Stained Glass Painting Gallery

  1. Owl sculpture
  2. The literary agent\'s front door - he asked for \"Wow!\"
  3. Stained glass bee
  4. Detail from \"The Mermaid and the Jackdaw\" - a stained glass room partition
  5. Facsimile of early 19th century stained glass (detail)
  6. Blue tit roundel
  7. Stained glass window for crime novelist and her mysterious husband (detail)
  8. Crest of the Hely-Hutchinson family (detail)
  9. Stained glass Tawny Owl using water- and oil-based glass paint
  10. Cockerel with acid-etched and silver-stained eye
  11. The Great Window for the new crematorium in Hereford
  12. Johnny Crow in flight
  13. Another detail from a bedroom window overlooking private woodland
  14. St. Martha - the patron saint of housewives and, to be sure, househusbands as well
  15. Never-fading daffodils
  16. Facsimile of crest for Dinder House - a builder put his ladder through the original ...
  17. Perpetural dog roses
  18. Dove in flight
  19. St. Francis
  20. Wall panel - \"Earth\"
  21. Flower roundel with paint and (unusally for us) enamels
  22. The \"Fibonacci Window\" for a modern extension to a Victorian rectory
  23. Theatre and the arts - detail from a pair of quarried windows for a Methodist chapel
  24. St. Francis - part of a tryptich for a chapel in nearby Wales
  25. Stained glass Barn Owl using water- and oil-based glass paint
  26. Hand-made glass that is made for us by the last traditional glassworks in England - it\'s usually a devil to cut ...
  27. Green man
  28. Detail from the Great Window in Hereford Crematorium - painted, silver-stained and plated glass
  29. Wall panel
  30. Door with hand-made glass and decorative borders - note the mitred lead-work
  31. Kingfisher
  32. Detail from a bedroom window overlooking private woodland
  33. Facsimile of 19th century glass that was accidentally smashed while hanging some curtains. There\'s a moral here somewhere.
  34. Moon with etching, fire-polishing, painting, staining and silver-leaved leading
  35. Saint Cecilia (detail)
  36. Mystic tree
  37. Well-mixed glass paint - essential
  38. Travel - detail from a pair of quarried windows for a Methodist chapel
  39. Detail from the \"Fibonacci Window\" - glass paint and silver stain on hand-made French glass
  40. Robin rounderl
  41. Lots of detail, designed to give privacy
  42. Sun - with etching, fire-polishing, painting, staining and gold-leaved leading
  43. Nicholas Wheeler
  44. Wall panel - \"Fire\"
  45. Stained glass Little Owl using water- and oil-based glass paint
  46. Facsimile - the large square panel, bottom centre, is ours: satin etch, tracing and silver staining to match its counterpart above
  47. Woodpecker roundel

This gallery of recent work is all about the kind of kiln-fired stained glass painting techniques that you can learn here – here on this website and in the tip-packed newsletter.

Just scroll through the gallery, click on images to make them large, then ask questions about specific examples.

You might want to ask about how the design evolved, what techniques and processes were used, the materials employed, and so forth. It’s up to you.

And if you haven’t signed up for the free technique-packed newsletter, then do so right here.

Comments on this entry are closed.

{ 10 comments }

Robert H. Ealba

Stephen and David,

I’m interested in translucent enamels. I would expect these enamels to fire at lower temperatures. Can you give the name of several companies that produce these translucent enamels?

Robert

Stephen Byrne

Robert,

I will check some details about typical firing temperatures when I am back in the studio on Tuesday morning.

I’ve just done this. Our transparent enamels typically fire at 1020 Fahrenheit / 550 Celsius, whilst our opaque enamels typically fire at 1110 Fahrenheit / 600 Celsius

So far as companies are concerned, here, in the UK, we frequently use enamels from a company called Ceramico (see this earlier comment).

Given our own experience of Reusche’s products and their service – their technical support, through people like Erik Wagg, for example, is amazing – we’d definitely say: try Reusche.

