My first layer of glasspainting (the ‘tracelines’) went on to the Holy Family yesterday. I finished with the head of Mary. You might notice that there are gaps in her hair (e.g. none at the nape of her neck). I stopped because her hair was flowing so beautifully I didn’t want to smudge it. I’ll finish these areas at the next stage of glasspainting (before the 2nd firing), the one I call ‘texture’.
The glass is photographed lying on the light table in one of my transparent bottomed trays. Notice how flat the colour looks -very different from the lively subtleties you can see when the glass is fixed to the easel. I have developed a unique method of glasspainting that allows me to maintain this sparkle in a fully painted stained glass window. You’ll see more photos as the project progresses. Or you can jump ahead for a sneak preview via these two short films, Menfolk Part 1 and Menfolk Part 2.
My trusty assistants, Sam and Cynthia spent today removing glass from easel plates and carefully grinding every single piece (somewhere around 1,200 of them) to match the cutline exactly. Thankyou both!
To Karen, Sam & Hassan: regarding silver stain questions, the expert here is Ken Leap. You can purchase his thoroughly researched and informative book about silver stains online here.
To Douglas: The bottles contain propylene glycol and water for the thinning stage of my proprietary glasspaint mixture. Read the story of how and why I developed this method and download my Student Notes for FREE from my Resources page.
Thanks Ann, Sylvia, Christie, Hassan, Sherry, Lorraine, Doris and everyone else for your enthusiastic comments and interest. It makes blog posting a worthwhile endeavor!