When you don't have access to real paints try using painting apps. I have an ipad pro and find painting on it very gratifying and useful for doing thumbnails and practicing. Adobe sketch has one of the best watercolor effects as far as creating a wet flowing realistic look. It also has layers so experimenting without worry is possible. Auryn Ink is also a good watercolor app. It does not have as much control or I should say as easily controlled painting system, but that is for you to judge. The still life above was done with Adobe Sketch and the one below was done with the Auryn app after creating a black and white line art in another app. I brought that image into Auryn and then painted on top of it. Give them a try
Monday, July 17, 2017
We are traveling in our motorhome on our summer trip so my glass fusing has stopped for awhile. I did not bring the kiln on this trip. So I am back to doing art on my ipad and eventually doing some painting. I have been taking many photos and would just like to show you how I use photo apps to make them better for painting references. There is an app called Pixlr that is great for adjusting your photos and changing colors to make a more interesting painting. I also use an app called Retouch for removing items from my photos I dont like, such as the paddle boat. As you can see the top photo is the original in all its local color glory and the bottom photo is the one I adjusted with the two apps I suggested. The bottom photo now looks like a reference ready to paint. Almost looks like a watercolor as is. Try using some of the free apps available. They are very useful and will help you to get away from painting local colors you see in your photos and help you to experiment with more exciting color choices.
Wednesday, June 28, 2017
I needed to use up some scrap glass. I dont have room to let it pile up. The piece above is just one layer of clear that I sifted tangerine powder over a stencil to create the design. It can be cut up or incorporated into a collage of other pieces of glass. It may be the starting point of a new project.
This second piece is about 6x7. It too started as a clear piece of glass that I sifted a heavy layer of brown powder evenly all over. Then I placed some scraps of opal greens and reds and various transparent yellows on and full fused. When full fused it came out to nearly 6mm thick so I think I may clean up the corners and slump it. We'll see.
Sunday, June 11, 2017
Here are the results of the projects I posted earlier today. Not masterpieces but a learning process toward materpieces.
This came out of the kiln pretty much looking the way it went in. It fired well at my fast rate in the fiber kiln with no bubbles. The blue color was my Color Line enamels from Bulleye. It worked equally as well as the GLASS LINE paints.
Now this one came out of the kiln a bit different then expected. When I back painted around the leaf pattern I did not realize the paint would be affected by the paint under it. It turned the aqua color much much darker so there was not the contrast I was hoping for. It is acceptable but not what I wanted.
I will keep posting more projects of this nature. I am waiting for some Papyros kiln paper which is sturdier for doing more of a watercolor effect .
This piece was pretty much as expected. Not perfect but has its merits. This was aloe vera paint made with glass powders and the aloe gel. I painted lines from a squeeze bottle and then combed thru the wet paint to make the pattern. There is also some french vanilla used on the 4 bolder stripes. This piece did not involve using the kiln paper between glass layers.
Thanks to Tanya at AAEGlass I am experimenting again. I bought a $20 video she called "Lithograph in Glass". It is well worth the money and opens up all kinds of ideas for me and hopfully for you. Because I only have thin fire right now that is what I'm using. From her video I learned you can fire kiln paper between glass if you leave a 1/4 inch border between the paper and the glass edges so that the glass totally encloses the paper and none of the paper sticks out around the edges. After you cut the paper to size you can paint on it with your enamal paints. Dont water the paints down too much or the thin fire may deteriorate. On some of my glass trials I used an opaque glass as the base. If you want to use clear glass you'll see the back of the kiln paper on the back and I dont know if the logo pattern will burn off or not so either use opaque base glass or paint the back side of the paper also with any color or design you may like.
