artistic glass working
Lead soldered stained glass
A sketch drawn to scale is magnified to a desired size on a pasteboard
and serves as a pattern in which to cut glass pieces. The pieces are then assembled
table and are joined together with lead solder in the shape of an H. The lead
seams are cleaned up and bound to other parts of the work in progress.
Copper soldered stained glass
Just as with lead soldered stained glass this technique begins with a magnified
sketch of sectioned forms and shapes used as a pattern in which cut the glass.
The pieces of cut glass are precisely ground and refined then rimmed with copper
adhesive tape. From here, the artist assembles and copper-solders the pieces
together on a table. This technique enables the formation of surface curves.
Painting on glass
Also known as Grisaille painting this technique is achieved by using ferrous
oxide powder mixed with water, which is painted or spread on then fired in order
to fuse it with the glass. As an end result, when lit from the back, the design
is made more visible. The opaque coating creates a luminous intensity giving
body and volume to the work. There are many variations of painting techniques
such as outlining used to define the major part of the design, speckling, scratching,
screening etc. A “yellow silver” pigment can also be applied on the
back of glass and then heated at a low temperature. With this method one can
obtain, transparent colors that go visibly from the yellow to an intense orange.
Very clean, sectioned and cut glass pieces are placed onto a transparent glass
plate. After the mosaic is sealed the two surfaces are cast with an epoxy resin,
which when hardened renders the mosaic into a translucent slab.
A high temperature allows fragments of glass to be fused together into one form
or shape allowing for a variety of colors and textures. With this method the
artist can create voluminous shapes folding and bending the glass slabs with
fire. One can also incorporate into the glass, metal pieces, air bubbles, or
colors derived from oxides and enamels. It is important that with glass fusion
the glass pieces used are always compatible.
Sculpture from glass paste
An antique technique well-known from the ancient Egyptians, the desired shape
is cast in wax or clay that is then used as mold. Into this cast the glass
is brought to a high temperature very slowly, in order to avoid tensions and
and as a result molded.
With this technique glass can be etched by using adhesive film masking and a
sand-blaster. Varying the time and force of the sandblasting the chiaroscuro
(light and shading) result is achieved. The glass can also be dug into producing
a sculpted effect. To do this one must consider accurately the depth of the design
and mask the glass precisely in order to carry out the etching’s varied
incisions. It’s important to create a detailed, well thought out design
As the first step in beadmaker, a glass rod is melted in the torch.
Then the molten glass is wound
round a metal mandrel to take the bead thus formed to the desired shape.
You then proceed to decorate it with multi-coloured glass.