Sandblast the clear glass with a silhouette of the image you are painting.
Use the 80 grit available in the classroom.
TAKE EVERY PRECAUTION TO SEE THAT THIS GRIT STAYS PURE!!!!!!!!
No kidding. This is IT for GRIT.
DO NOT leave it in the blaster and leave the sandblasting room for ANY length of time.
Take the glass up to the classroom and rinse it off and dry it. Trace the major lines in your image onto the sandblasted area with a razor point sharpie pen or other permanent marker as seen above.
Wipe the image with black glass paint and wipe it off so the paint only sticks to the sandblasted area. You want a very light gray tone like in this picture. You should be able to easily see the pen lines.
Use a LINER BRUSH to paint the lines on top of the pen lines. You can clean up clumsy lines with and xacto knife.
That’s it—its ready to fire.
Upper image: When the glass is out of the kiln, engrave the hard edge highlights with the flex shaft engraver
File around the hard edge engraving lines to make the tones nice and smooth (that’s what’s making her look slightly freckly—the file on the paint gives a pointillist effect)
Below: Paint in the next level of darker gray shadows using a #2, 4, 6, and/or 8 natural bristle brush modified by burning the tip to blunt it so its about ¼-1/2 inch long. POUNCE the brush to make the grays more tonal. This isn’t the final layer so don’t get crazy picky....
You are then ready for the second firing.
The final stage you may wish to pump up the highlights with engraving and filing before you paint another layer of deeper darker grays. This demo is stopping at three firings—which should be enough to get a decent rendering with gray tones ranging from white to black. In reality, you may with to fire one more time which we may be able to accommodate.