That’s it, thanks!

Stephen Marcus Byrne - glass painter, designer, writer

Thanks for joining

That’s all done now.

Below, you’ll find the video I promised you.

There’ll soon be a quick welcome message in your inbox.

I’ll make sure you also get a PDF with a link to the video and the notes you see below – that way you can always watch it again whenever you want to.

Thanks for joining.

Stephen Byrne

The Tycoon’s Square

This is a short film about the painting techniques we often use with stained-glass restoration – i.e. making as close a copy of an ancient, broken (or missing) piece as we possibly can.

The film is 20-minutes long. No commentary: the point is for you to see what you would see if you were by my light-box in our studio, watching me paint glass. I’d be focussing on my work, not talking. So this is true-to-life.

But I have added a few notes below the film. (I’ve also included them in the PDF you’ll get.)

Here’s the film:

If you want to download the film, go here.

If you want to download the notes, they’re here, and also in the email I will send you.

Preparation : here I take a quick tracing of the broken glass I want to copy. Nothing exact or overly-careful about this: the original doesn’t need it.

Undercoat : 01:00 : the undercoat is the ground on which I paint. It primes the surface of my glass, preparing it so it will receive your tracing lines far better than I were painting on bare glass. (Of course, I sometimes do trace on bare glass. It all depends.) The undercoat also allows me to highlight (step 3) before I fire. You’ll see the glass I use is uneven: it is hand-made, and thicker at one end, and so it rocks a little when I use my blender.

Tracing : 02:00 : this is the longest section of the film. Here, I do my tracing in one go. This is different from other times when, with the design beneath the glass, I copy-trace the main lines, and then I set the design on one side where I can see it, and go over my lines a second time and strengthen them. But here, as I say: just all in one go. I’ve taken special care to make sure you don’t just see me tracing but also see me load my brush and keep my paint in good shape: really important. The result: my paint flows slowly and just where I want it to – I’m in complete control. Also notice how I mostly trace with the tip of my brush.

The Highlights : 10:00 : This is a piece of restoration – I must copy the smashed original. That’s why, to do my highlights, I just use my hands, because it seems to me that’s how the original was done: no highlights with a pointed stick, just with my hands. The technique: I gently rub. Now the paint must have quite a lot of gum Arabic in it (or it would come off too easily), which is another reason why, when I trace, my paint flows beautifully: the gum Arabic actually holds the line together. I love highlighting, when the light suddenly breaks through … Also, because I’m using hand-made glass with texture / bubbles in it, the effect is stunning.

Texture On The Back : 12:40 : So now I clean the back of the glass – I really should have done this before I started – and I lay down a wash of paint (another undercoat) at the same time, and blend it. When the paint is absolutely dry, I load a soft-haired toothbrush with paint, and spray paint on. When the spots are dry, I rub them gently with my finger: this lifts off part of the undercoat, and leaves some of the spots: a delicate effect which helps my glass look older.

First Firing : 14:40 : This is a “paint” firing: about 660 Celsius (1220 Fahrenheit).

Silver Stain : 14:50 : Oil, yes oil, not water. Various oils in fact. Sandalwood Amyris and Lavender – I describe the whole process in a separate e-book and also in our film, The Heraldic Arms of Hampton Hall. Oil is far more economical than water: it dries out really slowly than water, and so you loose less. You can also apply it exactly where you want it: no tidying up or waste or mess. Just you see how much control I have with oil. It’s amazing, truly wonderful. And the colour is gorgeous. (You always have to test it though.)

Second Firing : 20:10 : This is a “stain” firing. The exact schedule depends on many things, but especially on the particular glass you’re using. (That’s why I say you always always have to test it.) The top temperature is normally around 560 Celcius (1040 Fahrenheit). After firing, you clean off the dried residue. And, if your tests were reliable, you now reveal a gorgeous golden piece of painted glass.

Thanks for reading and watching: enjoy the blog and newsletters!

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194 thoughts on “That’s it, thanks!”

  1. I just downloaded your e-book – I think around 11pm (EST) – and I was going to start looking and reading tomorrow … Anyway it’s now 12:20 am and I’M STILL READING … I love it … but I’ve got to go to bed (I’m 67 years young).

    I even love your style of writing – it’s like you’re standing there and talking to me.

