Its been a while!
I don't want anyone to stop chatting up this blog's more arcane topics because its rockin' my world...
but here's a demo in case you are jonesing for one.
This is what this piece currently looks like on the light table. Her arms aren't done yet, that's why they are blue and not purple.She is comprised of two layers. On the left is St. Just Blue on Clear #11. Very pale. Never underestimate how much color pale tones are in stained glass. The red is Lambert's R/cl 1001b.
About that red layer: people get freaked out about sandblasting "too much". The glass is pricey, yes, but you are paying for the layers, not the color. Sometimes you just have to be brave and sandblast like a maniac. Trust me on this.
This is the sketch (which I colorized in photoshop just for amuse myself.)
Here are some of the stages of the work: on the top left she's been sandblasted as a silhouette and I made some magic marker indications. I have done a little work with the flex shaft--but mostly I am starting to file the tones into the figure. The top middle shows a bit further along the process and the top right shows all the highlights filed into it.
The bottom row is the two firings I did of the painting. As always I use stencil black vitreous paint. I did only the two firings.
This is a close up of the two layers together. She's purple now because I wiped some transparent red oil paint on her. I want to emphasize that its a teensy tinsy amount...and it has this huge effect of the color. This isn't lightfast. DON'T put oil paint on a window intended to receive UV light (that's THE SUN). This is not a technique that is appropriate for work installed in architecture.
OK--this is important so listen up!!!!!! I don't know how I want these windows to look like finished. I prefer to find out as I go. One of the things that's most important is trying things out in layers. So here are four pictures with sample layers taken from my "Bulk Failure" boxes to see what looks interesting--I'm just messing with colors and patterns here. This is crucial and one can learn a TON doing this. Don't assume you know what a layer is going to look like ahead of time. You don't! Its really amazing what happens and its a lot of fun, to boot.
It will eventually inspire the rest of the piece. Right now, I don't know who she is or why she's wearing a fishnet bodystocking that makes her look like a cheese hanging in the Italian Market. As soon as she's happy with her outer layer, I am certain she'll let me know!