Very interesting development of technique. Really liked it, and loved the finished works. Did the glass already have the areas with a red tinge or did you use other 'paints' to create the colour variations on the few with brown/red elements? Also a slight concern ....... if the tracing and initial shading is not fired it must make any additional shading (that does not turn out well) impossible to remove???
I guess so - and actually if I was doing something harder, like a face, I would fire the line work before shading for that reason. As I work in a lot of Catholic Churches, I've done loads of white and grapes before so I'm quite confident with them.
Hi sophie, unrelated question - how do you keep right angled panels nice and square? I've soldered a few only to notice they were wonked out of square. If I've got nails pinning the corners, i cant press a square up against it to keep it square. Any help appreciated. 😁👋🏻
Some people use buttons for all the edges. So when they get to the last 2 edges, they remove the nails and replace them with buttons. You can give the buttons a bit of a hammer to get them true (so long as your panel hasn't gone too much out of shape). Perhaps this method would solve your problem? There is a picture of this technique on page 80 of my book (in case you have a copy).
Is the kiln warmed up a little, and then the glass is put in and kiln turned higher till reaches temp? Or do you put the pieces in and then turn on the kiln?
Thanks for video. Is there such a thing as a kiln that's not super expensive £1000 that's suitable for small paintings? Any recommendations or suggestions?
You used to be able to get a hobby kiln for about £500 but maybe thats a thing of the past. The only really cheap kilns are microwave kilns but I think they are only for fusing? www.amazon.co.uk/Professional-Large-Microwave-Glass-Fusing/dp/B01HF5VVXC/ref=asc_df_B01HF5VVXC/?tag=googshopuk-21&linkCode=df0&hvadid=344292166971&hvpos=&hvnetw=g&hvrand=11845956794044046471&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9045942&hvtargid=pla-350525448221&psc=1&mcid=dd9a1c7a9a4d3e0e845c0282c3ebe04d
@@SophiesStainedGlass thank you. Another Q if I may. Is there an alternative to using a badger brush to get the same effect? Im thinking of both cost and the ethics. Many thanks
It's fascinating to see this process. You add so much depth with your shading.
Many thanks.
Most beautiful and peaceful video. Music I really enjoy. Can watch over snd over❤qqq
Thank you very much!
I have run out of superlatives. Beautiful work Sophie.
Thank you! 😊
Interesting, new to me, and very pretty. Look forward to what you create.😊
Thank you! 😊
helpful video sophie thankyou.
You’re welcome 😊
Beautiful leaves, enjoyed the process , will we get to see the finished piece 😊
Yes, soon
Very interesting development of technique. Really liked it, and loved the finished works. Did the glass already have the areas with a red tinge or did you use other 'paints' to create the colour variations on the few with brown/red elements? Also a slight concern ....... if the tracing and initial shading is not fired it must make any additional shading (that does not turn out well) impossible to remove???
I guess so - and actually if I was doing something harder, like a face, I would fire the line work before shading for that reason. As I work in a lot of Catholic Churches, I've done loads of white and grapes before so I'm quite confident with them.
Hi sophie, unrelated question - how do you keep right angled panels nice and square? I've soldered a few only to notice they were wonked out of square. If I've got nails pinning the corners, i cant press a square up against it to keep it square. Any help appreciated. 😁👋🏻
Some people use buttons for all the edges. So when they get to the last 2 edges, they remove the nails and replace them with buttons. You can give the buttons a bit of a hammer to get them true (so long as your panel hasn't gone too much out of shape). Perhaps this method would solve your problem? There is a picture of this technique on page 80 of my book (in case you have a copy).
Is the kiln warmed up a little, and then the glass is put in and kiln turned higher till reaches temp? Or do you put the pieces in and then turn on the kiln?
Generally the latter. I warm it very slowly if the paint is mixed with glycol as I prefer to dry the paint before cooking it.
Thanks for video. Is there such a thing as a kiln that's not super expensive £1000 that's suitable for small paintings? Any recommendations or suggestions?
You used to be able to get a hobby kiln for about £500 but maybe thats a thing of the past. The only really cheap kilns are microwave kilns but I think they are only for fusing? www.amazon.co.uk/Professional-Large-Microwave-Glass-Fusing/dp/B01HF5VVXC/ref=asc_df_B01HF5VVXC/?tag=googshopuk-21&linkCode=df0&hvadid=344292166971&hvpos=&hvnetw=g&hvrand=11845956794044046471&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9045942&hvtargid=pla-350525448221&psc=1&mcid=dd9a1c7a9a4d3e0e845c0282c3ebe04d
do you need a seperate pallete for the paint with glycol? or use the same? thanks
I use dried out water pallets for glycol sometimes but I don't use glycol pallets for water.
@@SophiesStainedGlass thank you. Another Q if I may. Is there an alternative to using a badger brush to get the same effect? Im thinking of both cost and the ethics. Many thanks
@@StewartMoore-d6i A really big soft blusher brush does an ok job.