    I can’t wait (but have to) to get started. I’m already a self-taught artist and this is going to a whole new world for me.

    Thanks in advance,
    Richard.

    Reply

  2. Hi Stephen,

    Do you guys ever sleep? LOVE, love, LOVE the new website realglasspainting … I wish I had a time machine so I could fit more glass painting into my life! If you come up with any solutions for finding spare time, please let me know!

    Thank you for being such a wonderful source of inspiration, technical expertise and incredible artists!

    Reply

  3. Ah Bonnie,
    Thanks so much for your enthusiasm and support.
    For our part, it’s a joy and a question of happy timing that we live in an era where it is possible to bind technology to the service of craft and ancient knowledge and companionship with colleagues like you around the world.
    All the best from us to you,
    Stephen

    Reply

  4. To a very kind and nice people! Thank you so much for the apportation of great and formidable knowledge about glass painting.

    We wish to be nearer, but, thanks to technology, we can feel close to you.

    Greetings from Chihuahua, Mexico, and a great big hug to you from Carlos and Susie Chavira

    Reply

  6. Hey hello!

    Hope you can help me! I have a project going ahead next year … am building our house! … and I would love to have stained glass in our doors etc. Normally with old properties I’d find bits in antique shops etc., but I would love to design my own for this special project. I live in Shropshire, and I’d love you to tell me when your courses are next year.

    Best wishes for a Happy Christmas!

    Sandie

    Reply

  7. My question to the experts are lead and blood poisoning. Three employees, including myself, have recently been tested and are all high! This testing is common every 3 to 6 months but have never had problems before. We have identified the exposure problem and are working on a solution but need extra help. This is where you come in … I am the only person in the shop that paints – thus giving me the highest exposure. I, in my opinion, take every precaution necessary to combat this problem. Respirators, air exhaust, good hygiene etc. Are there any tips or help you can offer to help in my brainstorming? What are your precautions, work habits? Have you encountered this problem before? How did you solve it? Supplements, vitamins, therapy? Thank you!

    Mike

    Reply

    • What is giving the lead poisoning? I got lead poisoning from doing leaded glass and was hoping to move to painted glass as a way of still working with glass but not getting poisoned.

      Reply

      • Hello Caryn,

        With glass paint, it’s most likely getting in through mouth or nose. So it’s important to wash hands and keep foodstuffs and drinks away from glass paint and any of its air-bound dust. There are clearly also other factors at work because some people can work “unhygienically” with lead came and also glass paint until they’re 80 and not show up positive on a test.

        If you’re so minded, you can get lead-free glass paint from Reusche.

        All the best,
        Stephen

        Reply

        • Thanks for the tip about Reusche. Does the lead free paint work well in comparison to the lead containing paints?

          I do know about how some people are more prone to lead poisoning. I am one of them. P450 chromosome “mutation” (or damage in my opinion) makes me susceptible. Whether it came before or after the lead I’ll never know. That’s why I need to find non-toxic paints.

          Thanks. By the way, love the video of painting Martha’s face.
          Caryn

          Reply

  9. I have an idle kiln left from my days of china painting, and I have always adored stained glass painting.

    Your remarkable website has given me the courage to give it a try.

    I am pleased to be learning from true masters of the craft.

    Thanks for sharing!

    Reply

    • Hi Noreen,

      Thanks so much for your message. For our part, we are also glad that you found us. The weeks and months and years ahead will show you how we are glad to work with you.

      All the best,
      Stephen

      Reply

  10. Well you are a god-sent messanger to me today! I am a student at Glyndwr University and studying glass – but this is my final year and final project, and I really want to learn to paint glass to using my water colour sketches as design ideas.

    I had an external examiner to see my work today – Alison McConaghie – and she suggested courses. So here I am … downloading notes and eager to re-acquaint myself with paints tomorrow.

    Thank you!
    Chrissie

    Reply

    • Hello Chrissie,

      And we are glad to meet you too! The right place attracts the right people – that’s what we think! I take it you’ve found the free downloads. Have a look at them. It’s always a question of working out what works best for whoever finds us. I completely understand your idea of using your water colour sketches as design ideas. I also reckon that, as you re-acquaint yourself with the idiom of stained glass painting, then that, too, will actively inform the water colour designs that you prepare. It goes like a circle, each skill and passion connecting virtuously with the other(s).

