Application of specialist glass paints, stains, lustres and vitreous enamels then firing in a kiln opens up a whole new aesthetic dimension as it allows us to finely control and filter the light passing through the glass. The glass is obscured with lines and washes of dark paints to create detail, texture, depth and shading, then enamels and stain can be used to add colour. The methods used have remained largely unchanged since the ecclesiastical stained glass of the middle ages. After each application of paint the piece is fired in the kiln; sometimes a piece may be fired several times. Images of great richness and beauty can be built up in this way. When the glass is fired correctly, painted and stained glass can last for hundreds of years.
For large areas of repetitive design or incorporation of photographic imagery into
architectural glass, we can use various image-
Window panels can also be made using glass that had been melted to a higher temperature
in the kiln to fuse glasses of different colours, to entrap design elements such
as metals or to form sculptural forms by slumping over, or casting into, a pre-
Sandblasting is used to create texture on the surface of the glass using stencils or other masking methods. It tends to be used for more formal designs or lettering and can also be used to create contrasting areas of colour when flashed glass is used.
Acid etching can be used instead of sandblasting to remove layers of coloured glass
to give images of more depth and variety, without affecting the clarity of the glass.
Typically used to create heraldic imagery on a single piece of glass, often with