Note this: we have no relationship whatsoever with Reusche other than that we are a studio who pays for the paints.

Whatever your supplier, I have a lingering suspicion that something has been lost in connection with enamels. Maybe the standard recipes for glass have changed, maybe the recipes for enamels have changed, maybe we have forgotten the correct firing schedules, maybe our design requirements have evolved, maybe our media are not the same as in the 18th century (for example) …

But something is missing.

When I am back in the studio, I will also post a picture of some most amazing early 19th century – probably French – stained glass enamelling. I will simply ask: could we still do this today? I would love to think we could, and maybe someone will say – “Yes!”

I live in hope.

All the best, and until I am back in the studio,
Stephen

July Linett

Hello!

I really like the look of Bistre Brown and Umber Brown when used in combination for tracing and matting – similar to the bee example.

And they look great on the light table / light box, or on a white background like a wall.

But … they look really washed out in a window.

How do you handle this problem?

I have tried a wash of obscuring white on the back, and that helps a little, but it still looks dull and almost like the glass is dirty instead of matted. I love the look of the browns on clear glass – it’s like sepia sketches.

What to do?

David Williams

July!

Fascinating question. On balance I think we have less light here than you do. But it’s a fundamental issue of stained glass design. I myself think in terms of “light values“. That’s the phrase I use. And some kinds of glass paint do indeed become “washed out” under some intensities of light.

Thanks so much for this question.

We will explore it further.

David

Rolf Altwein

Hello Stephen!

I finally remembered where I had placed the information regarding the spray gun for shading and high lighting etc..

I am referring to the EGA-503 Spray Gun (Spray Pistol) made by DEVILBISS that many studios used and no doubt still do.

There is a service bulletin SB-2-163-H, Repair Kit No. KK-5044 (190681) which describes the spray gun in detail.

The gun uses an eight-ounce cup that is just right for a fairly extensive application. See the service bulletin SB-4-090-H, for the TGS-503-8 Ounce Suction Feed Cup.

Perhaps this may have some possibilities for you.

Rolf

Stephen Byrne

Hello Rolf,

Thanks so much for this information. I am sure that when other colleagues see you taking the time to tell us this, then they will think as highly of you as we do.

All the best,
Stephen

Jackie Carey

Masters …

Speak to us, pray, of silver- and gold-leafed leading.

(I know it’s not strictly painting, but the dynamic nature and softer colours of those leads enhance the painted work so beautifully.)

Best,

Jackie

Stephen Byrne

Jackie!

Your gentle irony (“Masters”) and winning oratory (“leading isn’t strictly painting” – dear lady, it’s not painting at all!) do you great credit.

The information you seek is contained in newsletters – Helpful Idea Nos. 13 and 14 – which will arrive with you next week and in a fortnight respectively.

All the best,
Stephen

P.S. Anyone missing out on these helpful ideas? Do yourself a favour – get them right here.

Hassan Al-Saffar

Hello!

I’ve already signed up for your newsletter. I have also got some of your articles. But looking at your website, I notice that you also publish some instructions by way of an e-book/downloads.

So I was wondering how to get these downloads.

I am a stained glass artist and I think being able to add glass painting to my stained glass work will get me many steps ahead over other glass artist in my area.

I look forward to hearing from you.

Warm regards,
Hassan Al-Saffar
State of Kuwait

Stephen Byrne

Hello Jack,

That’s excellent you have such a clear and determined idea of what you want to learn. I am sure that learning is easier when there are specific questions to answer.

I know you already have the e-book and are watching the videos, so this is all something that, as you will see, we will work with you on during the weeks and months ahead.

That’s all part of the deal: our time and commitment to you in return for your time and commitment to the craft of stained glass painting!

And, as you mention, you too have students with whom to share ideas and techniques …

You ask about tools and materials. You’ll find a core list here and here.

As well as getting a good badger blender, it’s also essential for our “one-firing techniques” that you get a good hake (for undercoating and for softening and shading). Here’s a place in the US where you can get one online.

All the best,
Stephen