The undercoat
Here’s what made us realise we had to film these episodes for you: a few weeks ago, someone commented on one of our short YouTube videos.
I see what’s happened here. The video title had raised their expectations. It suggested they could learn a skill like how to paint stained glass (true) in minutes (false).
Like “How to change the lightbulb on your Chrysler”.
But “How to paint stained glass” is not like that. It’s not like that at all.
David’s apprenticeship took 7 years (and counting), and mine was 4 (that’s why I can’t paint the same images he can).
Isn’t this a big part of the pleasure of why we take the pain to learn new skills? Time passes. We grow older. And along with the wrinkles comes the knowledge that this year we’ve improved our mastery of a skill: this time last year, we couldn’t have succeeded the way we can today. So time’s passage is now marked out by more than wrinkles. We’ve learned to achieve results we couldn’t achieve before.
But indeed the fault was ours for the video’s misleading title. It was click bait, which is always silly.
And what this comment made us realise is, we want to work with people who don’t need sensational titles.
We also want to work with people who are happy with longer videos videos (except when 5 minutes is all it takes). So if it takes 90 minutes or 3 hours, they’ll put the time in.
Here is episode 1 (a mere 11 minutes, but don’t panic, there’s much more to come). Download the video here. Watch it below. Afterwards, ask a question: if we’re not bound by client confidentiality, we’ll reply (though if you ask us “how do you … ?”, then sometimes we’ll have to say “It’s in this online course“, because teaching – like learning – takes a lot of time).
To be direct with you, the purpose of this series is not to instruct you but to offer you a glimpse of studio life – so you see how things work out in practise, which is often different from the theory (like when David tries to undercoat his glass, below).
And so, returning to the YouTube comment, to be direct with you: this really is like watching men flying jets.
The difference is, since we don’t cut out anything apart from a few seconds when I move the camera, these episodes will reveal a lot.
What they reveal, however, depends on you – you’ll all pick up on many different things:
Episode 2, next Friday.
Hi both,
Thanks so much for taking the time and trouble to keep supplying food for my glass painting hunger! Everything you release is valuable, click bait (I don’t believe that for a minute!) or not. Looking forward to the rest of the instalments.
Kind regards,
Ann
Excellent, looking forward to the next video.
Hello Favorite Teachers!
I always love your videos. I do have a question that I've often wondered: why did you not include the top-back of the hound's head on that piece of glass? What is the deciding factor to make a separate piece?
The right dog's head is all in one piece. The left dog's head is in two. The back is original - one of the few surviving pieces. The main section, which I'm repainting in this series, is not: blank glass inserted sometime during the 20th century (possibly when the windows were re-leaded), then painted on the back with unfired paint, water and gum arabic early this century. To address your question directly: the left head was designed this way.
\you guys are amazing! Thank you so much for your generosity in sharing your work and your studio with us. It is a fascinating long hard stare into how it should be done.
I forgot to ask - is that a size 10 Da Vinci brush, as you sometimes use for flooding, or is it smaller please? Thank you!
Coming up in episode 2. Not long now ...
Hello Stephen and David
Thanks for the great video.
re the previous poor repair of the dogs, I note that as these sections had been leaded before being painted, the paint had not been fired. Did I get that right? That being the case, I am surprised that the images did not deteriorate more over time (might have been better if they had!). Would you like to comment about that? I assumed that paint always had to be fired if the intention was to incorporate it in a finished piece.
re sticky labels that come stuck to new sheets of glass, I am sure that lots of people already know this, but I was shown a way to remove them and avoid a sticky mess-peel up the edge of one corner, then get your mouth as close as you can to that corner and exhale slowly through the mouth whilst gently peeling back the label. I guess it might depend on how old the label is, but it works (almost) every time for me.
Thanks again.
Sue
Yes, you understood correctly: blank glass leaded up sometime in the 20th century, then painted on the back with glass paint, water and gum arabic, left unfired, early in the 21st. We must leave that story there for now.
