Stained glass tracing: here’s how to think about it in a very different, useful way …
David Williams
Glass Painters – Would You Like to Dance?
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In the studio this week, we’re painting column after column for the tycoon’s stained glass skylights.
Our sequence is:
- Undercoat
- Trace
- Strengthen
- Flood
- Highlight
- Etc. etc.
In other words, the lines are put down in two layers – steps 2 and 3 – not in one go.
Now it isn’t mandatory to do this. It’s certainly possible to do the lines just in one go. Sometimes that’s what you must do.
And right now I just want to have a brief discussion with you about how to think about this question: whether to trace (with the glass on top of the design) and then strengthen (with the design on one side), or whether to trace and strengthen in one go …
Live from the Studio – Day #4
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Oil: the case against … and the case for
It’s the fourth day of this intensive technique-focused glass painting course for our five long-haul students – four colleagues from different states of the USA, and one from Kuwait. (For the 90-second video intro, please see here.)
Yesterday and today: oil.
The case against oil: it’s smelly, and it’s messy. You need extra palettes and extra brushes. Students need to learn how, once the oil has seeped down and been absorbed by the unfired water-based paint beneath, the paint itself becomes fragile. And another thing: it’s a good idea to adjust the firing schedule so the volatile fumes can burn off and escape.
All in all it’s rather inconvenient. Hmmmm – no wonder it isn’t taught in college or class. Too much nuisance.
So, the case for oil is what, I wonder …
Live from the Studio – Day #2
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The mystery kitchen object which can improve the way you trace …
It’s day #2 of an intensive glass painting course for our five hard-working, long-haul students.
See here for the 90-second video introduction.
In a moment, I’ll reveal the identity of the mystery kitchen object which can magically improve your tracing.
(And, no, it’s not a rolling pin.)