Notes from the Gilroys on Glass Painting
Painting technique and depth of tone and shape are carefully considered to optimize the jewel-slike quality of the mouth blown glass. The colour always comes from the glass itself, the application of painted line and tonal values allow us to influence how the light is viewed through that colour. Creating "glassy" painting which is sharp and maintains clear contrast between light and dark areas is especially important. Painting in stained glass requires a thorough understanding of its properties, but it also directs how the architectural setting is lit. Windows need to read strongly from a distance, yet allow plenty of daylight into the church, so there are flecks of light even in the darkest tones of the window. The paint we use is imported from the Potteries area of England, and is a mixture of powdered glass, oxides and ceramic pigments which we mix with a binder to adhere it to the glass surface until fired. We use various hog hair brushes to make differing brush strokes and by subtle graduation blend from light to dark with even further refinement achieved through the use of a needle. The glass is fired in the kiln after each painting stage, which means that each piece can be fired several times before it's finished. During firing, the temperature of the glass reaches in excess of 700 degrees centigrade fusing the paint into the surface of the glass permanently.
It's worthwhile going to the website to watch the video. Thanks John and Laura!
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