These pieces were just quick samples to see if it worked or not and if I could use the fast firing schedule for the Bonnie Glo Kiln. They are not works of art but I found out what I needed to know from doing these pieces. Now they can be slumped into small sushi style plates.
|this piece was painted with 3 colors on the paper then the black line art was done on the top clear glass.|
|This piece has all the paint on the kiln paper with clear glass on top.|
Two more pieces with the leaves are in the kiln now. This is almost like journaling or scrapbooking with fused glass. I used a paper punch to punch holes out of kiln paper that was either left white or painted a color. Also used layers of Glass Line paints on the paper. One I back painted around the leaves with the aqua color and the other one I cut out a second layer of paper leaves and also used pinking shears to trim the edge. Cant wait to see them fused tonight.
There are many ways to use the painted kiln paper. You can cut it up into shapes or paper punch shapes. You could stencil or rubber stamp on it. Or you could just paint a painting on it. You could also silk screen on to the paper. Lots of things to try. I do recommend buying the video mentioned above. It has some great ideas.
I had some glass scraps left over with some impressions I took from left over paints on glass. After the paints were dry I cut up the glass into pendant size and used it as a cap. I took a white piece of opal glass and sifted a solid color of powder over it then placed the cap with the color line paints on top of that and fired along with the first samples above. Each piece I used a differed color of powder for the base. I was quite happy with the look. I made four different colors of these.
The piece below was just a spur of the moment piece to help fill up the kiln. I had some scraps laying on the table and decided to try something. This is how you learn. I mixed up some brown powder with aloe vera gel to a peanut butter consistency. I spread it evenly across some clear glass with a spatula then placed scraps of glass on top and pushed them lightly into the thick paint layer. Then I scattered some scrap red frit over all and brushed it off the big pieces of glass. It will be next inline for the kiln. Its a good thing I dont have a big kiln because I would have glass pieces stacking up all over the place.
One more not so good trial piece. But we'll see when its fired. The piece below is Aloe Vera and powders mixed in squeeze bottles. After squeezing lines of color on clear glass I combed thru it with a tool to create the pattern. I let it dry overnight and placed it on another piece of clear Tekta. It is also in the kiln right now.
So stay tuned for the results in the morning. Can't wait!
Sunday, June 4, 2017
Stenciling on fused glass is easy and fun. With this piece I used white opal glass for the base. Next I used the bird stencil and taped it down. I painted aloe vera gel gently across the stencil onto the glass letting some of the gel go beyond the cutout onto the stencil. Then I sifted black powder evenly over the image area. Then I gently lifted off the stencil and shook off the loose powder onto a paper and poured it back into the jar and washed off the stencil. I cleaned up any areas of the design that needed it with a small brush. I fired this single layer at 1450.
On the top layer of tekta clear glass I used another pattern stencil. Again I taped it down but this time I mixed the powder and gel together to make a paste about the thickness of creamy peanut butter. I used a palette knife and squeeged the mixture across the stencil making sure all the areas were filled and smooth across the stencil. For this step I used woodland brown glass powder. After firing I was surprised the powder was much lighter brown than I anticipated, but I find it acceptable.
While the base glass with the bird was firing I prepared the top clear pattern and it had time to dry. When the base piece was done firing and cooling I placed the top piece on and full fused at 1500. This is what you see in the photo. Next it will be slumped into an 8" square plate.
Sunday, May 28, 2017
Yesterdays project was to use up some scrap glass from my scrap bin. This fish is what i came up with. I fused it at 1375 to retain some dimension. I like it this way for an art display piece but probably would fuse it full fuse for a platter. Hard to decide on which one to do.
This was from the day before the fish. This is another 6x6 piece painted with Color Line Enamels. It took 2 fusings to get the artwork the way I wanted it. Now one more firing to slump into a square dish. It will be food safe and 100% glass.
An update......This is the piece after slumping.
Tuesday, May 23, 2017
This is my newest project. A scene from the "Valley of the Fire" Nevada. The photo above shows the steps I have taken so far to create this painting in fused glass. It is in the kiln right now for its third firiing after the third layer of color was applied. Tomorrow I will update this post with the results.
Here it is....out of the kiln and I think its done. Have to take a second look at it in the morning.
