The Beastly Lion of Wolsey Towers – Episode #3

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The story so far …

So far in “The Beastly Lion” – first, the undercoat (see episode #1); and then, the preparations (see episode #2). And now it’s time to trace the outlines.

The outlines

Here we go with “The Beastly Lion of Wolsey Towers” – episode #3:

(Video not showing? First hit Refresh/Reload. See other answers here. Watch it here)

Notes

Watch the bridge: see how often you must move it to be sure your brush is in the right place at the right time. That’s the point: your bridge is always on the move so that it gives your tracing hand the precise support it needs.

Also see how the paint (although – certainly – a liquid) is yet dry enough for the glass painter to control it perfectly. This is important. Novices always make their paint too runny. Then they lose control. Their lines go wobbly and the coverage is uneven. What they need is drier paint. Then they will succeed.

Conclusion

Tracing is difficult: the paint is always drying out, and it’s hard to make the lines as elegant and lovely as they should be. These things are difficult.

But tracing is far less difficult when you use the recipes and techniques revealed here.

If you’re having difficulties with your tracing, you have a money-back guarantee this guide will help you.

Best,

Stephen Byrne

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7 thoughts on “The Beastly Lion of Wolsey Towers – Episode #3”

  1. Just joined the newsletter: thanks for the password: am very much looking forward to the rest of the series!

  2. Such a pleasure to watch the video clip without it stopping all the time. Living in the New Forest we’ve had to put up with slow broadband but recently it has speeded up, and I was able to watch this latest one with only a few stops. And it’s reinforced my urgent need to do more painting, and with more patience. Where will your lecture be, and is it by invitation or can anyone attend?

    Thanks – as ever,
    Shelagh

    • Hi Shelagh,

      We’ll give our talk on Saturday, May 25th, in St. Laurence’s, Ludlow – a magnificent building, and nicely set back from the bustling market square.

      Best,
      Stephen

      P.S. The more, the merrier.

  3. Hello Stephen,

    Hope all are well. Again this post with the video came at just the right time. I have started a new glass painting project and am just about to finish the glass cutting. Watching David moving the brush while tracing the lines did refresh my skills and reminded me how important the bridge is.

    Not to forget about how good the music is. Looking forward for the coming video.

    Thanks to both of you for sharing your knowledge with us.

    All the best now and always.
    Hassan

  4. Stephen, I love your videos your articles. I’m here in Ponce (Puerto Rico), and I’m so privileged to be able to be learning from you and to be able to see you guys in action even though it’s through a video. I will save all my money-pennys at a time if I have too, and I don’t care how far away you are – even if your studio was on the moon, I will find a way to someday be with you in your professional classes and learn from the two greatest glass painters and teachers of our time. I have faith it will happen – and it will!

    • Hi, Farook,

      Good question, because the window is not only large – it is also a skylight.

      The answer is, it rests on a steel frame whose structure mirrors the lead lines, thus supporting it throughout. This frame was specified by the architect, and we had it laser-cut for us by a firm which specialises in such work.

      Best,
      David

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