      All the best,
      Stephen

      Reply

  11. Gentlemen: I have been painting for nearly 30 years now and am always on the lookout for tips and tricks.

    If you love what you do, you never stop learning.

    Your approach and practical advice are most welcome.

    It is nice to see that some of the things I’ve worked through on my own are also part and parcel of others’ routines.

    I shall definitely be looking forward to receiving the newsletter.

    Best,
    Terry

    Reply

    • Hello Cyrus and Jaishree,

      It’s David here on “duty” right now!

      We’re glad to work with you too!

      Always please say when we can help with anything.

      All the best,
      David (& Stephen)

      Reply

  14. I’m so grateful to you for this wonderful and precious information about glass ‎painting. Thank you very much. I’m from Egypt. If I live in England, I’ve come to visit. ‎You are great. God bless you all

    Reply

    • Hello Akram,

      We’re delighted to meet you. It is such a privilege for us to have this opportunity. And thank you for joining the newsletter. You’ll get lots of ideas and photographs and online videos.

      Please also see the latest post which has a stained glass painting demonstration with it: it’s right here.

      We’re always interested to know what interests you, and to hear about the kind of work you do.

      So please write whenever you want, with news or photos or questions.

      All the best from us,
      Stephen & David

      Reply

  16. Hi Stephen!

    Thanks for getting back in touch. Not realised that I had fallen off the list.

    Nearing semi-retirement so looking forward to spending more time in the studio. Just need to come up with some designs. Any suggestions for inspirational sources?

    Best wishes to you both,
    Martin

    Reply

  17. Hi there, greetings from Lima – the foggy place – to you in Stanton Lacy!

    I am planning to take another course with you, I want more!!! The course took last September was superb – you and David – What masters! Thanks for your patience and greetings to the family.

    My best wishes for all of you.

    Milagros

    Reply

  19. Hi Stephen!

    You have been SO IMPORTANT in helping me to add a whole new fresh and artistic dimension to my glass, which I have been doing for 34 years! Your knowledge and unique techniques so freely shared with personal communication has been a very meaningful part of my life. I just moved to the beautiful state of Vermont and I am anxious to get my studio back up and running!

    Reply

  20. Hi guys!

    I hope you’re all well. For some reason I stoped getting the newsletters, so I’ve re-joined – I really missed getting them so I’m looking forward to cathing up.

    And of course I still refer to your e-book I purchased last year – it’s full of so many great ideas.

    Keep it up, guys!

    With many thanks,
    Pete

    Reply

  21. Hi Pete,

    Thanks for your message. Sorry you missed our newsletters but very glad you re-joined. Thing is, we moved everything to a new method of delivery but it just means people do need to opt in. So thanks for doing so!

    Best,
    David

    Reply

  22. Hi David and Stephen,

    I’d just like to state that you make AWESOME work. I am truly amazed! I am born, raised and based in Kenya, and I’m a definite artist! Haha. My interest in glass painting has multiplied and I really want to learn as much as possible.

    I don’t yet know if PELI glass products ship their stuff all the way here, but it’s something I will discover.

    I am just glad I stumbled across your BEAUTIFUL website, and for starters I would love to download your ebook on everything I’d need to know about kiln-fired stain glass painting.

    Thanks and God bless you both for imparting such valuable and priceless information, and sharing your incredible talent with the world!

    Sheila

    Reply

  24. Stephen & David, so looking forward to picking up where I left off after a year of continuing illness. Have missed it dearly and looking forward to receiving your pearls of wisdom. Great work guys
    Thanks Pam

    Reply

  25. I have been having a clear out in my studio an inadvertently (stupidly if I’m honest!!!) threw away papers with my firing schedules on for my glass painting. Does anyone have one to hand to save me working it all out again?
    Thanks
    Martin

    Reply

    • Hi Martin,

      There’s a quick free downloadable PDF guide on the glass painting guides page here.

      But every kiln is different as you know, and often one also makes small adjustments based on media, the techniques used and the intensity of painting. So if you’ve any specific questions, please let us know.

      All the best,
      David

      Reply

  27. Thanks you so much for your welcome: I’m really curious about the things I can learn. Stained glass is a path that never ends – maybe we can go along together.

    Cordialissimi saluti!

