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Rippled glass refers to textured glass with marked surface waves. [1] Louis Comfort Tiffany made use of such textured glass to represent, for example, water or leaf veins. The texture is created during the glass sheet-forming process. A sheet is formed from molten glass with a roller that spins on itself, while travelling forward.
The molten glass was poured into a mold of wood or stone to make a sheet of glass. The texture of the mold material would be picked up by the glass. By the time stained glass was being made, the glassblowing pipe was in common use, so hand-blown (or mouth-blown) sheets were made by the cylinder glass and/or crown glass method.
The method employed to create red stained glass is to laminate a thin layer of red glass to a thicker body of glass that is clear or lightly tinted, forming "flashed glass". A lightly coloured molten gather is dipped into a pot of molten red glass, which is then blown into a sheet of laminated glass using either the cylinder (muff) or the crown ...
Glass is enamelled by mixing powdered glass, either already coloured (more usual) or clear glass mixed with the pigments, [1] with a binder such as gum arabic that gives a thick liquid texture allowing it to be painted with brushes. Generally the desired colours only appear when the piece is fired, adding to the artist's difficulties.
Drapery glass refers to a sheet of heavily folded glass that suggests fabric folds. Tiffany made abundant use of drapery glass in ecclesiastical stained glass windows to add a 3-dimensional effect to flowing robes and angel wings, and to imitate the natural coarseness of magnolia petals. The making of drapery glass requires skill and experience.
One example is the stained glass window of the doorway of the Hôtel van Eetvelde in Brussels (1895). In France, Art Nouveau stained glass was used by Alphonse Mucha to decorate the interior of the jewelry shop of Georges Fouquet. The windows were made by Léon Fargues. The decor is now found in the Carnavalet Museum.