Gum Arabic isn’t essential. (Patrick Reyntiens, for example, barely uses it at all.) It’s just that, without it, our dried, unfired paint would be extremely fragile.
Also, we wouldn’t be able to shade and matt as we like to – that is, all in one firing, including oil-based paint on top.
Now stained glass painting stockists mainly stock gum Arabic in powdered form.
We prefer liquid because we find it’s easier to mix evenly with the glass paint and water.
Liquid gum Arabic is the same medium that water-colour painters use.
So just find a good supplier of traditional art materials, and they will help you.
Ours is made by Winsor & Newton.
Tip: clean the top scrupulously before you screw the lid back on …
Comments on this entry are closed.
{ 6 comments }
Thank you for your site. I just discovered it and will refer to it frequently and try to support it with future purchases. I have been an artist/craftsman for 35 years, supporting myself repairing, designing, and fabricating leaded glass and etched glass. I do a little stippling and line work, but nothing like you guys. Do you have a Facebook page?
Hello Thomas,
Well, it’s also we who are thrilled you found us, and we hope you will find enjoyment and interest in the various posts and comments.
When we can help with anything, please just say. And of course please also say when you can help us and other visitors with anything by way of tips or resources.
You ask if we have a Facebook page. Well, I do. It’s right here. Right now we use it mainly as another way of bringing people to this site where you are right now. (It also gets our Twitter comments).
Thanks for joining the newsletter. You’ll get regular techniques, photos and videos, plus thoughts on strategy and approach: all essential.
All the best,
Stephen
Wow! What a great source of information on this very historic and long lasting art form. I will definitely use it to give more detail to my stained glass projects. Such information has been very hard to find!
I notice your reference to undercoating, and would like to know if the glass grinding residue from the glass grinder tray could be used to make an undercoat medium? If so, what would have to be added?
Thank you for your information.
I’m also looking forward to getting the DVD just ordered.
Cheers guys!
Glenn
Hi Glenn,
Thanks for your order (your DVD is packed and ready to go with the morning post) – and also for your question!
The best thing for an undercoat is … the very same paint you use to trace and shade. That’s we wouldn’t suggest you use the glass residue from the grinder tray.
You’ll see it all on the DVD and also read about in in Glass Painting Techniques & Secrets Part 1: how to make a lump of glass paint, how to dilute this lump a little at a time into whatever consistency of paint you want … from the a light mixture suitable for undercoating right through to the darkest mixture you’ll ever need for silhouetting.
I know this is a lot to take in at one go but of course you don’t need to! – because we’re here to work with you over the weeks, months and years ahead.
Go at your own pace and do things well, and we’ll always be here to answer your questions.
Happy 2011!
Stephen
Dear both of you!
My heartfelt thanks for the 2 tutorials I have downloaded. I am new to glass painting and you could not have made it more simpler and addictive!!!
God bless you and a big thank you from me!!!
Sonia
Hi Sonia,
Thanks for your message. It’s a pleasure to meet you. And as I know you already know, we like working with people over months and also years. So I wish you every success in your work and we will always be glad to have your questions and also your news.
All the best,
Stephen