    Reply

    • Ciao Gianni!

      Glad to meet you. And yes you’re absolutely right: it’s a never-ending path … 11 years ago, when I was wondering what to do with my life, I chose stained glass exactly because it never ended, and because, by the same token, each day there was a chance to improve and learn more. Some people may think that’s depressing in some way: you never reach the summit, so to speak. I find it exhilerating: always a chance to do better.

      Tanti auguri!
      Stephen

      Reply

  28. I need to buy a brushes kit from Peli Glass and some glass paint (water and oil) to do grisalle on glass.

    Do you know stores in London that sell these products?

    Please send me the adress and mail to contact them.

    Thanks for your help!
    Clara

    Reply

    • Hi Clara,

      Peli Glass can help with brushes and also paints.

      The brushes themselves are made by A.S. Handover in London. You can find them on the web but their website is really awful.

      As for glass paints, these are made by Reusche, and so you can get them direct from Reusche in the USA or from Peli Glass in the Netherlands or from Pearsons Glass in England.

      There’s lots more information on the Materials section of this site.

      I hope this all helps.

      All the best,
      Stephen

      Reply

  29. Another newbie I’m afraid, tho’ I do work in glass and have experience with ceramic under/overglaze colours.

    I also have a bit of a fixation with mediaeval artwork, so not an entirely new field from an appreciation point of view, just in the practise and practical.

    I’ve so enjoyed reading your blog this evening, especially the one about focus (which I should have more of and less multitasking/internet). You have a unique, and very reassuring ‘voice’, Stephen, and David’s posts are also very interesting.

    I work with very small pieces, jewellery mostly and have a teeny microwave kiln but am now inspired to investigate painting ‘miniature’ style pieces.

    I love the large pieces you do, they’re so vibrant and yet so subtle. I wonder if it would translate.

    Looking forward to the newsletters, will download the e-book etc onto tablet later.

    Yours,
    Kit

    P.S. Commiserations to the lady with the piano teacher, poor Pietertje! I would never have played again. (Not being funny, I have house rabbits, they’re freinds, not food.)

    Reply

    • Hello Kit,

      Thanks for joining in. Newbies/old timers – the most important thing is agreeing we all want to do something well, agreeing we all want to do it the best we can.

      And I am sure you’ll find ways of adapting ideas you find here to your own work. Of course, these may well come from unexpected places. (I find it’s often the less literal/more imaginative transferrals which work best.)

      Good luck with these new explorations.

      And you know where to find us whenever you have questions.

      All the best,
      Stephen

      Reply

  30. I’m the manager of a studio founded by my father in 1939. We are the oldest stained glass studio in Lima, Perù. The fired glasses for churchs are our principal activity. I’d like to contact paints and enamels for glass studios. If you can help with some coments, I will be grateful.

    Best regards,
    Julio

    Reply

  33. Many thanks. Buying the DVD’s on-line is much easier than any other on-line purchase that I have done except that the site closed before I could print the confirmation. This was not a problem because of the quick acknowledging e-mail.

    Yours, Graham

    Reply

  34. I have begun to read all of your postings and am finding practical answers to my many questions. I took a course about 12 years ago from Peter McGrain and have purchased 2 home kilns, neither of which, I am ashamed to say, I have used yet … I have painted with other mediums on canvas, wood and metal. I know I have the skill to paint on glass and I have all the supplies I need – I am just afraid to fire up those kilns. Do you have any particular section on using kilns or will I find that on the disc when I receive it? Thanks, Anne

    Reply

    • Hello Anne,

      I remember how I felt 11 years ago when I got my first kiln (I had it in my bedroom then because I was still doing my “other job” and didn’t have any spare room). That first firing …

      First up, I suggest just turning one on and seeing how it warms up! Maybe it’ll make a funny noise or two, maybe there’ll be some odours it must burn off. So just warm it up a bit.

      Second, just do some simple doodles on an ordinary piece of float glass, then fire it up to about 1220 Fahrenheit (assuming you’re using e.g. Reusche tracing black or similar): see how that fires … is the paint smooth against the glass, or is it rough and biscuit-like.

      Take notes – that’s so important. All the time, for the first few weeks, document what you do. Eventually it’ll all become second-nature, but for now, writing it down will be invaluable.

