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

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.

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

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

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

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

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?

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

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

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