Stained Glass Painting Gallery
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, in various publications and videos, 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.
We will answer your questions as best we can.
That way you’ll get the information that you want.
And if you haven’t signed up for the free technique-packed newsletter, then do so right here.
{ 18 comments… read them below or add one }
I am interested in painting with enamels. It looks as if they have been used on the perpetual Dog Roses and also on the Blue Tit roundel.
If so what colours have been used and is there a correct way of useing them? Should they be used with gum arabic, oil, or water? Do you have any tutorials dealing with enamel glass painting?
With thanks,
Fran Christen
Hello Fran,
We used enamels on the flower roundel (but not on the blue tit roundel or the dogrose panel).
The enamels we used for the flowers were made by an English company called Ceramico. Be advised, if you order anything from them, you will need to “be on their case” day and night to make sure they deliver promptly. They have a range of opaque and also translucent enamels for glass.
In the US, Reusche has a fine range.
As for a “correct” way of using them, this depends on the brand.
We ourselves mainly use water as the medium. It’s possible, of course, to use many different media, provided they are consistent with the enamel itself.
Sometimes we add a few drops of glycerine to our water, which slows down the drying time, thus allowing more leisurely blending (if required).
We either apply the enamel as a wash – in which case, once it’s dry, we pick it out. Or we flood it into the chosen area.
We ourselves don’t add gum Arabic to water-based enamels.
Firing schedules depend a little on the properties of the glass itself (but not so much as for silver stain), as well as on the constituents of the enamel in question. Opaque enamels sometimes require a lower firing temperature than transparent ones.
Our own style of design doesn’t call for frequent use of enamels. That’s why we don’t have much to say about them. That said, the next time we do, we’ll be sure to document our findings.
Hello!
I’m interested in learning about the start-to-finish techniques used on the cockerel with the marvelous acid-etched and silver-stained eye.
I’m also curious to see the complete work that the cockerel resides in.
Best wishes,
Ruth
Hello Ruth,
We understand your interest! It’s certainly so useful to know – as required in particular situations – to do all the painting (undercoating, copy-tracing, strengthening, shading, modelling and highlighting, front and back, with water and with oil, in a single firing).
And, once you know that, so many other situations are a “piece of cake”.
These are techniques that we teach on our glass painting courses right here in the studio, and also in the e-book and online videos.
And the free guide which comes with the newsletter also gives you a colourful step-by-step demonstration of how to paint the dog roses which you can see in the gallery above.
There’s also a 13-minute overview which you can see right here.
All the best,
David
P.S. the cockerel is in fact a small autonomous panel about the size of a piece of letter paper or magazine.
Stephen and David,
The gallery is a wonderful collection of different types of methods and styles.
My interest is in the ability to paint the faces on the stained glass angels I create. It would give so much more life to the pieces (vs. the blank area where the face should be). Your ‘Crime Novelist’ and ‘Nicholas Wheeler’ are good examples of the techniques I desire to learn. Also the flower pieces (like the Flower Rondel and the Never-Fading Daffodils) are perfect examples of the work I wish to create.
And as a side note, the Crest Dinder House is also something I need to have in my collection of skills.
Now for the question. What would you suggest for a beginner to have for paints, tools and materials, given the types of work I wish to create? And do you have a source (or sources) you can share for the above?
Many THX for your help! The website is exqusite and has so much information which is so easily accessed! I have spent literally hours looking and learning! I need to learn these skills in the art to pass on to my students as I also teach stained glass in my studio. So now comes the ‘in earnest’ learning!
Your easy access and prompt reply to my questions is unbelieveable! Where do you find the time?! Also your willingness to share the art is so refreshing! So many times I have tried to get the help and have meet with the ‘trade secrets’ which were a dead end. But you and David – WOW! You guys rock!!!
All the best,
Jack
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
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
Robert,
I will check some details about typical firing temperatures when I am back in the studio on Tuesday morning.
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
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?
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
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
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
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
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.
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
Hello!
Thanks for your question. You can find a summary of the e-book on the “17 Tips” page right here. And you can also download a copy of this article for free.
As for the e-book itself, it’s called “Glass Painting Techniques & Secrets from an English Stained Glass Studio”, and you will find it right here.
Other guides are available from the Download page right here.
I hope this helps.
We wish you all the best with your new adventures.
Best wishes,
David
Hello both!
Your work is so fantastic, I want to know about it all – but I’ll start with the Literary Agent’s front door …
Just how did you do that? Was it made from some superb handblown whispy-coloured glass (like Hartley Wood) or is it a silver-stained creation, or a mix of the two?
However you did it, it is truly stunning! I’d love to know to try the techniques!
Many thanks for all you constant inspiration, motivation and practical tips. I really do appreciate your guidance and enthusiasm for helping others to aspire to create first-class stained glass panels.
Regards to you both,
Dorothy
Hello Dorothy!
Thanks for your question. This will shortly be the subject of a two-part post. It is so useful when you and others say what interests you.
And now to draft the posts.
All the best,
Stephen
Right, click here for part 1 of this stained glass painting case study.
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