Stained Glass Shading & Matting
Stained Glass Painting – Stained Glass Shading & Matting
Here’s where you can post your questions about Stained Glass Shading.
For other questions, please see here:
Note This: for main details about stained glass shading and matting, please see Part 3 of the e-book.
{ 2 comments… read them below or add one }
I’m finding it difficult to get a nice smooth shadow.
What I mean is that, if I am trying to get a subtle gradient shadow by taking off a little of the matting, then it usually ends up streakier than what I prefer to achieve.
Either that, or I’m left with brush-marks in the paint.
I am thinking that maybe it is because I have too much gum Arabic in the paint, since it seems difficult to remove sometimes.
Or it might be the brushes that I am using – and yet, if I try to use a softer brush, then I don’t remove anything at all!
May I ask your opinion of what my problem might be?
Of course I realize it may just be my lack of experience, but it would be nice to get your input.
Thanks!
Shading is difficult.
In the first place, it’s sometimes difficult to decide exactly where the shadows should really be: that’s a question about design.
In the second place, it’s sometimes difficult to put shadows where they should be.
In the third place, there are different ways of shading, and one must therefore decide which technique to use, and when. I always find shading difficult; David doesn’t. Oh well!
Now, regarding your question, if you’re using the technique of softened lines that we present in Part 3, then I’d definitely consider that there might be too much gum Arabic in your paint.
But it’s also possible that there’s something to learn about the technique – in particular about how to use a blender.
So let’s re-create the scenario.
If the lines from steps (2) and (3) are too dark and/or contain too much gum Arabic, it will be difficult to soften them.
If the overcoat from step (4) is too dry, it will not sufficiently dissolve the lines for you to be able to soften them.
And say the lines and the overcoat are “just right”, it is still necessary to use the blender decisively and at the correct speed and with the correct heaviness/lightness in order to soften the lines successfully.
Certainly, the more you use this technique, the easier it gets. It’s really worthwhile doing it time and again on the lightbox (not on a “real” bit of glass), just so that one gets really relaxed and confident about it.
Note: of course there are other ways of shading. It’s just that this technique is particularly useful – yet little known.