      Write and tell us how you’re getting on. Ask new questions – we’ll help however we can.

      But all along, small steps are great!

      I hope this helps … all the best,
      Stephen

      P.S. On the discs, no, there’s nothing about firing: all kilns are different, with slightly different firing schedules. After a short while, you’ll get the measure of yours! The thing is, to start with, just do small tests – that’s the way to do it.

      Reply

  36. Hi guys!

    I just read your site and watched a few of your vids for the first time as my mum has been bragging about you. All I can say is OMG – such wickedly wonderful information. Keep up the fantastic work. I can’t wait to get my first newsletter.

    Penny 🙂

    Reply

  37. Hello Stephen,

    My daughter Georgina recently posted you the trials and tribulations she has been going through with the student loans company mess up with her tuition fees. I wanted to say thank you for the encouragemnt you gave her to get back to uni and start painting and absorbing everything she can! She showed me your website and I was totally and utterly spellbound, so I have signed up so that I can converse in ‘paint talk’ and find out one end of a badgers brush from another!!!

    With best wishes,
    Amanda

    Reply

    • Hello Amanda,

      As I hope you know, I replied to Georgina by email – I was away with just my phone, so I couldn’t add my comment to hers.

      And yes, there are brick walls a-plenty.

      The thing is though, there are also loads of good, fine things. I know this from my own life because I hit a load of crap (please excuse me, but …) when I was starting out, then I met David whose main concern was finding people who would learn carefully in their own way (just as Patrick Reyntiens knew David would learn carefully from him).

      And so it goes on …

      You and I probably know that a cold “snap” can bring on a fine crop of apples (I write to you as someone who lives in Herefordshire with four strong apple trees in my garden, weighed down with fruit this year because of last year’s frost).

      But, yes, the cold is very difficult while you’re going through it.

      Georgina will get through it, I am sure of that, and she will do far, far better than other people who “had it easy”.

      Best,
      Stephen

      Reply

  38. Hello gentlemen,

    I’m a glass beveler, and my wife and I have operated a studio for 35 years. Last year I studied medieval painting with Ken Leap at Glencairn. He is a wonderful painter and I am completely hooked. My wife has gotten into glass fusing and made me take the course because she has no time to paint. Your site is so great, and your philosophy of sharing information deeply wise and generous. THANK YOU!! At age 62, I’m like a young kid in the candy store. Just started messing with a crowfoot pen, and your ideas about silver stain in oil very timely to a project I’m doing.

    Warmly,
    Geoffrey Caldwell

    Reply

    • Hello Geoffrey,

      Thanks for your message. And we are glad you found us. Yes, we know of Ken and hugely like him. So I reckon it’s one of those things: if you get on with him, you’ll get on with us, and vice versa. As for here and now and this website, we’re here to work with you and others over the long term, sharing techniques, discussing ideas – doing whatever it takes to be sure we all paint as best we can.

      Best wishes,
      David

      Reply

  39. Hallo!

    I’ve just started painting glass. My kiln has stainless steel shelves, which I put thin kiln paper on, and when fired at 8I6C for Heraeus paints, the shelf produces a large oval stain on the shelf and a mottled mark on the underside of my glass. I use Heraeus because I then fuse and slump the glass. Hope you understand. Hope you can help.

    Thanks,
    Nicolle

    Reply

    • Hi Nicolle,

      You say “the shelf produces a large oval stain on the shelf” and I wonder if you mean there’s a large oval stain on the paper? Please say more!

      As an aside, we ourselves tend not to use kiln paper because in our experience it has in some circumstances left residues on the glass or interfered with the firing (especially with silver stains and enamels). You see I imagine some makes of kiln paper give off fumes, which infect the glass. That’s why we mainly use kiln shelves which we fill with whiting (calcium carbonate): this seems altogether purer. Here, as with a lot of other areas of stained glass painting and firing, the simpler it is, the better (because people have been doing it for 1000 years without all our modern benefits). So I suggest you devise and conduct an experiment in which you don’t use kiln paper, and see if this solves your problem.

      All the best,
      Stephen

      Reply

  40. Hello,
    I don’t seem to be receiving your ‘weekly tips’. Is there something else I need to do to access this information?

    Sincerely.
    John

    Reply

    • Hello John,

      I checked things and – as I see it – you signed up yesterday.

