It may take a little getting used to but it’s indispensable and soon you’ll learn to love it. For how to use it and how to make one of your own, see here.
Here’s a round-up of the latest offerings from our blog:
- The intriguing symbol used to depict Jesus’ ascension into Heaven in stained glass;
- The 16 skylights we made for a London mansion – specifically, two videos of the techniques we used;
- The 5th episode from the mini-series, The Beastly Lion of Wolsey Towers – how to mark out where to place your stained glass highlights;
- Have you got what it takes to make your own glass? Here’s a useful extract from the recipe which Theophilus gives.
Learn more techniques: be sure to get the newsletter.
A time-lapse video
Here’s a useful video where you see the time and attention it takes to get your palette perfect: 60 minutes’ work, all squeezed into 2. Watch it here.
David’s just written an article for the July issue of Artists & Illustrators.
His task: to say something informative about the activity of kiln-fired stained glass painting.
His audience: people who know nothing about how it’s done.
And the editor said: ‘You have 100 words’.
Thing is, you have to strike a balance. You want to encourage people, yet you don’t want to make them believe it’s easy when it takes a lot of skill.
See here for a case-study: stained glass lion, unicorn and crown. In fact, the steps I used to make a window which commemorates the 60th anniversary of the coronation of HM Queen Elizabeth II. Read it all here.
The advantages and disadvantages of each
For a useful run-down of the differences between glass painting with oil vs. glass painting with glycol, see here.
Here’s a reminder of five big reasons you should use an undercoat before you trace and shade and highlight. Four concern you. One concerns your viewers. If you don’t use an undercoat, just consider what your work is losing. Read more here.
Listen here for a new podcast about stained glass painting techniques.