Thank you for the tip about how to remove those stubborn, sticky labels. We're due a delivery soon from Germany and will be sure to adopt your welcome suggestion.
Très heureuse de vous retrouver! Merci pour votre enthousiasme et votre générosité dans le partage de votre savoir-faire!
Vivement les prochains épisodes!
Great stuff. Can't wait for the next one. When the glass is resisting the undercoat do you ever use a bit of "spit" to help it to adhere?
I haven't tried spit: if I'm brave next time, I will. What I've always done is the same as you see David do. That is, if the glass remains greasy after cleaning, I push forward with the undercoat regardless, attacking the spots with the hake and paint then using the blender to see if the paint goes down now. I might also rub the grease spot with a (previously washed) finger. If both these tactics fail, then I'll return to cleaning the glass, and try again.
Wonderful. Just downloaded the first video and just like being beside you both. Truly inspirational.
Looking forward to the next instalment.
Seasonal greetings.
Michael
Really enjoyed your first video and also your other videos as well!!! I like the approach and the format of this video, very educational! Looking forward to the others!
Your approach to the demonstrations and informative dialogue is engaging, interesting and full of personality. A treat to watch.
Hi Stephen and David,
Loving this new video series, cannot wait for the next instalment. I am really liking the dialogue between you both, its like a Q&A session where you are asking all my questions for me - brilliant.
I've been following you for a while now and want to thank you immensely for sharing the talents you have. Look forward to the next part.
Will you fire after your first step? Background brown. Maybe the answer is in the next video...
No firing till the very end. If the paint has enough gum Arabic in it, this is a reliable approach.
Hi Guys
Was just wondering what you use to stick the glass pieces to the harden glass? I was holding my breath when David tilted that window, but was relieved when everything stayed put.
Also wanted to say I have been watching your videos for a long time and just like glass painting were you get better at it the longer you do it, I must say your editing skills and transitions are very professional. Keep up the good work.
Hi Daniel - in the UK we call it plasticine. Generically, it's children's modelling clay, the kind which doesn't dry out, which means you don't need to keep it in an airtight container. In the old days they used melted beeswax. Smells better than plasticine but black plasticine is simpler.
This is such a coincidence! Just yesterday I was reading about that exact procedure in Suffling's 1902 "Treatise on the Art of Glass Painting"! Here's how he described it: “Laying the cartoon full length on the work board, the easel glass must be laid over it; and upon it, in half-tint lines, the whole figure must be traced, every fold and line being lightly touched in. That being accomplished, wipe every piece of glass composing the figure very clean, and slipping the cartoon...from under the easel glass, substitute the cutline, and carefully lay every component piece of the figure upon the easel glass in its exact position shown on the cutline. Next comes the operation of ‘sticking-up,’ that is, of fastening all the individual pieces of the figure upon the easel glass, so that when the latter is raised to a vertical position the whole of the figure will appear as if in one piece ready for painting, or as if it were a canvas with the flat colors blocked in. Take a very small tin saucepan and into it break a quarter of a pound of pure beeswax and an ounce of resin, which melt and stir intimately together over a fire; when thoroughly incorporated take a narrow strip of glass running to a blunt point, and, dipping it into the molten ‘wax,’ as it is called, proceed to fasten all the little portions of the figure to the easel glass by allowing drops of the wax to fall at the junctions and around the edges of the various pieces. When this has been carefully done, the easel glass can be gently raised and placed upon the easel...”
Lovely prose. Thank you for posting it.
Marvelous video. Thank you, Stephen. Your videography just keeps getting better and better.
Thank you so much for sharing your work. Love it.
What a gift you gave us!
Would you let us know the color code you use for the undecoat?
