Kiln-Fired Stained Glass Painting - Your Best Guide
Discover a new world of glass painting techniques, designs, case studies and videos
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It is not every day you sit in a tycoon’s boardroom (nice Gothic-clawed chairs, by the way) and receive a challenge:
“The commission is yours if, within seven days, you can forge me two fine pieces of ancient-looking glass …”
The boardroom was littered with other makers’ samples – wallpaper, curtains, rugs, table-tops …
I could see the tycoon’s problem – I’m quick like that …
Here’s a useful link to 17 glass painting strategies you can use right now. From undercoating to softening and from blocking in to modelling. You’ll find the 17 insider strategies right here.
How many do you use each time you paint stained glass?
They’re all right here.
OK so you know how to make your lump of paint as you discover in Part 1 as well as in a 10-minute online video demonstration.
You’ve also found out the benefits of diluting it a little at a time to make the consistency and darkness of paint that you need for your next sequence of brush-strokes.
And then it’s time to stop for the day …
When you return, your lump of paint is dry.
Really dry. Dry as a bone in fact.
What on earth do you do to bring it back to life? [click to continue…]
There is a mind-numbingly irritating consensus which insists that stained glass paint should be fired between successive layers. This silly idea is found in any number of so-called instructional books on stained glass painting techniques.
It’s wrong, of course. – And here’s a short wordless video which – ahem! – proves the point! [click to continue…]
In Glass Painting Techniques & Secrets from an English Stained Glass Studio, you discover an amazing technique for painting with oil-based stained glass paint on top of unfired – note this: unfired – water-based paint. If this technique is new to you, read more here.
This is the exact technique we use each day to achieve a particular sense of depth and contrast in our work.
That’s the point about the information you get from us: it’s all tried and tested to the limit.
Sure, there’s always more to learn.
But what you learn with us is excellent and true.
Now this particular technique involves oil and brush.
Stained glass fighting bird in oil with nib
But have a look at this sample piece of painted stained glass.
This is the very piece which caught Penny’s eye when she took time off from the front-line of our National Health Service – leaving the nation at the mercy of Swine Flu – while she spent a weekend with us at Stanton Lacy.
And what a stained glass painting course that was!
A time when people meet each other and immediately know that they will meet again.
Penny wanted to know how the piece was made, so here’s precisely what you all need to know.
It’s not done with oil and brush, but with oil and nib.
Here’s how we painted it.
Sue Sills wrote and asked us about mixing glass paint with white vinegar:
“I have only used water and gum for mixing tracing paint so far.
But I was recently told that you can use white vinegar instead of water and that it stopped the paint from drying out so quickly, thus making it better for tracing lines.
Do you know if this is so?”
