Posted by Larry White on December 12, 2003
I received an inquiry on how to execute split blended shades, I figured I'd post my reply here for everyone else. Feel free to comment on my technique, maybe there's a better way. -LW
There is a difference between what I would call a blended shade and a split blended shade. On a split blended shade I would first paint the outer "stop" line where the shade will be ending (this becomes an outline around the shade and letter). Secondly, I would pick the two colors for the shade and mix them from transparent artist oil colors mixed into some spar or quick rubbing varnish (I suppose you could use Frog Juice too). With a flat brush, half the width of the shade, single stroke in the first color glaze. After this is dry, single stroke in the second color. Overlapping the colors just slightly adds a slightly darker line between the colors and is desirable. I have also heard of these glazes being silkscreened. After the two glazes are dry, mix up 3 to 4 graduated tones of gray, using japan color, usually white to dark gray. Extend the open time of the paint with Smiths cream and/or a touch of linseed oil. Using a copy of your artwork, make a road map of where the colors will fall. Keep all the highlites and shadows in their correct places. I usually use colored pencils to make the road map. I number the colors 1 thru 4. Along with numbering the colors, you'll need to number the blocks of color. Where ever there is a sharp corner on a letter, you'll want a hard line of color on the shade. This line must dry before you can put the color next to it in order to hold that hard line. Hence when you paint the first hard line, you'd be working in a #1 color block, next to it would be a #2 and next to it on the other end could be another #1. (It almost works out that you're paintinting every other block first, then their neighboring blocks secondly.) So as you make your road map, number the colors and the blocks. Typically I have found to have about 60% of the shade executed in block 1's, 30% in block 2's, and a few fall into block 3's. I hope this is making sence. So within a block you lay down your numbered colors right next to each other, I typicall use a quill, one for each color. I then blend the colors together using a deerfoot blending brush, one for each blended color. Continually inspect from the front, without any light shining through the back, this is required to determine sufficeint blending. One of those rotating glass easels is helpful. Do all the #1 areas and allow to dry. Then do all the #2 areas, then 3's etc. After it's all done, back-up the whole thing with the middle value (only). The color picked for the glaze alters the grays blended in behind them. When doing a regular blended shade, skip the glaze step and mix your desired colors straight from Japan color. I've also seen One Shot being used, but I prefer the japans.
D. Bernhardt
MarcoHi again Larry and all...is a wonderful technique! Saw it a few years ago(well 10 or so)at a Noel Weber glass workshop. Always thought there must be another way that gave the blended but maybe a more "direct" appearance. Haven't gotten there yet! Thanx for the great tip and remembrances....and an addition to things to do list!!
Mike JacksonChristmas comes early! Thanks for the wonderful description of the process. I've always wondered how that was done. I'm going to start a split blended project next week and try it out.
Larry WhiteHi Larry,
As I read over your description, I kept thinking how nice it would be to see photos with each step. If you ever felt like taking step by step photos, I'm make two offers. Either you could make the page at your site and I could link to it from here, or you could send the photos and the step descriptions and I would make the page here...(somewhere in the Glawson section or a new one?) No pressure or no hurry. Just a thought!
Mike Jackson
Robin SharrardMike-
I could do that! I would prefer to see it posted on theletterheads website under the Rick Glawson page seeing how I learned it at one of the Conclaves. Actually, Bill Hueg gave a very nice demonstration of this techniqe. Perhaps we could get him to comment on my instructions. I'll see what I can work up... -LW
Larry WhiteLarry, Is this the same technique used in the split shading of the KRW initials on Karen's Calligraphists glass piece, as well as a few others on your web site? Robin
Robare M. NovouThat would be correct. The real tricky part is putting the glaze down in one stroke. -LW
Larry, could you airbrush the glaze colors on using a mask?
Larry White
I don't see why not. If you were using computer generated artwork, you could simply cut the masks to use for airbrushing. It would be a way of getting a nice uniform glaze. I've also heard screenprinting the glaze. -LW
Denver Chapter of the Letterheads