Continuing our short series on how we glass painters can sometimes escape – or do I mean, disguise? – the leaden bonds which hold us.
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Continuing our short series on how we glass painters can sometimes escape – or do I mean, disguise? – the leaden bonds which hold us.
It’s for subscribers to our free e-mail newsletter.
Sign up here.
It’s a wonderful, heart-lifting sight to espy a church at night, its windows glowing from the light within.
But you must be outside with darkness all around you for this to work.
Otherwise of course the stained glass windows are dull and lifeless.
I say “of course”.
But it still upsets my friend, a successful novelist, who now knows better.
It’s day #1 of an intensive five-day glass painting course for “long-haul” students who’ve travelled to our studio in Stanton Lacy (see my previous post for your nerve-jangling introduction and an absolutely breath-taking 90-second video).
Our students arrived two days ago to settle in and recover from their jet-lag. And today, refreshed, we went on a whirlwind and empowering tour of undercoating, tracing, strengthening and flooding – the foundations of traditional kiln-fired stained glass painting.
Now … we promised you various tips and updates live from the studio.
Today’s key tip is useful if:
Interested? Then let’s get going …
Stained glass tracing: here’s how to think about it in a very different, useful way …