May 2020 Stained Glass Design and Glasspainting Workshops

In response to student feedback I’m offering a series of three tightly structured 5-day workshops in May 2020. Two are for advanced students only and designed to take your stained glass practice to a new level.

Instruction includes Powerpoint presentations, technical demonstration, hands-on group exercises and individual projects. In these workshops I will teach practical skills and repeatable, step-by-step processes that are difficult to learn online or figure out on your own. For example, mixing glasspaint to optimum viscosity and drying speed for various tools and brushes; and gaining a clear understanding of the work-flow for designing or painting a stained glass window.

Here’s the history of my proprietary stained glass recipe, and here’s my beautifully responsive glasspainting mixture in action

Workshop location? Watch me glasspainting and assembling a stained glass window in my Vermont studio where these May 2020 workshops will be held  (11 min video).

About me? This recent podcast covers my career as a stained glass artist and includes the mathematics I’ve been working on in recent years. Many thanks to interviewer Shawn Waggonner, she really got me to open up!

Check out the drop-down menu items under GLASS to read workshop descriptions and more.






The stained glass easel; why?

In the process of making stained glass there are two stages where the glass is easeled up against the daylight. First, when selecting glass, then later, when glasspainting. Easeling glass is time-consuming and thus expensive, so why do this?

Here’s my current work for All Saints Chapel at Carroll College in Helena Montana. Note how the opalescent glasses change at night/dusk. This is an effect that can only be estimated, whether on light table or easel, because my north-facing easel does not precisely mimic the light in Montana. The easel does, however, take out a lot of the guesswork.



Check a few older posts if you want to find out more about how and why glass is fixed to the easel, and watch the embedded video links. Stage one, selecting glass for colour, transparency/opacity and texture the English way, by fixing it to the clear glass easel plate with Plasticene; about choosing colour for a landscape window with figures; using beeswax and rosin (which fires off later in the kiln) in the process of  waxing up (fixing painted, fired  glass onto the easel for further layers of glasspaint); and details of a specific wet-matte technique that may be achieved with my propylene glycol mixture.

2016 workshops

workshop(front)This year, I am offering week-long design and glasspainting workshops in June; 3-hour Saturday Afternoon Intensives; and a 10 week series of evening classes beginning March 10th. All at my studio in Vermont. Here’s the schedule. Application deadlines for American Glass Guild and Stained Glass Associate of America scholarships are Feb 28th and April 13th respectively.


Snow in April


I must be the only person in Vermont who is happy to still have snow in April. It has provided me with the best possible backdrop for selecting coloured glass. The window is almost cut, and the snow, right on cue, has almost disappeared.

The picture so far – my garden…

… and the window, taken as it was getting dark.

I will post a better photo in a day or so when it’s totally finished. Then I’ll be moving into the glasspainting stage. But before I do I’d like to recommend a couple of books and sites about colour.

Understanding colour is pretty crucial because a stained glass window is basically a huge collage – a combination of pre-determined individual colours. It’s not like mixing paint from tubes where there are numberless options available. To complicate things, every time you add a new piece of glass it affects all those around it. It’s not practical to keep changing your mind (though I do this far more often than I’d like), but on the other hand, I really do want the window to read as a unified scene.

I know only too well the limitations of the medium. As I’m choosing glass I am constantly imagining how the window will look when it’s painted. I stay mindful of the fact that I can make colours appear darker with paint, but I cannot change the hue (the actual colour), the saturation/intensity (how clean or muted it is), or make the glass look lighter. And then there’s that annoying tendency for adjacent colours tend to interfere with one another, sometimes quite a lot.

I remember what an eye opener it was to learn about colour in art school. One memorable exercise from my first year at Edinburgh College of Art was painting a still life (objects on a table) all in the same tone/value. Imagine, the red apple had to be painted pink, and the grapefruit, mustard-coloured. If you screwed up your eyes and looked through your eyelashes your painting was supposed to look coloured but without definition between different objects. It was quite a challenge, but wonderful training.

Music provides a good analogy for colour: some people are tone deaf, a few have perfect pitch, most are somewhere in between. It’s the same with colour. Some can perceive fine and subtle differences between colours, some cannot, and some people are colour blind. In both cases we can learn how to perceive or reproduce notes and colours more accurately through training.

I found this brief, neat explanation of colour theory and descriptions of some of the exercises we learned in the stained glass department at Swansea College of Art, like contrast and dominance, and figure-ground relationships. I read the famous books, “Interaction of Color” by Josef Albers and “Elements of Colour” by Johannes Itten from cover to cover, and remember how exciting it was to perceive coloured after-images for the first time. If you’re not familiar with Itten’s theories you can read more here.