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.
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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.
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 how a stained glass appenticeship used to be, and a cut-line of some daffodils for you. You’ll find story and cut-line over here.
The order of your painted lines
With glass painting – because it’s so very hard to correct – it’s essential you consciously decide the order in which you’ll trace your lines.
So here are two examples where David walks you through a stained glass design, and the order of their lines.
I get a lot of questions about how to fire stained glass. Here are some answers.