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.
Highlights – It’s Easy to Get Them Wrong But Lovely When You Get Them Right
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Let me tell you that the key points are: have a plan (don’t usually invent things as you go along), hold your glass firmly with one hand, work from the bridge with the other, choose your highlighting tool with care (make your own as needed), be confident (not scratchy, unless scratchy is what you really want), consider stencils (especially if you have a repeating pattern), remember how the back of the glass is also good for stained glass highlights, and use your hands as needed (just be sure they’re clean).
Right, now I’ve said my piece, will you also have a look?
At Last: The Correct Way to Load and Shape your Tracing Brush
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Your trace lines – your outlines, or contour lines – these lines can only be as good as your paint and tracing brush allow.
So if your glass paint is badly mixed, or your tracing brush is wrongly shaped and loaded, your trace lines can’t be right.
End of story.
That’s why today I want to show you the right and the wrong way to load your tracing brush.
All I ask three minutes of your time, that’s all I’ll take, and in return you’ll see the difference.
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.