Following on from David’s provocative tip about painting with darkness, I’m going to make my own contribution with some clips I filmed while he was painting St. Martha’s head.
Category Archives: Techniques
Painting on Glass Vs. Painting on Paper
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They are not the same
James Hogan – a designer and glass painter who worked on many windows in Liverpool Cathedral – made this observation:
Stained glass painting has no relation whatsoever to picture painting.
It is an art of its own, dealing with the transmission of light through coloured material, whilst painting is the application of a coloured pigment on a flat surface upon which light is reflected.
“Oi, girls, let’s get Hogan – he’s disqualified us!”
A neat, analytical distinction, this.
As you would expect, it risks disqualifying substantial quantities of painting on glass.
But never mind that for now. I am sure that the ladies on my left will set dear Hogan straight.
And also never mind Hogan’s assumption that stained glass painting is an art. Ah, “art” is such a slippery word – especially in these post-modern times of ours.
Instead, join me on a journey to the Dark Side.
This way, please.
Case Study: An Arched Top And 3 Forged Rows
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With a video demonstration
Our ever-collecting client, just because he liked it, had bought a 19th century window from an auction house in Paris, France.
The trouble was, it was the wrong shape and too short by 10 inches for the particular place he had in mind within his ornate lakeside villa.
How to bring your Glass Paint back to Life
Stained-glass video demonstration
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OK, so let’s say you’ve made your lump of paint (not a teaspoonful as the books so wrongly say). You’ve also discovered the benefits of diluting it a little at a time to make the consistency and darkness of paint that you need for your next sequence of brush-strokes.
And then it’s time to stop for the day.
But when you return, of course your lump of paint is dry. Really dry. Dry as a bone in fact.
What do you do to bring it back to life?