Glass Painting and Its Process

January 3, 2022 by No Comments

One of Painting lessons offered in Los Angeles is Glass painting. It is a beautiful sort of art. Glass artists cover many different subjects and ideas. It will take a lot of tolerance and determination to create a glass painting and no one knows this greater than the painters. Glass painting is a remarkable form of art, comprising wonderful synthetic colors done up on glass. The combination of glass and paints provides the painting an angelic appeal. Glass paintings are carried out with oil and hard resin or with watercolor and gum on glass sheets.

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There’s a myriad of goods available for painting on glass. With so many options available in the glass painting category it’s tough to figure out which products to use KAWS SHARE – BLACK . What factors are most significant in making this decision; is it the color range, the visibility, the permanence, the price, the convenience of application or is it a combination of all the above?

The process is not such challenging, as it looks. The image is carried on glass in identical leading to exceptional effects manner as on canvas, paper or wood; however, if we go through the image, we look through the glass – which serves both as being a support and a protective varnish. It is all totally in reverse from conventional painting. The working image is on the rear of the glass. The viewer looks trough the glass on to the painted layers. Letters, symbols, and pictures are painted being the mirror image to how they typically read, in order to be correct once the glass is turned over to get viewed. Particulars or accents which would normally be painted last are painted first; the backdrop, rather than being painted first, is last.

All the specifics have to be correct since it is impossible for making modifications without damaging the underlying work. Once the painting is completed the glass is turned over and displayed with the paint behind the glass. Therefore, 3 “turns around” take place: the paint is applied in reverse order, the glass is turned over when the painting is completed, as well as the design or painting is viewed in reverse — that is, the right-hand aspect of the pattern looks on the left-hand side through the glass. Whenever painting on glass special care has to be taken in the choices of the color palette due to the primacy of color. The synergy of paint and glass carries a depth and luminousness not likely in different other medium. Painting on glass is an extremely time-consuming and challenging handicraft operation. There is no place for a mistake because anything you initially paint will always be in the top of the painting and you’ve absolutely no likelihood to alter it.

On the other hand, where the conundrum really begins to blister, these are projects set up by humans that are meant to help the captive elephants. The problems of these elephants are not the same as wild elephants. Most significantly is you simply cannot let a captive elephant loose into the wild, even if there happened to be enough ‘wild’ out there. They’ve been bonded to humans. You cannot undo that complicated, psychological relationship without creating additional problems for elephants and humans.

To better understand the painting project and to better filter out my own feelings, I took the opportunity and invitation to work with the ‘painting’ elephants at the Elephant Conservation Center in Lampang, Thailand. This is the group with which Kolmar and Malamid dazzled the public in their highly sensationalized book “When Elephants Paint.” I wasn’t so much interested in when they paint or how they paint but do they paint. In other words, do they conscientiously make art the way we do. I found the process is necessarily and extensively collaborative. My job was to mix the colors and load the brush with pigment for the mahout who in turn placed the brush in the elephant’s trunk. The elephant applies the pigment, the brush is changed, another pigment selected and so on. An important part of my job is to indicate when the painting is complete. The mahout often, though not always, influences the actual painting process; pushing the trunk left or right, guiding a tusk or occasionally using vocal commands.

And yet, it seems the elephant often applies pigment with conscientious deter-mination and it is obvious elephant painters, like human painters, have their own style. Pong’s interest in creating enclosed, parenthetical shapes has been consistent throughout his painting career and his stroke application was very different from Wanatee’s Cezannesque, vertical slashes, which looked uncannily like the forest in front of her. Some seem to prefer painting more than others and some seem more gifted. And some, like the charming Prathida, who was once a star painter, finds the whole brush and paint thing rather boring these days. He does it, but one gets the feeling, for him, its just another dumb job assigned by the humans. If elephants like to paint because they get bored in captivity, as some argue, then they would easily get bored from repetition. These creatures are made to paint for the tourists twice a day, seven days a week. Believe me, the elephants didn’t sign up for it.

The project with which I was involved had nothing to do with the tourist shows but rather to produce elephant paintings that are sold over National Geographic’s Novica site. These paintings are done on good paper with quality acrylics. The project has been financially very successful in bringing much needed income into the Conservation Center. The cost of keeping one elephant is expensive. The Center has over fifty elephants; each elephant has been assigned at least one mahout, who has a family he must feed and clothe. And of course the administrative cost lies above it all.

If I didn’t call an end to the painting, would the elephant continue making the painting as long as it’s given a loaded brush? If so, does this mean painting elephant are never given the chance to fully express themselves? And would a ‘professional’ elephant pick up a brush and paint away even if no human was present? These might seem like ridiculous questions, but are they? Everything is predicated on our sense of esthetics and our desires, not the elephant’s. We want the painting to look like something that would please us, not other elephants. We have no idea what the elephant is really thinking or what it really wants. Humans have difficulty enough communicating between cultures and races let alone other species. And, quite possibly, we might not want to know what the elephant is expressing through his or her painting. Ok, you say “Lighten Up! This project is all for the ultimate benefit of the elephants because they are rapidly disappearing from the planet and there are no real jobs for captive elephants since we’ve over-logged the forest, while at the same time destroying the natural habitat for the few remaining wild elephants. Without tourism to support that relationship between the captive elephant and the human, they will surely disappear. Projects like elephant paintings and elephant orchestras keep the public focused on the serious dilemma of the elephant.”

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