Today you’ll see the power of using stained glass silhouettes in your design.
Yes, this is our glass you’ll see here.
But remember this is not so much about us as about what you can do with a bold and talented design, some very good glass, plus a careful use of silhouettes.
Note: there are a lot of gorgeous photos coming up, so please give this page the time it needs to load.
In the studio this week, we’re painting column after column for the tycoon’s stained glass skylights.
Our sequence is:
In other words, the lines are put down in two layers – steps 2 and 3 – not in one go.
A column from the tycoon’s skylights – undercoat and (copy-)traced only (strengthening comes next)
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 …
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 …”