Yes, I do want to make you an offer – it’s a good one. But I also want to share an important insight. Here it is:
Techniques make good walking sticks but bad crutches.
Give me three minutes and I’ll explain …
And you’ll also find out how to get this useful guide to painting stained glass heads:
Stained glass heads – designs and techniques
In case you missed them, here are links to the six technique-packed posts we published here last week.
It all began last Saturday when our long-haul students flew in. (Where did they come from and what exactly were they here to do? Find out here).
This morning with our students, it was Gothic Revival / medieval faces.
After lunch – by way of contrast – gargoyles and other monsters.
And with all this detailed line-work, the following conversation was inevitable.
Be sure to read to the climax of this tale, because you’ll find a really useful tip.
Problem #1: “When your glass is on top of your design – as it is with tracing – it’s so difficult to judge the darkness of your lines. – And it’s also really difficult to register them precisely with the lines on the design beneath …”
You may already know that excellent maxim of Francois de La Rochefoucauld – “Good advice is something a man gives when he is too old to set a bad example” – well, the truth is now I’m just too mean to set a bad example.
That’s why today our five long-haul students benefited from a particular piece of hard-won wisdom which I am delighted to share with you.
So, to start: what’s the difference between this …