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It can then be cut into small sheets. Glass formed this way can be either coloured and used for stained-glass windows, or uncoloured as seen in small paned windows in 16th- and 17th-century houses. Concentric, curving waves are characteristic of the process.
The color is caused by the size and dispersion of gold particles. Ruby gold glass is usually made of lead glass with added tin. Silver compounds such as silver nitrate and silver halides can produce a range of colors from orange-red to yellow. The way the glass is heated and cooled can significantly affect the colors produced by these compounds.
Slabs of coloured glass, 20 centimetres (7.9 in) to 30 centimetres (12 in) square or rectangular and typically up to 3 centimetres (1.2 in) thick, are shaped by breaking with a hammer or cutting with a saw. The edges of the resulting pieces may be chipped or faceted to increase the refraction and reflection effects.
Detail of 12th-century stained glass window in Strasbourg Cathedral; black and white paint has been used on the coloured glass. Secondly it refers to stained glass, used for windows. Here the design is made up using sheets of coloured glass, cut to shape and held in place by lead. The painting is the final stage, typically only in black. [2]
Domestic leadlight (1920s) employs an Art Deco motif in brightly coloured opalescent glass set in transparent glass which is both textured and cut with bevelled edges to reflect the light. A highly detailed design by Frank Furness for the University of Pennsylvania Library (1888–90), Philadelphia .
The mat is placed between the image and a newly cut glass plate while the backing board supports the image from behind. This "sandwich" is then sealed with Filmoplast tape. Commercial glass cleaners should not be used on new glass plates. Loose hand-coloured tintypes can be placed between mat boards.