The Glass Painter's Method by Williams & Byrne
Kiln-fired stained glass painting - fire less, paint better
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Welcome back – Happy New Year - and let’s start work again right now.
Well, that’s exactly what we’re like when you come and spend time with us in the studio.
No peace. No rest. Always pushing onwards to the next thing …
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.
And today let’s pay real close attention to another two important things …
I remember, I was doing my apprenticeship, the question always was, “How much can you paint in a day?”
What a bad, mad question. [click to continue…]
It is not every day you sit in a tycoon’s boardroom (nice Gothic lion-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 tycoon growled)
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 …
Frustrated with silver stain? Fed up with unpredictable and disappointing results?
There’s no need.
There is another way …
Here’s a quick proof – if proof is needed – of how it’s possible to trace with silver stain.
And not just trace, but also shape your strokes, then gently blend them … [click to continue…]
To get a deep, pure golden colour, it’s also great when you know how to flood your silver stain directly into selected areas – with no messy clean-up afterwards …
Imagine the time you’ll save – not to mention the money - when you know how to mix a batch of stain which has this useful property …
Of course, when silver stain is mixed with water or vinegar, it just isn’t possible to shade it like you see in this photo here …
