Several of you have written to ask about painting black letters onto stained glass, and how to do this really accurately …
It’s certainly possible to use a computer-generated stencil (and flood the glass paint, for example; or apply a thick wash, and blend it).
However, it’s certainly also possible to do it by hand. Here, for example, you see some damage to the lettering of a stained glass window in a chapel:
In this instance, we were asked to paint a copy (rather than to use glue to edge-bond the broken fragments). So we removed the glass and took it to our studio.
We set down the lettering with calligraphic precision. We painted an undercoat. We copy-traced the design:
At this point we used a stick to correct tiny inaccuracies. Then we reinforced the lines as you see we’ve started doing here:
Once again, we used a stick to correct any minor inaccuracies.
Then it was time to fill in the lettering. The paint was thicker and darker than the paint we’d used to copy-trace and reinforce, but, working on such a small scale, it was by no means as thick as the kind of paint we’d use for silhouettes (because, with that degree of thickness, we wouldn’t have had the control that we required).
Once the paint had dried, we picked around it once again:
Once fired, we returned the new lettering to its rightful place:
The whole process calls for patience, good eye-sight, concentration, a good understanding of how glass paint behaves, and excellent hand-eye co-ordination.
And time.


















{ 2 comments… read them below or add one }
Hi!
Can you please say more about why you would paint an undercoat on glass you are lettering over if you have to “stick” around your lettering in order to correct tiny inaccuracies?
Would this not damage the undercoat and consequently force you to remove the entire undercoat?
If not, how do you resolve the highlights that are created by sticking?
Thanks,
Julia
Hi Julia,
Thanks for your questions.
First, the undercoat is rarely obligatory. It’s just that the technique of painting on an undercoat is itself so rarely mentioned that we feel it’s more than worth an emphasis.
Second, your questions are perfect. If you “stick” around the lettering, you will indeed (in some measure) damage the undercoat.
However, if the undercoat is fine, there are many circumstances in which it will become nearly invisible through firing. (This is because between 10% and 15% of the darknesss of paint is usually removed by the mere process of firing.) So, with a fine undercoat, the “damage” will itself become even finer.
That said, you are absolutely correct in thinking you would otherwise need to remove the whole undercoat. Now if you will please look in the column on the far right, under “Useful Free Downloads”, you’ll find a published article of ours called “Stained Glass Lettering” where we do indeed remove the whole undercoat. This is a messy process. But, since the lettering lasts for tens of years, maybe for centuries, then, if the undercoat grants us accuracy, perhaps the mess of removing it can now be justified?
Thanks so much for seeing that we need to expand and clarify here!
All the best from us,
Stephen