Thank you so much,
Beatriz
Hello Beatriz - it's Tracing Brown #1 by Reusche, code 1134. A wonderful warm colour to paint with: on the light box, it's gentle on the eyes. It's a very close match, in transmitted and also reflected light, to the paint used elsewhere in this window.
Hi Stephen and David,
Thank you for sharing this 1st video – really interesting.
After many years painting and reading, I am start learning again: congratulations. I will be looking forward for the next.
Best regards,
Adela
Hi Stephen and David.
It is a fascinating subject, and I really like this new format, with a dialogue, it is very enjoyable to follow.
Looking forward to the next next chapter.
Fábio.
Hello, Stephen and David,
Your videos are always a treat to watch and full of such wonderful information. Thank you.
I am excited about this new series and eagerly wait for the next chapter. I am looking forward to asking both of you many questions in the coming weeks.
Thank you again for sharing your gift.
Richard
Hi Stephen and David!
Thanks for this new video and I love the new format.
Merry Christmas from the other side of the pond!
Barbara
Hello Stephen and David,
Thank you for sharing your knowledge in painting glass. It’s really interesting and inspirational.
I am looking forwards to the other parts.
Thank you for sharing!
Henk
HI Guys
Is there any chance you would have plans of the wooden frame you placed the easel on to view the window under natural light to share? I am interested in getting something similar. Also what thickness was the toughened glass? 6mm?
Thrilled with this video, I’ve played several times and have gotten something different out of it each time. Wonderful flow of information, your videos have really helped with my confidence in my work and encouraging me to be better.
That's a very unusual brush at the 10:43 mark. Looks like a combination of a long skinny liner (for delicate lines) and a big round for holding a reservoir of paint, feeding into the liner. Does it have a name, or am I misinterpreting what I'm seeing?
You're not misinterpreting what you see, Steve. All will be revealed in episode 2 this Friday.
Wonderful. It rejuvenates my desire to go forward in glass painting
Well thank you very much so good to watch an expert in his/their trade. I am very much a New by to glass painting, and obviously very much on the back foot. Words and procedures completely unfamiliar to me but this is a whole new aspect to enhancing an already amazing medium. Looking forward to watching and learning more.
We're glad you can join us for this new series. I appreciate many things must seem strange right now. And, since this series' aim is not to teach, I know you'll still have questions at the end: it can't be any other way. But by the end, I promise you that you'll be comfortable with the broad sweep of the whole journey. You'll have something I often wished I'd had when I was new: someone to look at who knew what they were doing.
Thank you gentlemen. While watching I thought about what I have learned from you two over these years. Yes, cleaning the glass with glass paint - the only way. Also, silver stain with oil and saved in a jar of concentrate. Was taught to use water. Hopeless! Hearing David's voice takes him from the ephemeral angelic figure he cuts silently, to a down-to-earth practical English craftsman. Looking forward to the rest of the series. Geoffrey Caldwell
A comment on your watching a pilot fly. Many many years ago when I was first learning to paint an old glass painter gave me the best advice. “If you want to learn to paint on glass, go paint on glass”. Best advice I ever received. Watch videos, read books , study finished glass windows by all means - but mix some paint and pick up the brush and paint. Make notes on your samples so you have a record of what you did and how you did it. Even now nearly 40 years later I might pick up a brush and some newer mixed paint and doodle with it on my light box. Test the strength of the gum mix or see how painterly it looks. Thanks for sharing your knowledge. Merry Christmas Sister Marie
"Go paint on glass" is excellent advice. Thank you.
Thank you so much for this video. I'm looking forward to the ones yet to come. I'm at the very beginning but look forward to learning so much.
I am joining you all a little late. I loved it. It confirmed my attempts and revisited my reflection on pieces that I have completed. I am now going to binge the next video. Thank you both for putting your time in to share this information. Watching gives me that warm fuzzy feeling in my tummy. Comfy like a log fire. Yum Yum.
What is wrong with that guy...I learned enough to be an expert. Thanks, you two amazing artists!