Saturday, May 13, 2017
Repainted and fused version.
Original full fused version.
This was the second test piece that I decided to try adding color to the back side. I painted the clear areas with ColorLine paints and then sifted glass powder over the whole thing. I sprayed with hair spray and dried it in the household oven and refired in the kiln. I fired it bottom side down with the new color so the top would stay shiny.
Well I added more color using ColorLine paints. I'm still not happy with it. The bird is ok but the branch is a bit distracting. Should have left it alone. Now all i can do is paint over it with a lighter color and refire again. The leaves could use another layer of paint in the lower right corner. The bubble in the top right corner that I drilled out did smooth out and fill in but it still left a circle shape in the design. Its is more acceptable now. I may fix the branch and leaves and fire one more time then slump into a 6x6 sushi dish.
Here is the piece fired the third time. The colors are much better and the branch and leaves have more interest. I still plan on slumping into a sushi plate. This photo was taken at night with lights on so colors are more vivid.
It has been slumped now and I am glad I made it into a dish. It has even more character now.
Friday, May 12, 2017
This top photo was a real surprise when I opened up the kiln. The objective of this test was to create clear holes that see through to the base layer. I used aloe vera gel and glass powder to create the design on the base layer and added a big piece of clear ice frit under the area where the see thru was. I oven dried the aloe paints in my home oven at 225 degrees. Next I created the top layer by sifting black powder and lifting out the see through circles. I added a bit of brown powder around each hole. Next I placed a large piece of clear glass frit at each corner between the layers hoping to allow bubbles to escape during the full fuse.
I use the Bonnie Glo fiber kiln in which you can fire at faster schedules if you want to, with good success. So I used the medium fast schedule they provide. In my previous project using aloe vera paint I prefused it first then added more paint on top and added a base second layer of glass and full fused again. In this project, not thinking well, I fused all the layers at the same time. MISTAKE! You can see this test was supposed to be a 4.5x4.5 square piece but the bottom layer cracked and spread apart. Dah! I think the aloe vera gel gases had no where to escape to even though I put large frit in the corners to seperate the layers to create an escape. I am figuring that the fast ramp did not give it enough time for the escape of the gases so the photo is what I ended up with.
Just to not give up on the piece of glass I am adding some paint and powder to the bottom side and am going to fuse it one more time. I may be able to cut it up and use it for jewelry or add it into another arty collage fused glass piece. I am also going to try the experiment again firing the two pieces seperatly before full fusing them together. I am intrigued by the idea of seeing through the holes to something below on the base layer so stay tuned for that in the future..
This next piece with the bird also had some problems. It was fired along with the piece above. I also put large clear frit pieces in the corners to allow bubles to escape but again one of the corners turned into a large bubble. I have read you can drill a hole in the bubble and refuse the piece and the air should escape. We shall see if that works after a second firing. Also not thinking, the leaves of the branch were put on as light green powder using a stencil but after firing they disappeared because I decided to use the streaked green base glass. So now I have painted over them with the colorline paints. The bird came out interesting in that I used blue powder with some french vanilla powder sifted in areas over the blue. When fired I had forgotten that the blue and the vanilla would have a reaction and thus created some brown areas. I really liked the effect it created. I will remember this effect for future projects. I added some more blue paint and brighter yellow on the beak and legs, and will fire again today. Also before the first firing yesterday I lightly sprayed the piece with White Rain Hairspray to keep the powder in place. But the spray comes out of the bottle in little uneven droplets and I think some of the texture in the bird was created by that. But again I like that texture. Stay tuned for the second firing results. Happy Fusing!
Tuesday, May 9, 2017
This is Mount Shasta in Late summer at sunset. It is 6x12 100% fused glass. It was painted in 2 layers and fired twice. I was quite happy with the painterly effects. It fits into a metal stand for display. Email me at firstname.lastname@example.org for price and purchasing info.
