Everyone knows how – if you leave your glass paint uncovered overnight – it’ll dry out. Which slows you down next time you paint again.
So everyone knows to cover and seal their lump of paint.
But that’s just the first thing you should do.
Yes, this happened a very long time ago. It happened when our studio was 2, and now it’s 10: so 8 years ago this happened, which, when you think about everything that’s gone on with banks, and stocks, and businesses going bust everywhere, and money in general, and interest rates, and friends, family … – 8 years is a long, long, long time ago indeed.
In 2004 I set up a studio with one partner, David. This was a design and glass painting studio, which, having run through more embarrassing names than we can remember, we christened “Williams” (after David first, because he could paint) “& Byrne” (after me, because I could copy).
Glass painting: it’s not an easy way to make a living.
But it is a great way.
I don’t mean women, cigars in bathtubs full of champagne, and private jets.
Though the last time I flew to see our client on the shores of Lake Geneva, I tried to board the airplane with a glass cutter in my pocket.
That was … fun.
Firing shouldn’t be a problem. ‘Shouldn’t be.’ Yes, I know there are times when, no matter how experienced we are, everyone gets anxious about it. I’m just the same.
But really it’s far easier and more predictable to fire glass paint than ceramic glazes for example. There’s also much less to think about than if you’re fusing. What I’m saying is, glass painters are actually very lucky here: it’s important to keep things in perspective. So here are 12 quick points I always run through before settling on a particular stained glass firing schedule. These points let me get a good night’s sleep (because I mostly fire overnight, you see).