The hound’s paws
In this episode, David paints new paws, and we discuss how much a project costs.
You can download the video here.
Have no fear: the hound will return later in the year.
Meanwhile, if you own our book, please will you write a short review on Amazon or iTunes – one of the best ways to keep this craft strong is, to welcome new students and give them confidence. Let’s work on this together. Thank you.
Great seeing the Talbot hounds assembled in the windows. Thank you very much, Stephen & David, I have really enjoyed watching the development!
Have really enjoyed The Talbot Hound series and looking forward to the follow up later in the year. Your lovely glass easel wooden stand, did you have that made or is it something I can buy somewhere. I generally use a thick piece of float but lean it against a window, which is not ideal! Thank you for your generosity in sharing your skills.
We sometimes do the same as you, Issy, though we use toughened glass because the sheets are very large. As for the contraption, I carpenter-ed it myself with nuts and blots and other things.
Totally enjoyed your set of videos. Very well done and very informative.
I understood the processes in all the videos until the very end of the 6th video.
David was painting after the project was leaded, soldered and glazed. Without firing
won't the paint ware off ? If you could just give this a little more explanation it would be appreciated.
Why do you apply gold sizing to the back side ? Thank you. Great job !
Hi David. That question was answered in the comments of the last episode. I'm sure you'll find it and be as surprised as I was.
Hi David,
Gold size is a big topic that we've only discussed in this blog post (here) and in our course on shading (here).
When the next video comes out, the technique will become clear.
For now: these are 19th century windows whose paint has failed throughout. That is, the images and lettering are barely legible.
So the question is, "What can we, in the 21st century do, to enjoy these windows the way they used to look? Or are these windows lost forever?"
One thing we cannot do is re-paint and fire them. This is because this intervention would (subject to the paint's durability) be permanent: it's a rule that interventions (because they might be wrong) should be un-doable. Thus: no re-painting and re-firing.
Instead: we'll paint them on the back with glass paint mixed with gold size - a strong glue: strong enough that, unfired, it lasts for years and years, provided that the exterior (where the unfired gold size is) is protected from the weather, and also sufficiently well-ventilated to prevent condensation (which would damage the paint).
Does this broad strategy make more sense now?
David
P.S. We paint with gold size after leading, soldering and cementing the windows because those processes, being vigorous, would certainly harm the unfired paint and glue.
I believe I am clear on gold size. It can be used for glass that will be fired as well as glass that will not be fired.
That’s right. Unfired, it must be protected from the elements and excessive scratching; also, it won’t be glossy. Fired, it is permanent and glossy.
Hi Both
Another great post. Thank you very much! When I saw episode 1, I commented that I was surprised that someone had painted (badly) the hound after the glass had been leaded-which meant that the paint had not been fired. I would not have thought it possible for such an image to have survived intact over time. I guess no one cleans the inside of the windows that high up, but would the water-based paint not gradually deteriorate as a result of moisture/other detritus in the air?
My second point links to a comment someone else left previously about whether you signed new pieces in restoration project. Some years ago, I visited York Minster when a major project was still underway to restore the ? Rose Window in the South transept. I got chatting to one of the conservationists and I have a vague memory of that person telling me that they were required to 'sign' any new piece of glass they incorporated (it seems they sometimes find the odd fingerprint of the original glass painter -thought provoking). Of course, it's possible that I have imagined the information about signing the glass, but I came away thinking this was a rule that had to be followed by those undertaking restoration work. I have obviously got that wrong.
My final comment is about your book. I have read it many times. It is a brilliant source of reference. You already know that I have left a comment on the Amazon website. Any plans for a second volume in 2020/21?
Hi Sue,
Yes, the early 21st-century re-painting of the dogs' faces - rendered with glass paint, water and gum arabic, unfired, on the back of 20th century (blank) glass - would certainly have decayed within a short space of time. We have them in the studio, protected, to return them to the client: the paint is fragile as it is, never mind the experiences it would endure if these dogs' faces were actually used.
Your other point: we're documenting all the pieces we replace - there's a colour-coded map for each window which indicates each one of our interventions.
Concerning volume 2, yes, we're working on it, in tandem with work on other publications, and these windows, and another project: therefore 2021.
David
Another great video. A real insight, thanks again.
Thank you David and Stephen, for your hard work and generosity. It is always great to learn more about professional glass painting. I am also following your classes on YouTube.
Best wishes ... Adela.
Yes I was thinking the same as David P. Curious about painting and gold sizing. The other thing from some of your other videos you glycol wash after firing: why do you do this?
I do have your wonderful book and have written notes in the border of helpful hints from your videos.
Thank you for this inspirational experience.
Hello Brenda,
About glycol: most of the time, we use glycol on top of unfired glass paint mixed with water and gum arabic. Thus: before firing (the first time). And why we do it is, glycol (and glass paint) is a wonderful, direct, immediate way to shade stained glass for the kind of seen-at-a-distance projects that we do.
So glycol is another medium (other media are gold size, vinegar, oil - and not forgetting water of course) which the glass painter can mix with paint in order to achieve different kinds of effects.
David
Thank you for sharing your skills and knowledge with the stained glass community. It is SO useful to hear honest, professional tips discussed, and your videos are always beautifully made.
I have really enjoyed your videos in this series and have learnt so much from you both. I've been eagerly awaiting each one and set aside a quiet time to watch. You've inspired me to get my paints out again after losing confidence due to illness last year. Thank you for that and so much more.
Another great video which gives me so much to think about......and try out! Thank you for being so generous and sharing your thoughts and experience
I've really enjoyed the Talbot Hound video clips, just like being with you in your studio.
Looking forward to seeing the gold size application and further progress.
Michael
You said it yourselves, “MARVELOUS”!
Unnecessary to mention your honesty in business as you’re freely making these lessons available to us. I thank you wholeheartedly.
Thank you for the videos. Your light table is a nice even light. What is the top surface (glass, plex- glass), and what kind of lighting/spectrum?
The top surface is acrylic. The light is LED. And yes, you’re right - the light is wonderfully even, and gentle on the eyes.