Wonderful video yet again. Wouldn’t it be nice if there was time to create a heraldic masterpiece of the fierce guard dog that protects the studio + his shield and install it in the studio.
The Talbot hound will undoubtedly run right off the glass with its tail between its legs when confronted with this level of ferocity.
Sue Jenkins -
Great video, thank-you. I am going to have fun painting the design-though I may have to paint a pride of heraldic lions before I can produce a version with which I am happy.
As an aside, isn't the dog that protects the studio already in residence most days? i.e. Stephen's hound.
john Kilpatrick -
Wonderful.
Jodie -
I would like to know what kind of brush you are using for the flooding.
SM Byrne -
The large one is: the Da Vinci Series 5519, size 8.
De Snyder -
What an absolute treat this video is. I've been working from home since mid-March so my makeshift studio has been acting as my makeshift office....not a lot of creating going on. This has been a wonderful reminder for me. Thank you so much!
Excellent video and very refreshing.
Thank you very much,
Beatriz
Steve Richardson -
You mention that you used Peli (Ruger & Gunzel) powders instead of Reusche for this project. Peli powders fire at a significantly lower temperature than Reusche, or at least the Reusche lead-free ones that I've been using - somewhere in the range of 1040-1148F (560-620C) instead of 1150-1400F (621-760C.) Did that cause any concerns about how tightly the pigments fuse with the surface of the glass?
All kilns are somewhat different from one another. And so, even following the manufacturer's firing guidance, I believe it's necessary - especially when working with a new paint - to (for example) scratch it with a nail which will give you some confidence concerning permanence. Also, if you've used patinas / fluxes which corrode (I don't know the right word) glass paint, then you have a benchmark for how long well-fired glass paint will resist the patina or flux; and you can then use that knowledge to test the new glass paint, if you're so inclined. What I'm getting at here is: the manufacturer says to fire a specific kind of glass paint to such-and-such a temperature ... well, if we just do that, all we are doing is complying with the letter of the "law", not with its spirit. And, if we want permanence, we must comply with the spirit. Which means that, if our kiln or thermocoupler is so constructed, we might need to go lower; or we might need to go higher. We always have to test.
And now to answer your question (your final sentence): we weren't concerned, because we scratched the test pieces with a nail.
However, we were a bit taken aback by how "dry" the test pieces looked. Setting aside aesthetics (we prefer a slight gloss), we don't like dry-looking (fired) glass paint, because it gets us worried about what could happen with cementing: dry suggests to us there might be tiny holes all over the place, into which cement could work itself, which might not be attractive, or good for the paint.
Wonderful video yet again. Wouldn’t it be nice if there was time to create a heraldic masterpiece of the fierce guard dog that protects the studio + his shield and install it in the studio.
This one?
Can we have a pose of him "rampant"?
The Talbot hound will undoubtedly run right off the glass with its tail between its legs when confronted with this level of ferocity.
Great video, thank-you. I am going to have fun painting the design-though I may have to paint a pride of heraldic lions before I can produce a version with which I am happy.
As an aside, isn't the dog that protects the studio already in residence most days? i.e. Stephen's hound.
Wonderful.
I would like to know what kind of brush you are using for the flooding.
The large one is: the Da Vinci Series 5519, size 8.
What an absolute treat this video is. I've been working from home since mid-March so my makeshift studio has been acting as my makeshift office....not a lot of creating going on. This has been a wonderful reminder for me. Thank you so much!
Excellent video and very refreshing.
Thank you very much,
Beatriz
You mention that you used Peli (Ruger & Gunzel) powders instead of Reusche for this project. Peli powders fire at a significantly lower temperature than Reusche, or at least the Reusche lead-free ones that I've been using - somewhere in the range of 1040-1148F (560-620C) instead of 1150-1400F (621-760C.) Did that cause any concerns about how tightly the pigments fuse with the surface of the glass?
All kilns are somewhat different from one another. And so, even following the manufacturer's firing guidance, I believe it's necessary - especially when working with a new paint - to (for example) scratch it with a nail which will give you some confidence concerning permanence. Also, if you've used patinas / fluxes which corrode (I don't know the right word) glass paint, then you have a benchmark for how long well-fired glass paint will resist the patina or flux; and you can then use that knowledge to test the new glass paint, if you're so inclined. What I'm getting at here is: the manufacturer says to fire a specific kind of glass paint to such-and-such a temperature ... well, if we just do that, all we are doing is complying with the letter of the "law", not with its spirit. And, if we want permanence, we must comply with the spirit. Which means that, if our kiln or thermocoupler is so constructed, we might need to go lower; or we might need to go higher. We always have to test.
And now to answer your question (your final sentence): we weren't concerned, because we scratched the test pieces with a nail.
However, we were a bit taken aback by how "dry" the test pieces looked. Setting aside aesthetics (we prefer a slight gloss), we don't like dry-looking (fired) glass paint, because it gets us worried about what could happen with cementing: dry suggests to us there might be tiny holes all over the place, into which cement could work itself, which might not be attractive, or good for the paint.