      Tips mainly come out on Tuesday; on Fridays, I often write and say if there’s a new and useful post.

      I hope this sorts things out for you, but please let me know if I haven’t answered your question.

      All the best,
      Stephen

      Reply

  41. Dear Stephen,

    Thanks for your creative and helpful advice. It make me feel good towards the art work and glass work.

    I am an artist/drawer (and a painter in general), but I am very interested in glass work. I hope you can give me some advise. I will look around the site now. Thanks for your warm welcome to all of us. Good bless you any where any time!

    With my best regards.
    Yousif

    Reply

  43. As you can see from my web-site, I’ve been in the stained glass craft business for 25 years.

    I love your web site.

    Where can I get good quality tracing brushes?
    Regards,
    Tom Moloney

    Reply

    • Hi Tom,

      AS Handover of London makes very good tracing brushes: Series 99 – sizes 0, 1, 2 are excellent for everyday tracing. You may also want a larger one for half-tones etc. I don’t know “where you are” with glass painting, so you may (not) already know this: you will need different sets of brushes for different media.

      All the best,
      Stephen

      PS It’s best to deal with AS Handover by phone or email; their online shop doesn’t really work …

      Reply

  44. I can’t wait to start exploring this site! I graduated from Swansea 22 years ago and have always worked with and produced stained glass but most of my projects have not included glass painting, this is something I really want to rectify. I can’t wait to start painting again. Can you recommend a good small- to medium-sized kiln?

    Many thanks,
    Julia

    Reply

    • Hi Julia,

      Glad to meet you! I know a number of people who like their Paragon top-loading kilns, so I’m sure you’ll find them interesting as well: top-loading, floor-standing, hexagonal (or something like that).

      All the best,
      Stephen

      Reply

  45. Hello Stephen,

    I hope that I am now back ‘on line’ and will look forward to hearing from you. I do appreciate your observations on so many aspects of stained glass painting. Even after 25 years, I am still learning!

    Regards,
    Michael

    Reply

    • Hi Michael,

      Thanks for your message – that’s great you’ve signed up here because now you’ll definitely not be lost for how to spend any few spare moments that you may have!

      Best,
      Stephen

      Reply

  46. Thanks for letting me join. I started studying stained glass three years ago. I go to a college for adults in Surrey to study. I have made some nice pieces to date and just this last six months I have started to glass paint in some of my pieces so any help would be really helpful and tips. I hope to make a living at stained glass as I lost my first long-time job due to ill heath five years ago. I am disabled now. I was thinking of joining the Guild of Master Glass Painters as well. What do you think?

    Well, many thanks,
    John Streatfield

    P.S. I have just got my first Commision for a church window

    Reply

    • Hello John,

      Thanks for your message. First up, though I know it’s just a turn of phrase, but of course it’s not a matter of us “letting” you join (or anyone else). Anyone who works hard is welcome to join. But they must work hard. Otherwise it’s a waste of their time and other things as well.

      Congratulations on your commission: I hope you design and paint it well. There are lots of helpful articles on the site.

      As for the Guild of Master Glass Painters: this is your choice. You have the option to join as an associate (or something similar) right now. I myself would be deeply upset if the fact of your membership impressed anyone when the main thing is always the particular skills each of us has for design and painting. But maybe you will find the membership useful for the information that you can get for them. Your choice.

      All the best and good fortune,
      Stephen

      Reply

  47. Thanks very much for your newsletter. I have designed and installed 24 windows in a Church, but I always have trouble with the staining. In ‘normal’ painting, I like to work with oil paint and brushes. But I find glass paint a very difficult medium to work with. So I hope to learn something from your newsletters!

    Will

    Reply

  48. Hi Stephen!

    Just been reading a book by Albinas Elskus – he said about using sugar to mix with colours instead of gum Arabic. What do you think? Does it mix well?

    John Streatfield

    Reply

    • Hello John,

      I’ll need to refresh my memory of the context. For now, I’ll just say I can’t quite understand how sugar might give glass paint the adhesive property which gum Arabic possesses. Also, all experiments should at some point be backed by science – history is littered with (for example) tales of paintings that have failed because their makers didn’t prime the canvas properly. So too with glass painting. Experiment is fine and noble … but will the painting last?

      Best,
      Stephen

      Reply