All set now to paint the fierce lion tomorrow: tracing (outlining), then flooding. And once the flooding is dry, I’ll pick out his highlights using “the chalk method” – just like you do with stained glass lettering.
David Williams
Kiln-Fired Glass Painting – Four More Vital Tips
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Today four more useful reminders for you
Stephen’s four reminders last time were: oil, flooding, holding firm on pricing, and being comfortable when you work. Now it’s my turn to look back on 2011 and also take you forward to the coming year.
1. Racing to trace vs. pacing your tracing
First up, tracing – specifically, what you must do to trace well. I don’t care how many times we mention this because it’s so important. Every week we hear from people whose whole approach has drastically improved – just because they stopped racing to trace and started focusing more on their palette.
Undercoats
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They hit the glass too hard
Right, in his last post, Stephen challenged you to do it with one hand tied behind your back.
Undercoating, I mean.
And several people wrote how maybe they were heavy-handed, because no matter how they tried, their glass always spun away across the light-box.
So I reckon the best thing now is to show you what we mean.
Sounds good to you?
Good, so let’s get going.
When I’m Gone … Or: The Tiny Details which Tell You ‘Who Painted the Glass?’
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“When I’m gone …”
Well, I won’t be gone any day soon, because there’s still a whole lot of hair in my blender, even though it’s been getting a lot of punishing use these last three months …