Welcome to Part 3 of this mini-series on oil-based stained glass painting.
Anyone who’s just joining us today, you’ll find Part 1 right here.
And before we get going today, there are a few questions from the audience …
Welcome to Part 3 of this mini-series on oil-based stained glass painting.
Anyone who’s just joining us today, you’ll find Part 1 right here.
And before we get going today, there are a few questions from the audience …
Hello again, it’s David here, while Stephen keeps nice and busy (and happy too, I trust) with some fiendishly difficult painting and the exciting new film project we’re working on.
Which leaves me in charge of the blog so that’s why I took the executive decision to remind you of / excite you with the delights of painting with oil on top of unfired water-based glass paint.
And if you missed part 1 of my essential tips to oil-based glass painting, head off there right now and come back when you’re ready.
Now a number of you wrote and asked whether oil-based glass painting is only suitable for advanced or professional glass painters.
So let’s deal with that question before getting to grips with today’s essential tips …
I’m now spending a few days in charge here while Stephen gets on with some particularly difficult painting plus puts the finishing touches to a documentary we’ve made.
Anyway, yesterday I spent a morning painting with oil. And what a calm and happy time it’s been. Not that it isn’t when I’m working with water. It’s just that, with oil, you can pretty much start and stop whenever you want.
And – rather than having a fixed idea of the effect you definitely want to achieve (as is the case with water) – you have the time to push the oil paint here and there, and reflect on what looks best, changing it as you see fit.
So here are some key points about working with oil on top of unfired water-based paint.
If you’re already a “convert”, these tips will come as a handy reminder.
And if you’re new to oil, they’ll show you its amazing potential.
So I’ll start off with 5 tips today, then we’ll continue the series the day-after-tomorrow (Wednesday) and see how we get on.
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.