St. Francis Glass Painting Progress

As this sweet painting has evolved, I will keep posting to document the journey of this painting on glass. When finished, the painting is photographed by Wilson Graham, who does the best job, knowing how to capture all of the metallics and color.

A tiny golden Barn Owl in the Pine tree

A happy singing Prothonotary Warbler

St. Francis in East Texas with Gus, Swiffer, Pepper, KC, Sassy. Almost there!

St. Francis and friends with blue paper preview.

St. Francis glass painting, back side. Side that is painted on.

For now, I have almost all the details of the animals finished. On to St. Francis's robe and the leaves above his head!

I fine tune the details with a very sharp Xacto knife and razor blades. Oh, and a large magnifying glass. Very Carefully scraping paint to refine edges. I will go over the painting many times doing this and adding more layers of paint.

The FolkArt glass enamel paints are somewhat translucent, depending on the color. This means that each leaf, flower, blade of grass, animals, everything, requires 4 - 5 layers of paint.
It allows for layering of different glazes of color to create depth, shadows.  I love using silver and gold metallic in my glass paintings. The metallics require 1 - 3 layers, depending on the effect I want.

Often, just before adding the final element of the sky I will back some areas with white. So the dark blue of the sky will not shadow through in the lighter colors.

In the cool winter these paints take about two days to cure onto the glass. In the hot summer, about a day. I love the bright colors, ease of use and permanence of the paints. They are fairly UV and fade resistant, but as with any fine art painting, no direct sunlight.

The sky is crucial and is carefully layered in blues, violet blues, white (stars). A large filbert is used to leave softer edges. Star trails are scraped back with a razor blade in areas. Almost impossible to correct, a one time deal.

Blue and white paper is used constantly to gauge where the details are at, depending on the detail.
That is what you see in the photo, blue or white paper slipped behind the painting.

St. Francis Pet Painting on Glass

More progress on this latest St. Francis pet painting.

Working on tree leaves and grass now, but wanted to share a study of Gus.

Painting backwards is a different rhythm than traditional painting.

I thought Gus would make a good warm up and did it on a scrap of glass. Since no two paintings are alike, the details might vary slightly on the large painting.

Blue paper is used behind the glass to get a feel for placement and variety of the details. Front and back views. 

The composition is flipped, so when the painting is finished, the view will be a mirror.

I have already asked the photographer Wilson Graham, who has done all the photos for my glass paintings, to reserve time for the photo shoot of the finished painting. 

Glass is tricky to photograph, especially these glass paintings with the gold and silver highlights.

It is gorgeous here in Tucson, looking from my studio window and I try to get out for a break at least once a day. Crystal blue skies, cool weather and a ton of activities every weekend for those that get out and about. I like my cozy studio just fine :)

St. Francis is in East Texas :)

I love starting new St. Francis paintings. Reverse glass painting requires a lot of planning and designing due to the nature of so much detail painting on glass - backwards, details first. My designs for this series invites repeated viewings with all the little details.

This new painting has Five pet subjects; 3 dogs, two kitties.
Plus the supporting cast of local flora and critters. The main subject of the large white dog will be painted in subtle white tones so he does not come forward too much, dominating the rest of the darker values of the painting.  The smaller dog leaning on St. Francis, black/white will also be painted similarly.
White reflects the surrounding colors, which is why white in any painting is a combination of many colors. It's the surrounding values that can make it come forward :)

Hello Gus, KC, Swiffer, Sassy, Pepper!

A small red fox shyly peeks through the azaleas and foliage.

My favorite part of painting is the research of the subjects, animals and nature. There is always something new to learn about an area, animal/s and then translate that into a drawing that captures the essence in a very different style than my realistic style.
Oh, and the coloring, once the design is finalized!

It's good mental exercise for my brain, to think differently in design. Pare information down to a few lines. The composition may change a few times as I try out different elements.
Subjects and background should blend harmoniously, inviting repeated viewings with the details without being overwhelming.

The details should have a rhythm of repeated patterns and a limited palette. This creates continuity for the eye, mind, so although the details are many, due to the palette and pattern they are not overwhelming.

I like the composition to subtly lead the eye to the main subjects with color value, hue, and surrounding elements. Usually this means half dozen thumbnails to arrive at the initial layout. Then selecting my palette and doing a couple of studies to warm up and decide on the values, colors, highlights.

Due to the complexity and nature of the glass paintings, I make several color references before painting to get the values and color intensity right.
But the foundation of all my artwork is the initial composition. When I get that right, everything else will follow :)