here, this is for you,” he said.
And his enthusiastic tone suggested the contents of the paper were significantly more important than the Rosetta Stone itself …
It bore instructions.
And the reason I tell you this tale so you get some insight into the so-called romance and excitement of the glass painter’s daily life.
Romance and excitement - I wish!
In David’s tidy hand-writing, the paper said:
- Apply a light tone in umber brown sepia
- Trace detail in umber brown sepia
- Strengthen in violet of iron
- Flood the borders and dragons
- Take out highlights, spottle, soften and distress
- Apply a light tone to the reverse, then spottle, soften and scrub out highlights for staining later on
- 1st firing @ 625 c
- Apply a light tone of enamel etch to the front, then spottle and soften
- Staining reverse (1384)
- 2nd firing @ 565 or 570c (depending on which kiln)
- Apply a graphite patina and then seal with fixative
- Cut and bond the blue fluting
There was also this picture:
The tycoon's fluted columns
Plus the measurements: 320 mm by 185 mm.
Plus the terrifying words:
120 of these by the end of next week
Romance and excitement: you see what I mean? 120 copies – and believe you me, David demands perfection!
P.S. And yes I did check this was not an “April Fool’s” prank on David’s part …
{ 9 comments… read them below or add one }
Need a hand
( hopeful ……)
What is it that you use for the fluting that you cut and bond? I love your website, and appreciate your generosity to share your techniques and secrets with the next generation of hopeful budding painters like myself. If it weren’t for artists like you making this knowledge so widely available, stained glass could be another dying art. Thank you, and I will be looking forward to supporting your cause by purchasing your wonderful e-books! Regards, Rhyce
Hello Rhyce,
First thing is, these are skylights which will only be seen from one side, namely, looking up from beneath. So we will cut small pieces of various antique blues, then bond them to the reverse (which is the side that will never be seen); we’ll do this after leading, cementing and polishing.
All the best,
Stephen
P.S. We’re glad you enjoy the website. for our part, we enjoy meeting you and others like you who have a focussed interest in glass painting techniques.
This brought up a question in my mind. I am looking in to the purchase of a kiln. In you free time (if you have any) would you be so kind as to give me some guidelines about size and features. Money is a slight object, but I always look for quality since it pays in the long run.
Thanks for your help. Looking forward to June!
Cheers,
Don
Hi Don,
I’ve got a lot of notes about kilns and their features, and yes it is something we will write up for you and others because of course it is something that interests every glass painter at least once in their life. It’s high on the list. But if beforehand you have any specific questions, please write and say. See you soon!
Best,
Stephen
Hello every one, as usual I enjoed reading your post. I hope we can get all these inside information from you and David when we join your studio on June
All the best from Kuwait
Hassan
We’ll see you do, Hassan!
All the best,
Stephen
Tidy handwriting indeed!
My hand-writing is tidy!