This is also White Tank near Phoenix Arizona. Does this make you want to take a hike? This is a 16x20 acrylic on gessobord. The rocks are my center of interest but then i want you to slowly continue you journey through the rest of the scene.
To purchase anything on this blog please email me for price and info at email@example.com
Tuesday, April 4, 2017
More hand painted pendants fused and ready to wear. Designs are permanently fused glass with a southwest influence. These can be purchased as well as the Pickleball pendants posted earlier, by emailing me at firstname.lastname@example.org. I will quote you a price as well as how long to receive them. These are available now but others will have to be made for future orders.
Thursday, February 23, 2017
Back to painting again. I love willow trees and saw many on our trip to Canada. I was in my kayak and had to paddle underneath this one. I thought it would be a challenge to paint and feature the light and shade it created. This is 16x20 acrylic on Gessobord.
I am presently working on this desert scene of White Tank Park in Arizona. This is the beginning stages. I used quinacridone magenta for my underpainting. I'm working from a photo I took in the middle of the day which lacked light and color. I decided to make it more of a dramatic sunset time of day.
I decided to add the saguaro cactus in the foreground from another photo. It helps to add a better focus area.
The photo above is the next days work. The values in the foreground are still not right. The ground needs to be much lighter heading in towards the cactus. My next painting session will be adjusting values and highlighting certain areas around the focus area. I will update this post when the painting is finished.
Here is the next step of the painting. Close to the end. Need to look at it for a week and see if it needs any changes.
Saturday, February 18, 2017
These are some Pickleball Pendant ideas. The game of Pickleball is becoming very popular and yes I do play the game. These pendants are hand painted with color line paints and ready to fire. I am in my Motorhome waiting out a two day storm so I can uncover my kiln outside and fire these. So stay tuned for the results.
Here are the fired and fused pendants. They are 100% glass. The glass enamels are rather thick to paint with and and they tend to spread a bit when fused, but as a whole I'm pretty happy with them. I will glue bails to them as soon as I go buy some.
Well the bails are in place. All pendants are now SOLD.
These pieces were fused using single pieces of glass I hand painted with the Color Line Paints. The top bowl has a bottom layer of opaque gray glass with a clear piece of glass on top. The clear piece was painted with random colors of the paints. Then I took the white paint and drizzled it around on top and placed another piece of glass on top to make a print impression. Pulled that third piece off and saved for another project which is the square plate pictured below. All the patterns on these pieces were hand made by painting, stamping, or stenciling. Great way to make your own designer glass for one of a kind projects.
Thursday, January 19, 2017
The Color LIne paints can be tricky to fire the first time around. On this piece my reds disappeared. I spoke to Dusten at Bulleye Glass and he said to vent the kiln up to 1100 or 1200 degrees and then open the kiln completly for 15 seconds. That lets out the fumes and replaces air with fresh oxygen which the Reds need to fire properly. I tried that on the second piece that I painted another layer over in certain areas. As you can see the colors did not disappear again in those areas because of the 15 second venting process. Problem solved. Bullseye and their employees are very willing to help you out with your fusing problems. Try emailing or calling them with your problems. They also have a Facebook page for the Color Line Paints.
|Reds and Yellows disappeared after firing.....this was vented up to 1200 degrees.|
|repainted and fired with venting up to 1100 then the kiln was opened completely for 15 seconds then closed again until schedule completed.|
Wednesday, January 18, 2017
I got a set of Color Line glass enamel paints for Christmas. This is my first painting I did with them. I did the painting on an ivory piece of glass and edged it with a dark grey Opal glass. The paints were pretty easy to work with and they can be thinned with water or the medium they make to go with these paints. You can use them thick or watery like water color. They fire pretty close to the way they look unfired. The only catch is the reds burn off or disappear if you don't vent the kiln properly when firing. You can get help with that problem from Bullseye Glass company and also from the product brochure. Otherwise I am quite excited about using them.
The piece above is 8x8 and can be slumped into a square plate mold or left as an art panel to display in a stand or hang with a plate hanger on the wall.