If you like the articles and videos on this website, you’ll love this guide to kiln-fired stained glass painting.
“Just a short note now to tell you that I am delighted with this e-book: what a lot of work you have put into it. Bravo!” (J. Kenneth Leap, New Jersey, USA)
Know this: f you’re not satisfied for any reason or for no reason at all, you can have your money back.
It all starts here. If your paint is wrong, you cannot trace or shade with it. But the 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 your paint in top condition while you work. Yes, like ink, it dries. Unlike ink, glass paint 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 your paint 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.
“I am thoroughly enjoying you e-book, having read it at least 3 times so far. It goes further into much more detail than Albinas Elskus’s book, and it’s far more in-depth than the course I took in California” (Bill Hall, Ohio, US)
This e-book explains it all, and much else besides. Click here and get your free sample from Part 1.
The palette is where you keep your paint in excellent condition. Again, if it’s wrong on your palette, 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 organised. Yes, organisation is your ‘secret weapon’ which will let you move confidently from light to dark and back to light again.
“Your step-by-step instructions were just what I needed, particularly in regards to mixing paint and preparing a palette. Can’t thank you enough for your help” (Linda Z., Germany)
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 …).
“I’ve taken two courses on glass painting and must conclude that I did not LEARN very much about real glass painting so I am very glad to find you and now I will get started again soon with your SYSTEM. Anyway I want to thank you again for this very thoughtful e-book” (Irene de Hosson, Marum, Netherlands)
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.)
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.
I’ll also introduce you to a special kind of brush you probably haven’t heard of. It’s astonishingly useful for making shadows. An unknown, unsung hero called a …
“Just doing stained glass wasn’t enough for me. Always seemed to be missing something until I discovered that I could learn to paint on glass. Great stuff guys. Thank you for putting a wonderful gift of knowledge out there: best info I’ve ever seen without taking a class” (Jeff S., Texas, US)
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.
Whether you’re a beginner or a professional, techniques are fundamental to your work. You need a lot of them, not just one. Let me explain. Imagine a guitarist who can only play one chord or a dancer who only knows one kind of step: not exactly versatile. That’s why I take you through a whole collection of techniques so you’ll know enough to deal with many different situations.
You learn how to prepare your glass so it’s good to trace on. Yes, you do this after you clean your glass 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. (In other words, you paint on top of unfired paint. I know a lot of books tell you this can’t be done. Please allow me to put them right.)
I’ll also show you how to turn lines into shadows: this is one of those “Aha!” techniques – 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.
“Your technique helped me so much because I did fewer firings” (Claraines Gomez, New Jersey, US)
“I certainly appreciate all the support and advice you have personally… Read more…