The 2009 American Glass Guild Conference
July 16-20, 2009
Buffalo, New York
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Gene Mallard, moderator. Panelists include Mary Clerkin Higgins and Don Burt.
Panel Discussion
Glass Painting
Painting on glass using vitreous paints is part of what enabled stained glass to develop as a powerful monumental art. This panel will discuss two very different aspects of glass painting: style – why do artists choose to paint the way they do? And technique – what are some of the most common aspects and issues of kiln-fired painting on glass?
Panel members will exchange advice and ideas about working with the various glass paints commonly utilized in new and replication work. They will be asking each other questions regarding application techniques as well as other common problems encountered when working with glass paints.
By open, free-ranging discussion, panelists hope to provide useful information and problem-solving tools to those just starting out with glass painting, as well as those who wish to take their glass-painting skills to the next level.
Time permitting, the discussion will touch on glass prep, working with trace and matte paints, transparent enamels, and silver stains, with emphasis on application techniques.
A question and answer period will follow the discussion.
Gene Mallard
Gene Mallard began his career in stained glass in the mid 1970s with a course in stained glass that he took to in Bolder Colorado while on a tour of the USA. As a working artist/craftsman, his initial interest in stained glass was in learning a new skill and possibly broadening his horizons.
Prior to that, Mallard had been living in Switzerland, and upon his return he made the acquaintance of Hans Joachim Albert, a third generation stained glass master. Mallard had initially approached Albert as a possible source of supplies, and though Albert initially refused, curiosity about the young artist got the better of him, and he consented to sell some lead and glass.
Over a short period of time, a warm friendship developed, and more importantly a working arrangement ensued, during which time Albert imparted on Mallard some of what he considered to be his best kept trade secrets. Over the next three years, Mallard assisted Albert in his studio, often trading work time for materials, while at the same time learning the various skills of etching, painting and staining from the master. And though no formal apprenticeship was ever entered upon, the master pronounced his pupil a “journeyman” when Mallard was ready to return to the USA.
Over the past 30 years, Mallard has distinguished himself as both an artist and craftsman in stained glass. He has won several prestigious awards, and is recognized internationally as an expert in his field. Besides having to his credit several museum and gallery exhibitions, Mallard is also widely recognized as a subcontractor whose highly specialized skills have served as enabling forces in several high profile commissions and restoration projects. He is widely considered to be among the foremost acid etching artist/technicians in the USA.
Mary Clerkin Higgins
Click here to read about Mary Clerkin Higgins, who also serves as a director of the American Glass Guild.
Don Burt
Click here to read about Don Burt, who is also giving the presentation Photoshop, Illustrator, and The Wacom Tablet: Favorite Techniques.
