Welcome back, and let’s start work again right now. In recent posts you’ve looked at how the tip of the brush does so much of the work, and also at the pace and rhythm of stained glass painting. So today let’s pay close attention to another two important things …
Today’s video – 2 key points
I’ve often noticed how uncomfortable most people look when painting glass.
All cramped and tense.
And really really stiff.
Scarcely moving at all.
And that’s not the way to do it.
Glass painting and motion
Glass painting is actually a very fluid activity. You’re nearly always moving and changing your position – sometimes slightly, sometimes hugely. You’re always searching out the best angle – the best position – from which to paint the next few strokes. And this is always changing. So that’s the first thing we’ll take a look at in today’s video.
Glass painting and preparation
Another thing is knowing what you’re going to do before you do it.
OK maybe I am a bit of a control freak. And maybe you‘ve not “got it” as bad as me. (My poor family.)
All the same, with many styles of glass painting, ours included, a huge amount of creativity and invention occurs much earlier – for example, when you prepare the design, and also when you work out how to interpret that design on glass.
But when the time comes for you come to make the piece for real, for the client if there is one here – it’s really important you’ve already discovered all the answers.
When you’re doing it for real, it’s usually not the time to be inventing things, or improvising, or making anything up as you go along …
And this has different consequences at different times. (Here in this video you’ll also see what it means for highlighting.)
Glass painting and demonstration
Music by Chopin this time, so let’s take it away. Hit the full-screen button bottom-right.
Ask questions as you wish.
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