Classical Stained Glass Kiln Fired Painting Techniques
How you can trace, shade, flood and highlight (front and back) in a single firing, and why you absolutely need a lump of paint to do this (not a teaspoonful).
Read this if you are new to glass painting OR if your lines and shadows don’t always come out as you’d like them to and you want to do them really well.
Announcing… Classical Stained Glass Kiln Fired Painting Techniques
Your paint – it all starts here
It all starts here. If your paint is wrong, no way can you trace or shade with it. Problem is, your paint’s not ready-made. You don’t buy it “off the shelf”. You don’t squeeze it from a tube. You must first mix and grind it by yourself. Which means you must also know the right proportions, and how to test them, which isn’t easy.
And that’s just for starters, because it’s also you who keeps it in top condition while you work. Yes, like ink, it dries. Unlike ink, it turns to dust unless you stop it. And this is a disaster for your work – a waste of time and money. In this e-book you’ll see how how to mix it and also how to keep it so it flows. (You’ll also learn why liquid gum Arabic is far better for your work than powder.)
The point is, you must have good paint. Unless it’s good, no way will your lines or shadows work. It’s just not possible.
Classical Stained Glass Kiln Fired Painting Techniques explains it all, and much else besides …
The palette is where you keep your paint in excellent condition. Again, if it’s wrong here, no power on earth will let you trace a lovely line or shadow. So you don’t just need the right kind of palette (you mustn’t use an ordinary piece of glass). It must also be the right size: fact – most palettes are too small (you’ll learn why). Plus, you must also learn how to keep your palette organized. Yes, organization is your secret weapon which will let you move confidently from light to dark and back to light again.
Perfect control. Every time. You’ll find out how.
Your palette knife
Nine ways to use a palette knife.
Most people struggle here because they don’t know how to hold a palette knife and don’t really understand the tasks it’s used for – they just ‘know’ they’re meant to use it …).
So they use it when they shouldn’t. And they fail to use it when they should.
Result: chaos on their palette, bad painting on their glass.
How to use your palette knife? See page 21 for answers.
You’ll learn what length of tracing brush to use: a short one is best but it must contain the right kind of hair. (Common problem: many books suggest you need a special kind of long-haired brush to paint stained glass. You don’t. These long-haired brushes can seriously limit your style. All will be explained.)
How to use the badger blender
You’ll also learn the right way to use a badger blender: your grip makes all the difference and will determine whether you succeed or fail.
Another common problem is: the pace and strength of blending.
You’ll learn a special kind of brush you probably haven’t heard of. It’s astonishingly useful for making shadows.
It’s all in Classical Stained Glass Kiln Fired Painting Techniques.
So you see how we’ll start with the basics. It doesn’t matter if someone’s a beginner or looking to paint better: get these basics right, and then you’ll be ready to master the core techniques.
The core techniques
Whether you’re a beginner or a professional, techniques are fundamental to your work. You need a lot of them, not just one.
You learn how to prepare your glass so it’s good to trace on. Yes, you do this after you clean it and before you trace on it. (Other books don’t mention this, which is a crime.)
You learn how to trace the outline, then strengthen and thicken it as needed.
Learn how to turn lines into shadows: this is one of those “Aha!” methods – once you understand it, you’ll see how so much lovely church glass was also done like this: it all makes sense. Lastly you’ll learn how to use the thickest, darkest paint of all (very effective), and how to shade with highlights.
You get step-by-step projects because everyone needs guidance. 100s of close up and long shot photographs show you what you must aim for at each stage. Fish, shell, bee, monster, tower – you see work-in-progress and also how your glass should look at the end of each stage. You understand exactly what you must copy.
Read and also watch
This is an immediate 80-page PDF download. But that’s not all: with each download comes a unique password. You can use this password to unlock a collection of 8 online demonstrations – that’s 60 minutes of free video so you see exactly what to do.
So what’s in the online videos? How to mix glass-paint and water (9 minutes), how to prepare your palette for painting (6 minutes), how to undercoat (10 minutes), how to copy-trace (6 minutes), how to strengthen and reinforce (7 minutes), how to flood (8 minutes), more about working with very dark paint (4 minutes), plus a start-to-finish overview (10 minutes).
This amazing thing will make most sense to you if you already paint stained glass: you will learn how to do all your tracing, shading and highlighting, front and also back, in just one firing. Yes, especially the shading.
Shading often causes problems. But here you’ll learn an astonishing technique to shade before you trace, giving you a head-start over other painters who must struggle because they don’t know as much as you soon will.
CLICK on the link below for more details.
Classical Stained Glass Kiln Fired Painting Techniques